THE CONTROLS
INPUT
This ¼ inch jack is the INPUT to the preamp. Connect your Instrument here using a good quality, shielded cable
(grounded) of preferably no more than 12–15 feet in length. Longer cables may compromise the sound and roll off top end due to
increased capacitance.
NOTE: Like every part in an electronic signal chain, cables can have a fairly dramatic effect on the sound. While we
personally don’t prefer the sound of super low capacitance or very EXPENSIVE “HI-FI” Instrument cables due to the over-
abundance of top end they impart (to our ears) on the sound, we DO recommend using good quality shielded cables by
reputable brands when connecting your Instrument.
Channel Select Mini Toggle
This 3-position Channel Select mini toggle selects the Channels and provides two ways to access
them, via the amplifier’s Front Panel when the Footswitch is not connected, or via the Footswitch when it IS connected to the DIN jack
on the left of the Rear Panel.
The upper position (toggle up) selects (the top) Channel 1 when the Footswitch is not connected.
The center position (toggle center) enables you to select the Channels via the MARK FIVE: 35 Footswitch.
The lower (toggle down) position selects Channel 2 when the Footswitch is not connected.
The Channel Indicating LED changes Color and tracks the Channel that is called up; GREEN for Channel 1, RED for Channel 2.
NOTE: The Channel Select mini toggle must be in the center FS position for the MARK FIVE: 35 Footswitch to operate properly and
control the Channels, 5 Band Graphic EQ and Channel Independent SOLO Feature.
GAIN
This is, by far, the most powerful control in the MARK FIVE:35 and its setting determines the style and personality of all
three Modes in each of the two Channels. It meters the gain in different tube stages depending on the Channel and Mode called up
and it sets Input Stage headroom, which determines whether the sound will be clean or overdriven. It also acts as
a subtle Tone control as the tube stages’ gain is increased and decreased and imparts its own “color” on the sound.
In both the Channels, there are three regions of the GAIN control. A low gain zone between 9:00–11:30, a warmer,
more saturated zone from 12:00–2:00 and a higher gain zone from 2:30–5:30. Each of these zones can be used for
many different applications and all can be used for both chording and single note solo work. As the GAIN control is
swept throughout its range it imparts different textures and tonal characteristics.
Generally speaking, the lower end of the control (9:30–11:00) in both Channels and all Modes produces a brighter, more “open” char-
acter that has more dynamic content available. This region is great for clean, sparkling chording in Channel 1, where the maximum
headroom is available, the top end harmonics are bubbly and the attack is lightning fast. The Modes in Channel 2 are tuned to deliver
amazing threshold sounds in this zone where the gain is warm and furry, but there is still plenty of the guitar’s personality intact. This
lower zone is great for all the Channel 2 sounds when used for “threshold” chording as there is plenty of dynamics available that have
not yet been compressed by saturation. You will be pleasantly surprised that the same Modes that can sound so old-school, vintage-
approved and agile when set low, can produce the ferocious high gain sounds when the GAIN gets cranked.
The middle region of the GAIN control (11:00–2:00) is where the most balanced sounds live and you will find this region delivers
warm, full sound, detailed attack and good dynamics with the Tone controls still having a powerful effect on the signal. The Channel
1 CLEAN and FAT Modes deliver great chording response, sound richer and have more body here. Depending on pickup style and
strength you will have to watch for clipping as you are nearing the crossover point gain-wise where headroom begins to diminish in
increments from here up.
PAGE 18
CLEAN
CRUNCH
FS
MK IIC+
MK
IV
GAIN
TREBLE
MID BOOST
MID PRESENCE MASTER
SOLO 1
SOLO 2
BASS
FAT
EQ ON
EQ PWR
O
O
EQ FS
SPKR
ON
CLOSED
BACK
VINTAGE
CabClone™
D.I.
SPKR
OFF
EQ ON
EQ FS
CAUTION: Unplug
power before
servicing
120 V~
60 Hz
2 A
2 A
SLO
BLO
AMPLIFIER
44YV
HEADPHONERETURNSEND 4 OHM 8 OHM4 OHM
REVERB
CH 2 CH 1
MARK FIVE: 35™
VACUUM TUBE
AMPLIFIER
MADE IN PETALUMA, CA
WITH THE WORLD’S
FINEST MATERIALS
80Hz 240 750 2200 6600
35 W
25
10 W
35 W
10 W
FX
SPEAKERS
LIFT
GROUND
OPEN
FOOT SW.
TUBE GUIDE
6 x 12AX7
4 x EL 84
PATENTED
6,621,907
6,724,897
7,602,927
25
POWER
ON
ON
STANDBY
MARK
5
THIRTY-FIVE
™
INPUT
CLEAN
CRUNCH
FS
MK IIC+
MK
IV
XTREME
GAIN TREBLE
MID BOOST
MID PRESENCE MASTER
SOLO 1
SOLO 2
BASS
FAT
EQ ON
EQ PWR
O
O
EQ FS
SPKR
ON
CLOSED
BACK
VINTAGE
CabClone™
D.I.
SPKR
OFF
EQ ON
EQ FS
CAUTION: Unplug
power before
servicing
120 V~
60 Hz
2 A
2 A
SLO
BLO
AMPLIFIER
44YV
HEADPHONERETURNSEND 4 OHM 8 OHM4 OHM
REVERB
CH 2 CH 1
MARK FIVE: 35™
VACUUM TUBE
AMPLIFIER
MADE IN PETALUMA, CA
WITH THE WORLD’S
FINEST MATERIALS
80Hz 240 750 2200 6600
35 W
25
10 W
35 W
10 W
FX
SPEAKERS
LIFT
GROUND
OPEN
FOOT SW.
TUBE GUIDE
6 x 12AX7
4 x EL 84
PATENTED
6,621,907
6,724,897
7,602,927
25
POWER
ON
ON
STANDBY
MARK
5
THIRTY-FIVE
™
INPUT
CLEAN
CRUNCH
FS
MK IIC+
MK
IV
XTREME
GAIN TREBLE
MID BOOST
MID PRESENCE MASTER
SOLO 1
SOLO 2
BASS
FAT
EQ ON
EQ PWR
O
O
EQ FS
SPKR
ON
CLOSED
BACK
VINTAGE
CabClone™
D.I.
SPKR
OFF
EQ ON
EQ FS
CAUTION: Unplug
power before
servicing
120 V~
60 Hz
2 A
2 A
SLO
BLO
AMPLIFIER
44YV
HEADPHONERETURNSEND 4 OHM 8 OHM4 OHM
REVERB
CH 2 CH 1
MARK FIVE: 35™
VACUUM TUBE
AMPLIFIER
MADE IN PETALUMA, CA
WITH THE WORLD’S
FINEST MATERIALS
80Hz 240 750 2200 6600
35 W
25
10 W
35 W
10 W
FX
SPEAKERS
LIFT
GROUND
OPEN
FOOT SW.
TUBE GUIDE
6 x 12AX7
4 x EL 84
PATENTED
6,621,907
6,724,897
7,602,927
25
POWER
ON
ON
STANDBY
MARK
5
THIRTY-FIVE
™
INPUT
To Next Page
Loading...
Need help?
General
