The Channel 2 Modes offer up their most iconic, focused and detailed sounds in this middle zone. As these sounds are all higher gain
than their Channel 1 counterparts, the best dynamic response and attack characteristics are at the lower end of this range. As you
approach 2:00 there will be plenty of saturation to keep chords grinding and single notes hanging and you will start noticing increas-
ing compression of the sound. If you aren’t getting great results in this region for your gain sounds in Channel 2, you may want to
look at trying some pickups with a bit hotter output. The Channel 2 Modes should be howling, burning and smoldering at the upper
end (12:30–2:00) of this middle region.
The highest region of the GAIN (2:00–5:30) is all about saturation. Up here the signal gets much fatter in the low end and the top end
begins to recede to create a round, compressed sound. Dynamics become slower with lower peaks and a more legato, creamier feel
is produced. In Channel 1 the high end of the GAIN control produces some great “clipped” and overdriven clean sounds as the Input
Stage gives it up and starts to saturate. These sounds are further enhanced by the 10 Watt Power Mode.
Channel 2 is absolutely over the top when the GAIN is run this high. The more midrange-prominent character of these Modes allows
you to still have good articulation here, even with amounts of saturation that would turn many circuits to mush. Granted, this little
power section will get softer faster than its 6L6 relative in the big MARK FIVE, but the focus, articulation and tightly-glued gain that
sticks to the notes and tracks tight is still there.
NOTE: Do keep in mind that, up here, you will notice the Tone controls have a diminished effect on the sound as the notes are very
saturated and their character will be pre-determined by the way each Mode is voiced and how it reacts to this level of gain in the
preamp. It will also depend on how much this low wattage power section is being driven or over-driven.
NOTE: Again, may we reiterate that with a low wattage power section such as this, it is often wise to run the preamp GAIN Control a
little lower than you might with a high power output section (50 or 100 Watts) and let the EL84s do some of the dirty-work and provide
a portion of the overall “drive” you need. You may find this conservative approach to the GAIN control achieves a more articulate,
tighter attack and a more cohesive overall sound.
TREBLE
If the GAIN is the most powerful control in the MARK FIVE: 35, the TREBLE comes in a close second. The TREBLE is
responsible for shaping the character of the entire Channel/Mode. It can overpower the rest of the Tone controls easily and therefore
its setting is crucial to a rich and balanced sound in all three Modes of each Channel. In fact, the TREBLE feeds the signal
to the MID and BASS controls and acts like a valve for their signal strength.
When the TREBLE is set in its higher regions (2:00–5:30) it is sending a smaller signal to MID and BASS controls and they
will be less active and the dominant character will be one of very bright, TREBLE-heavy frequencies. Conversely, a very low
setting on the TREBLE will produce sounds that are perhaps a little BASS heavy and overly dark as a very large amount
of signal is shoveled toward the MID and BASS controls. So keep in mind that setting the TREBLE with care and taste is critical for
the Tone control string to work in harmony.
In both the Channels and their Modes the middle region of the TREBLE delivers the best balance and creates sounds that are plenty
bright enough, but still rich and warm. We suggest that you start with the TREBLE at 12:00 and adjust up or down slightly until the
desired blend is achieved. Remember that you can use the PRESENCE to add additional (and slightly higher) top end with no penalty
in regards to the effectiveness of the other Tone controls, as the PRESENCE is works in a part of the circuit that is much farther down
the line in the signal path.
NOTE: One of the times you may want to throw caution to the wind in regards to the TREBLE control is when you are looking for
clipped Blues sounds in Channel 1 with the GAIN cranked. The additional gain that is added by running the TREBLE high (1:30–2:30)
can help to saturate the Modes in Channel 1 enough to get some great pushed sounds. You will have to run the BASS rather low
though (8:30–9:30) to keep things tight.
NOTE: High settings of the TREBLE (2:30–5:30) can put extra stress on (even borderline) microphonic preamp tubes (ones that are
susceptible to high pitched ringing and noise) and cause them to begin ringing or show other signs of instability. Many tests were run
on the set of tubes that shipped in your MARK FIVE: 35 to ensure they were stable at the time of construction. However, tubes are
not perfect devices—much like light bulbs—and can change over time and become more microphonic. Luckily you can remedy most
tube problems with a simple tube swap.
PAGE 19
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
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