Mesa/Boogie MARK IIC+ - Lead Master; Pull Bright; 5-Band Graphic Equalizer

LEAD MASTER / PULL BRIGHT
Much like the PULL BRIGHT on VOLUME 1, this pull switch fitted to the LEAD MASTER control engages a Bright
circuit that accentuates the upper harmonic region in the Lead Mode. Similar to VOLUME 1’s BRIGHT, this Bright
circuit is more active (apparent) in the lower range of the LEAD MASTER’s sweep and less eective as the LEAD
MASTER is increased toward its upper range.
The LEAD BRIGHT adds urgency and openness to the sound as well as dimensionality. We suggest at least
trying it engaged much of the time and using the TREBLE, PRESENCE, or highest two Bands of the Graphic EQ
to roll out any excess top end, as this will lend a three-dimensional character and a dynamic feeling to the sound.
For warmer, rounder sounds, feel free to try pushing the LEAD DRIVE control in, thus defeating the LEAD
BRIGHT. This may be the way to go for certain solo passages or overdrive sounds that require a heavier, more
dense character and richness, especially with longer scale and/or maple neck instruments, and even more so,
single coil pickups. Sometimes these guitars are plenty open sounding and bright enough in themselves that
the LEAD BRIGHT circuit is not necessary or possibly even detrimental to your goals. We suggest experimenting
with the TREBLE, PRESENCE, and LEAD BRIGHT in dierent combinations to see where the elements of top
end reside and using the combination that best suits your goal and vision for perfect Tone.
NOTE: The LEAD BRIGHT adds substantial top end to the circuit, and therefore it has the potential, with high
LEAD DRIVE (gain) settings, to introduce more noise in the form of background hiss. It can also accentuate
or entice any borderline microphonic preamp tubes used in the Lead circuit to become more susceptible to
microphonic ringing/squealing at high gain settings. Of course, we screen for this when tubing up your amplifier
at build. However, tubes can change with time and use. The best solution is to try and find a balance between all
these gain and voicing options such that this does not occur, or at least reduces the likelihood of experiencing
microphonic issues due to excessive brightness and top end. Between the Tone Controls and available Pull
Shift voicing functions, PRESENCE, and the Graphic EQ, you should have many ways to add brightness in a way
and in a place (in the circuit) that should provide for what you need yet also not introduce extreme conditions
for the tubes.
5-BAND GRAPHIC EQUALIZER
A Boogie hallmark since the early 1970s when it first appeared on Mark Is, the Five-Band Graphic EQ is famous
for its guitar-centric shaping power and the versatility upgrade it brings to Boogie amplifiers, old and new, big
and small. It allows near surgical-level control of the frequency spectrum, at least in terms of guitar sounds, and
yet, at the same time, is broad and sweeping enough to be fast and easy to dial up.
Another attribute is that its placement at the end of the preamp’s signal path is perfect for enhancing high-gain
sounds. This late placement in the circuit allows far more low end to be added than would otherwise be possible
farther upstream in the preamp, where it would be further amplified through the signal path and subsequent
tube stages, resulting in tubbiness and a compromised attack envelope.
The five frequency bands are “broad Q” and range in center frequency point from 80 Hz. on the low end to 6600
kHz on the top end, with 750 Hz commanding the all-important midrange in the center. Each band provides
approximately 12 db of cut and boost from the center line’s “Flat” detent point and that provides ample room
to radically shape the sound or just subtly enhance it.
The most classic application for the Graphic EQ in Mark amplifiers is the time-honored and widely used dipping
or “scooping” of the 750Hz Mid Band in conjunction with the boosting of all the other Bands in a “V” pattern.
This creates a wide, 3-D spread and delivers huge Crunch Rhythm performance from the Lead Mode. The Mark
IIC+ is where this “V” setting planted its stake in heavy rock sounds first, with the biggest acts in 80s rock using
it to reinvent “Crunch” Rhythm and take it to a new level of ferocity and width.
The “V Curve” also works for enhancing clean sounds, but it is usually preferred with a less exaggerated form
of the “V” pattern for sounds with less tube saturation. This would be especially true for the two lowest bands
in combination with the Clean sounds in Rhythm Mode.
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