the track or ensemble mix it is sitting in as well as your guitar and the pickups therein.
As mentioned before, along with the PRESENCE, the top end can be swapped around by utilizing the diering
frequencies found in the TREBLE and even upper range of the MID control that carries a fair amount of high
mid/low treble region cut. Between these three regions and flavors of high frequencies, you will be able to
sculpt just the right type and amount of top end you need. And if you are still in need of more, or just dierent,
there’s plenty left in the upper two Sliders of the 5-Band Graphic EQ!
REVERB
The IIC+ features an analog all-tube spring reverb circuit that produces a lush ambient reverb eect. From subtle
background reverb to a drenched wash, the reverb enhances the sounds you dial up, adding dimension and
a more spatial landscape.
The Reverb is activated via turning up the mix level control labeled REVERB on the Rear Panel.
MESA REV/EQ FOOTSWITCH! Once the mix level of the Reverb has been set with the REVERB control, you can
control the Reverb (on/o) via the included Stereo Footswitch, where there is a footswitch button provided for
this function. The separate REV/EQ Footswitch is connected via the supplied Stereo Cable and a ¼” Stereo
jack located on the underside of the Chassis, behind the power tubes, near its center. Once connected here,
the REV/EQ Footswitch will give you on/o control over the Reverb and the Graphic EQ.
The preamp Modes here in the IIC+ range from the more traditional gain circuit in Rhythm to the high gain
signature of the fabled IIC+ Lead Mode. With both the gain and dynamic content dierences being this variable
and wide-ranging, it is not always possible to achieve uniform input-send and return-mix levels in the reverb
circuitry.
Fortunately, this dierence in mix/level due to gain characteristics also tracks the musical styles that tend to
be played in the Modes. In Rhythm, where clean sounds are favored, be they rhythmic chording or single note
soloing, you will find plenty of Reverb depth to play virtually any style from R&B to jazz, country to surf music. In
the Lead Mode, where gain rules supreme and Crunch Rhythm and burning soloing can be the main applications,
high Reverb mix settings are usually not called for or appropriate. That said, you will likely find ample reverb
depth available for most of your needs. Again, these mix level dierences are a result of widely ranging gain
signatures and the challenges they can present to the Reverb circuit.
Regardless of how you choose to apply the lush, tube Reverb throughout your music and Mode choices, the
Mark IIC+’s Reverb will likely prove to be a valued part of many sounds, be they more traditional and “clean
based” or high gain and saturated in nature.
SPEAKERS (OUTPUTS)
These jacks deliver your amplifier’s power to your speakers. One 8 OHM and two 4 OHM OUTPUTS are provided
to accommodate a wide range of cabinetry options.
When using a single 8 Ohm MESA cabinet, such as in the Combo, you will most often want to use the 8 Ohm
Output. This provides a proper impedance match, and in the Simul-Class Power Mode, this impedance match
setup will deliver the maximum power and headroom.
NOTE: For a bolder, punchier and slightly brighter response in the CLASS A power mode, try moving the speaker
cabinet from the 8 OHM SPEAKER Output over to the 4 OHM SPEAKER Output. The impedance will be a more
correct match due to the fact you are using a dierent tap on the transformer and two less power tubes. This
is not essential, but rather oers a dierent color and response.
When using two MESA 8 OHM cabinets – such as two 1x12 Extension cabinets or two (MESA) 4x12 cabinets –
the two 4 OHM SPEAKER Outputs should be used, one cabinet to each SPEAKER Output jack. Though each
cabinet will present a mismatch individually, when connected to the two 4 Ohm jacks, they will be connected
together in parallel, and together “wired in series” (internally), the total impedance load will be 8 Ohms. This
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