PAGE 7
INPUT:
This is the instrument INPUT jack. This jack feeds the preamp and since the Tr a n s aT l a n T i c is a high gain amplifier and
therefore very sensitive, always use a high quality shielded cable between the instrument and the amplifier. This will prevent unwanted
noise and microphonic cable sounds.
FOOTSWITCH:
This 1/4 inch stereo jack is for connection of the Channel Select Footswitch. When the FOOTSWITCH is con-
nected here with the provided stereo cable, the Channels and FX Loop can be controlled remotely.
VOLUME / GAIN:
These are the main front end controls in the preamp, no matter what Channel or Mode you are in, and they
meter the amount of tube drive or saturation present in the signal. These controls are called by different names (VOLUME) in Channel
1 and (GAIN) in Channel 2, but they function in the same way and do essentially the same job…
control the gain in the preamp. Their location in the circuit moves around depending on which Mode
is called up, but their function remains the same - they determine the attack character, headroom
and ultimately – how clean or dirty a given sound will be. For simplicity, from here forward we will
use the word GAIN to speak of the front end control in both Channels - even though it is labeled
VOLUME in Channel 1.
The GAIN also brings in and out upper harmonic content, depending on where it is set. As a gen-
eral rule, the lower the setting – the more upper harmonics there are passing through. As you increase the GAIN, the natural tube
saturation and compression fills in the sound, making things darker and more “round”. This trait can be used to your advantage – and
in fact serves the practical applications well – as it means that lower gain clean sounds remain open and dynamic with abundant
harmonics, while higher gain lead sounds get more compressed, warmer and more vocal.
Using the GAIN control tastefully, with finesse and always with the Power Mode choice in mind is critical to achieving the best overall
Tone. Unlike a 100 watt amplifier, the TA-30 is often adding some amount of overdrive or soft-clip into the mix – that’s part of its
mid-wattage attraction – so it’s crucial to take that into account to keep your attack intact and preserve the dynamic content of your
sound.
IMPORTANT ! Many of the TA-30’s best sounds are found with the GAIN control set in its middle range – somewhere in the 11:00
– 2:00 region. You’ll be pleased to discover all the nuance and expression found here – especially when you learn to use the Power
Modes as part of your Tone Crafting regimen. You’ll quickly find so much shaping power across those three hours (11:00 – 2:00) on the
GAIN’s Tone Clock that you may seldom roam the higher regions as the balance between preamp and power is truly magical here.
If you do need to run the GAIN in its upper region for high gain heavy styles, then your best plan of action is to stick with the
40W Power Mode - as this will keep the low end as tight as possible and track the dynamic passages with more accuracy. However,
FRONT PANEL: Controls & Features
CH 1 CH 2
CAUTION!
WARNING!
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
8 OHM OUTREVERB
4 OHM OUT 4 OHM OUT SEND RETURN EL-84 X 4TUBES: 12AX7 X 6 INSIDE
-
INPUT
FT SW
VOLUME TREBLE BASS TREBLE BASS MASTER
POWER
STANDBY
NORMAL
30 30
HI 1
TOP BST
40W
FT
SW
15W
TWEED
HI 2
40W
15W
ON
ON
MASTER
PULL
CUT / BOOST
PULL
GAIN/
™
-30
BYPASS
FX & REV
BYPASS
FX & REV
®
REVERB
REVERB
Unplug power to service chassis.
Unplug power to change fuse.
TA-30
MESA BOOGIE LTD.
ALL-TUBE AMPLIFIER
™
PATENTED
6,621,907
7,602,927
CAUTION!
WARNING!
HANDBUILT
IN PETALUMA
CALIFORNIA, USA
8 OHM OUTREVERB
4 OHM OUT 4 OHM OUT SEND RETURN EL-84 X 4TUBES: 12AX7 X 6 INSIDE
-
INPUT
FT SW
VOLUME TREBLE BASS TREBLE BASS MASTER
POWER
STANDBY
NORMAL
30 30
HI 1
TOP BST
40W
FT
SW
15W
TWEED
HI 2
40W
15W
ON
ON
MASTER
PULL
CUT / BOOST
PULL
GAIN/
™
-30
BYPASS
FX & REV
BYPASS
FX & REV
®
REVERB
REVERB
Unplug power to service chassis.
Unplug power to change fuse.
TA-30
MESA BOOGIE LTD.
ALL-TUBE AMPLIFIER
™
PATENTED
6,621,907
7,602,927
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