Mesa/Boogieメーカーpmnの使用説明書/サービス説明書
ページ先へ移動 of 38
O O G I E B M ESA Owner's Manual S eries 2.
H ello from the T one F ar m ...Y ou, smart player and all around intuitive human, have put your trust in us to be your amplifier company. This is something we do not take lightly. By purchasing and choosing this unit to be a part of your musical voice, you have become part of the MESA family.
Precautions OVERVIEW 1/2 INST ANT GRA TIFICA TION (2 DEMONSTRA TION SETTINGS) 2 CHANNEL / MODE SELECT CHANNEL 1: CLEAN & PUSHED 3 CHANNEL 2: RA W , VINT AGE & MODERN 3/4 CONTROLS GAIN 4/5 TREB.
PRECA UTIONS & W ARNINGS Y our MESA/Boogie Amplifier is a professional instrument. Please tr eat it with respect and operate it properly . USE COMMON SENSE AND AL W A YS OBSER VE THESE PRECA UTIONS: READ AND FOLLO W INSTRUCTIONS OF PR OPER USA GE.
Congratulations on y our choice of the SINGLE RECTIFIER 50 Series 2 amplifi er . Y ou hav e purchased a handbuilt instrument of the fi nest quality and craftsmanship .
P A GE 2 FRONT PANEL: First f amiliarize y ourself with the lay out of the F ront P anel. Ne xt, remov e the f oots witch from the transpor t pouch located inside the cabinet ( combo ) and connect it to the proper jack. RECT -O-VERB Series 2 amplifi ers use a DIN jack located on the underside of the chassis’ s outer edge.
Each channel of your amplifi er contains diff erent modes of operation that ma y be selected depending on your application. In this w a y you ma y decide to use the channels for their most ob vious sounds or with the fl ic k of a s witch - inv er t the channels f or the opposite sound style .
P A GE 4 MODERN: Aggressiv e. This is the word that best describes the menacing po wer of the RECT -OS ’ most rebellious of all modes . RECT -OS ’ most rebellious of all modes.
2.) GAIN - In conjunction with the T one Controls - Basically , a simple r ule applies...as the Gain is increased the T one control str ing has less and less eff ect on the signal until at 5:00 the signal is so saturated that you are getting mostly Gain and v er y little T one .
As Channel 1’ s MIDDLE Control is sw ept past 1:00, it quic kly starts to add gain in these midrange frequencies adding cut and punch. As the top end of the control is reached, ( 3:00 - 5:00 ) it be.
MASTER: This control is the master f eed from the end of the pre-amp to the dr iv er stage and the Eff ects Loop . As you can see each Channel is fi tted with its own MASTER Control, enabling the two channels relative volumes to be matched regardless of their e xtremely diff erent sound styles and gain signatures.
SOLO: This control can only be activated if the correct Footswitch is connected to the F oots witch DIN jack. SOLO is an additional fi nal output lev el control wired in parallel with the OUTPUT Control. It is capable of a setting abov e that of the OUTPUT Control and can not be set below .
SLA VE OUT : This 1/4” jack provides a signal der iv ed from the speak er jack. P erf ect f or using the RECT -O 50 as a master pre- amp , or additional po wer amps ma y be connected f or more po wer when needed. Some pla yers use this to derive an FX Send Signal and go to other amps f or their wet sound.
P A GE 10 BIAS SELECT : (Contin ued) chording or soloing, to an all out high gain cr unch or lead sound. Play ers that use mostly these types of sounds ma y prefer the EL34 clip to the 6L6’ s that come standard in the new RECT -O 50 amplifi ers.
CHANNEL SELECT : This switch simply allows you to s witch between the two channels (CHANNEL 1 and CHANNEL 2) without using the Channel Select F oots witch or , when one is not av ailable . T o use the foots witch howe v er , the Channel Select switch m ust be in the (up) position.
P A GE 12 FACTORY SAMPLE SETTINGS HEAD VERSION SHOWN MASTER GAIN TREBLE MID PRESENCE BASS SOLO OUTPUT MASTER GAIN TREBLE MID PRESENCE BASS SOLO OUTPUT MASTER GAIN TREBLE MID PRESENCE BASS SOLO OUTPUT .
P A GE 13 MASTER GAIN TREBLE MID PRESENCE BASS OUTPUT MASTER GAIN TREBLE MID PRESENCE BASS OUTPUT PRESENCE BASS MID TREBLE GAIN MASTER CH2 CH1 CH2 CH1 BASS GAIN MASTER PRESENCE TREBLE OUTPUT CH2 CH1 M.
P A GE 14 SOUND 1 SOUND 2 SOUND 3 SOUND 4 PERSONAL SETTINGS PAGE HEAD VERSION SHOWN MASTER GAIN TREBLE MID PRESENCE BASS INPUT CLEAN PUSHED MODERN RAW SOLO OUTPUT CH2 CH1 V I N T A G E MASTER GAIN TRE.
P A GE 15 SOUND 1 SOUND 2 SOUND 3 SOUND 4 PERSONAL SETTINGS PAGE COMBO VERSION SHOWN GAIN MASTER PRESENCE BASS TREBLE MID CH2 CH1 INPUT CLEAN PUSHED MODERN RAW OUTPUT V I N T A G E SOLO GAIN MASTER PR.
P A GE 16 RECT -O- VERB / SOLO 50 6L6 6L6 P ARTIAL VIEW OF LARGE TRANSFORMER 12AX7 REAR OF CHASSIS (HEAD VERSION) NO TE: PO WER TUBES ARE HO T ! BEFORE CHANGING TUBES TURN PO WER SWITCH T O OFF AND LET COOL OR USE A RA G FOR PRO TECTION.
P A GE 17 SPEAKER IMPED ANCE MA TCHING & HOOK-UP GUIDE: IMPED ANCE: Wiring up speak ers to pro vide the most eff ectiv e load and making sure that all of them are in phase will help in creating the best sound possib le.
P A GE 18 SPEAKER IMPED ANCE MA TCHING & HOOK-UP GUIDE: (Continued) P ARALLEL: When wir ing in parallel, the resistance of the speak ers decreases. T wo 8 ohm speakers wired in ( hook ed-up ) P arallel results in a 4 ohm load. It’ s easy to calculate the eff ect of a resistiv e load when all the speakers are all the same resistance .
P A GE 19 1 2 5 4 4 Ohm Cabinet 3 8 OHM 4 OHM 4 OHM Partial back view of some Mesa amp 8 Ohm Cabinet SAFE MISMATCH WIRING SCHEMES...Amplifier to Speaker Cabinets 4 OHM 8 OHM 16 OHM Partial back view o.
P A GE 20 8 OHM 4 OHM 4 OHM Partial back view of amplifier 8 Ohm Cabinet 8 Ohm Cabinet 6 8 Ohm Cabinet 16 Ohm Cabinet 8 4 OHM 4 OHM 8 OHM Partial back view of amplifier SAFE MISMATCH 8 OHM Partial bac.
P A GE 21 4 OHM 4 OHM 8 OHM Partial back view of amplifier 8 Ohm Cabinet 8 Ohm Cabinet SERIES BOX 16 Ohm 8 Ohm 8 Ohm 8 Ohm Cabinet 10 SAFE MISMATCH 12 4 OHM 4 OHM Partial back view of amplifier 16 Ohm.
P A GE 22 4 OHM 4 OHM 8 OHM Partial back view of amplifier 8 Ohm Cabinet 8 Ohm Cabinet SERIES BOX 16 Ohm 8 Ohm 8 Ohm 16 Ohm Cabinet 13 SAFE MISMATCH WIRING SCHEMES.
P A GE 23 TUBE NOISE & MICROPHONICS: Y ou ma y occasionally exp erience some f or m of tube noise or microphon ics. Cer tainly no cause f or alar m, this quirky behavior comes with the terr itor y and the T one.
P A GE 24 DIA GNOSING PRE-AMP TUBE PROBLEMS: Because your amplifi er is an all tube design, it is quite possible that y ou will at some point e xperience minor pre-amp tube noise . Rest assured - this is no cause f or alarm and y ou can tak e care of the problem yourself in a matter of minutes b y simply s wapping tubes .
P A GE 25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( ) ( ) ( ) , ( , ) ( ) PLATE Structure of a 6L6 / 5881 Beam Power Pentode.
P A GE 26 BIAS ADJUSTMENT : (Contin ued) control grids. V oltage and current are NO T the same. Current is the AMOUNT of electricity , the “quantity” — and is measured in amperes . V oltage is the degree of electric charge — lik e the “pressure” to use the old water analogy .
P A GE 27 BIAS ADJUSTMENT : (Contin ued) Again, this has some mer it .. but it’ s still not as good as using tubes that are matched in the fi rst place because compensating f or the mis-match causes the push-pull circuit itself to become unbalanced.
P A GE 28 ON TRIODES, PENT ODES & IRISHMEN: With apologies to F r iends and Relativ es from the Emerald Isle - who will mak e their appearance soon enough - the humor which f ollows is dedicated to the memories of Spec McA uliff and F ae (Rafael) McNally , two of the T r ue Greats .
P A GE 29 ON TRIODES, PENT ODES & IRISHMEN: (Continued) Thus a diode tube - one with a cathode and an anode - is mostly used to rectify alter nating current into direct current b y passing it without restriction, but in one direction only .
P A GE 30 PENT ODES: (Contin ued) Thus the proper cocktail w aitress - visible through the louv ers - is scantily clad so as to be all the more eff ective at reinf orcing the attractiv e infl uence of her bar and b y being located in between the door and the bar , she ser v es as bait to lure customers past the door’ s negative infl uence.
P A GE 31 INPUT CLEAN PUSHED MODERN RA W PO WER ON ON ST ANDBY GAIN TREBLE MID PRESENCE BASS MASTER SOLO OUTPUT CH 2 CH 1 FRONT VIEW HEAD VERSION: BO TH SWITCHES pt # 600631 LIGHT RECEPT ACLE pt # 703.
.
ank you fo r t rus tin g MES A/ Boo gi e t o be yo ur am pli fi er com pa ny . ank you fo r tru sti ng ME SA/ Bo ogi e to be y our a mpl ifi er co mpa ny . ank you W e w is h y ou m any y ea rs of to ne ful en jo ymen t fr om th is ha ndb uil t all tu be in stru me nt.
1317 Ross Street Petaluma, CA 94954 USA Phone: (707) 778-6565 Fax: (707) 765-1503 The Spirit of Art in Technology 09/18/06.
デバイスMesa/Boogie pmnの購入後に（又は購入する前であっても）重要なポイントは、説明書をよく読むことです。その単純な理由はいくつかあります：
Mesa/Boogie pmnをまだ購入していないなら、この製品の基本情報を理解する良い機会です。まずは上にある説明書の最初のページをご覧ください。そこにはMesa/Boogie pmnの技術情報の概要が記載されているはずです。デバイスがあなたのニーズを満たすかどうかは、ここで確認しましょう。Mesa/Boogie pmnの取扱説明書の次のページをよく読むことにより、製品の全機能やその取り扱いに関する情報を知ることができます。Mesa/Boogie pmnで得られた情報は、きっとあなたの購入の決断を手助けしてくれることでしょう。
Mesa/Boogie pmnを既にお持ちだが、まだ読んでいない場合は、上記の理由によりそれを行うべきです。そうすることにより機能を適切に使用しているか、又はMesa/Boogie pmnの不適切な取り扱いによりその寿命を短くする危険を犯していないかどうかを知ることができます。
ですが、ユーザガイドが果たす重要な役割の一つは、Mesa/Boogie pmnに関する問題の解決を支援することです。そこにはほとんどの場合、トラブルシューティング、すなわちMesa/Boogie pmnデバイスで最もよく起こりうる故障・不良とそれらの対処法についてのアドバイスを見つけることができるはずです。たとえ問題を解決できなかった場合でも、説明書にはカスタマー・サービスセンター又は最寄りのサービスセンターへの問い合わせ先等、次の対処法についての指示があるはずです。
