Mesa/Boogie DC3 Bedienungsanleitung

1317 Ross Street Petaluma, CA 94954

USA

The Spirit of Art in Technology

OOGIE

MESA

DUAL

CALIBER

DC-3

Owner's Manua

YOU, the 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. Our reward is that we've made

a classic amplifier and by choosing this amplifier, you have become part of the MESA

family...Welcome! Our goal is to never let you down. Your reward is that you are now the

owner of an archetypical guitar amp bred of fine all tube amp heritage...benefiting from the

many patented pioneering MESA/Boogie circuits that led to the refinement of your new

instrument. Feel confident, as we do, this amp will inspire many hours of musical satisfaction

and lasting enjoyment. It was built with you in mind, by players who know the value of a

fine musical instrument and the commitment it takes to make great music. The same

commitment to quality, value and support we make to you...our new friend.

Hello from the Tone Farm...

Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.

USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:

Do not expose amplifier to moisture, rain or water, direct sunlight

or extremely high temperatures.

Always insure that amplifier is properly grounded.

Always unplug AC power cord before changing fuse or any tubes.

When replacing fuse, use only same type and rating.

Avoid direct contact with heated tubes.

Insure adequate air circulation behind amplifier.

Keep amplifier away from children.

Be sure to connect to an AC power supply that meets the power

supply specifications listed on the rear of the unit.

If there is any danger of lightning occurring nearby, remove the

power plug from the wall socket in advance.

To avoid damaging your speakers and other playback equipment,

turn off the power of all related equipment before

making the connections.

Do not use excessive force in handling control buttons, switches

and controls.

Remove the power plug from the AC mains socket if the unit is to

be stored for an extended period of time.

Do not use solvents such as benzene or paint thinner to clean the

unit. Wipe off the exterior with soft cloth.

Be sure to have the warranty card for this product filled out by the

store at which it was purchased and return to MESA Engineering.

YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE

PERMANET HEARING DAMAGE!

No user serviceable parts inside. Refer service to qualified personnel. Always unplug

AC power before removing chassis.

EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain

grounding conforms with local standards.

READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.

TABLE OF CONTENTS

Precautions

FRONT PANEL Description and Usage

Gain

Treble

Mid

Presence

Reverb

Master

Bass

Page #

2 & 3

4 & 5

3 & 4

REAR PANEL Description and Usage

Fuse

FX Loop Send / Return

FX Mix

EQ Select

Recording / Silent Recording

Slave

Speaker

(impedance matching)

Suggested Sample Settings & Personal Setting Page

FTSW EQ / Reverb

10 & 11

Output Level

Toggle Switches: Rhythm / Lead, On / Standby and Power

Graphic EQ

Tube Task Chart

Diagnosing Power Tube and Pre-Amp Tube Failures 13 & 14

Bias Adjustment: Part of a Continuing Series, by Randall Smith 15, 16 & 17

Parts Sheet 18

DC-3

Operating Instructions

Overview:

Your DC-3 amplifier was designed to deliver maximum performance in a format based on simplicity. Its easy to dial nature allows

each of the two channels to deliver a wide range of sounds in both clean and overdrive styles. This Dual Caliber uses four EL-84

power tubes to fuel its healthy thirty-five watt power section. We are pleased by its surprising headroom, yet truly musical “clipability”

when pushed. The DC-3’s pre-amp was no afterthought as you may have deduced by the six 12AX7s tucked snugly away under the

swing away tube clamp. Two separate sets of tubes are used to accomplish the Rhythm and Lead channels. It’s really like having two

separate amplifiers built into one chassis. Ultimate flexibility is achieved by providing two complete sets of Tone and Master controls

as well as the channel assignable 5 Band Graphic Equalizer. Two different sounds can be switched between without compromising

tone or levels.

Looking to the Rear Panel assures that all your interfacing needs are covered. A parallel effects loop with a mix control provides tone

insurance for even those questionable effects. Arecording circuit dialed for direct to board sessions provides accurate reproduction of

the DC-3’s pre-amp. When the session goes late into the night, the silent recording Speaker Mute switch comes in real handy. To use

the DC-3 in larger rack systems, or to interface to other power sections, the Slave Jack and Level Control are welcome features.

Three speaker jacks (one 8 ohm, and two 4 ohm) are provided to ensure the proper impedance match to many types of speaker

enclosures. An auto assign EQ rotary control lets you decide whether the 5-Band graphic enhances the Rhythm Channel, the Lead

Channel, both, or even allows footswitching of the EQ independently. The Reverb can also be footswitched in or out.

As you can see, the DC-3 provides all the features any demanding pro could need and at the same time remains simple to operate.

FRONT VIEW DC-3

REAR VIEW DC -3

GAIN TREBLE MID BASS PRESENCE REVERB MASTER

INPUT

FOOT

SWITCH

80 240 750 2200 6600

STANDBY POWERLEAD

ON ONRHYTHM

UAL

ALIBER

DC-3

OUTPUT

LEVEL

EQ SELECT RETURN RECORDING

FX MIX

SEND

OUT

RHY LEAD

FT SW

100%

FTSW EQ/REV

HANDBUILT IN PETALUMA

PATENT APPLIED FOR

SILENT RECORDING

MUTE SPKR ON

SLAVE

8 OHM 4 OHM 4 OHM

SPEAKERS

OOGIE

ESA

1.25A

2.5A SB

FUSE

DynaWatt Power

PAGE 1

PAGE 2

First familiarize yourself with the layout of the Front Panel and locate the Lead / Rhythm switch on the right side of the chassis, next

to the Standby Switch. This toggles you between the top (Rhythm) Channel and the bottom (Lead) Channel. If you don’t have the

Rhythm/Lead Footswitch connected, this switch will activate the channel switching function. Before we get too critical about each

control, let’s audition the two channels with a basic clean setting in the Rhythm Channel and a fairly high gain overdriven sound in the

Lead Channel.

Connect your favorite guitar to the instrument input jack. Turn the power switch “ON” while leaving the standby switch set to “STANDBY”.

(It’s always a good idea to practice this start up procedure as at least 30 seconds of warm-up time lessens the shock on cold power

tubes, thus prolonging their life substantially.) Next set the controls and the Graphic EQ per the example below:

Flip the STANDBY switch to the ON position and listen to the two channels using either the footswitch or the Channel Select toggle

switch found on the right side of the Front Panel. The EQ Rotary Control on the left side of the Rear Panel,

controls the EQ assignment. This popular “V” type curve works well in both Rhythm and Lead Channels,

but most players tend to use it more in the Lead Channel, finding the Rhythm plenty sweet by itself without

the use of the EQ. (see page 5 for more information on EQ)

Again, these are merely examples of the two channels. Experimentation leads to finding many different

sounds in each channel and understanding the controls and the way they interact, can make this much

easier and more fun. Now lets get specific!

Now that you have heard the DC-3’s two channels, let’s move on to understanding the controls and their interactive roles in achieving

the sounds that you want to hear.

This is by far the most powerful control in each channel. It not only determines the overall gain amount, shape and sensitivity of the

channel...but it is also a powerful Tone control. Generally speaking, whatever is dialed here ultimately determines the channels

personality. Set low, it allows cleaner, brighter sounds with enhanced dynamic response, especially in

the higher frequencies. Set high the whole personality of the channel becomes darker, fatter and more

overdriven. In the DC-3 we worked hard to make sure the entire range of Gain available is usuable and more

importantly, musical. Don’t think for a moment that this simple one knob layout limits you as to the amount and

texture of gain. Long neurotic hours were spent to ensure the ranges of gain were stylistically accurate. It’s

FRONT PANEL:

POWER-UP:

MASTER

DC-3

ALIBER

UAL

STANDBY POWERLEAD

ON ONRHYTHM

INPUT

FOOT

SWITCH

80 240 750 2200 6600

TREBLE MID BASS PRESENCE REVERBGAIN

563

655

OUTPUT

LEVEL

EQ SELECT

FTSW EQ/REV

OUT

RHY LEAD

FT SW

FUSE

1.25A

2.5A SB

CONTROLS:

GAIN:

INPUT

FOOT

SWITCH GAIN

PAGE 3

probably a good time to mention that most of the great sounds can be found by setting the GAIN Control moderately, especially in the

LEAD Channel. For example, somewhere between

thru

In the RHYTHM Channel try setting this control somewhere between

thru

. Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever occuring, while at the same

time making the two channels easier to balance in relative listening volume and effects send signal strength.

As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary tone controls. It controls the blend of high

frequencies in a wide band between the midrange and presence frequency ranges. Its setting on the DC-3 also determines the blend

and strength of the MIDDLE and BASS Controls. Set high, it is the dominant control, minimizing

the amount of MID and BASS that would be possible in the mix. Set low, the TREBLE be-

comes the recessive control and a warmer, darker blend is produced. Dial with care. Subtle

tweaking of this control tends to produce the best results.

Your new Dual Caliber uses a unique Midrange Circuit that not only blends in rich warm midrange, but goes beyond to give you an

added bonus. Through endless daily tone dreaming, the “if-only” design dictum led to the dial-in-gain boost. In the DC-3 a third over

the top crunch sound was made possible by the inclusion of the RHYTHM Channels dual

purpose MID Control.

From 0to about

the taper is adjusted to act as a very effective MID Control. As you

increase the MID to

and above, you will hear the lower Mids getting more pronounced

and fatter. At about 6the MID leaves behind the old notion of being a tone control

and becomes a truly usuable gain control. This upper range is a smokin’ addition to the

RHYTHM Channel’s GAIN Control for all kinds of higher gain rhythm sounds. Try the MID

Control set high and the GAIN Control at about

for a cool blues solo sound. If

this still isn’t crazy enough for you...Max the GAIN and TREBLE Controls and set the PRESENCE Control to 0or

, turn on the

Graphic and give it the old “V” curve and plug into a 4x12 with some Celestion Vintage 30’s or 25’s. This should be sufficently heinous

for even the sickest crunch fiends. As you can see, the versatility that this dual purpose MID Control lends to the Rhythm Channel

greatly expands its usefulness as both a clean and overdrive channel.

NOTE: The lower region of the MID Control determines midrange punch and boldness in lower gain sounds and a smooth vocal

blend in high gain sounds. It can be very effective acting as a “cut through the band control” in certain situations. Dial to taste,

remembering that the setting of the TREBLE Control greatly effects this controls strength.

This control blends in the lower frequencies and its effectiveness, again, depends on the setting of the TREBLE Control. It should be

set with moderation as extreme settings in either low or high directions can

produce an unbalanced tone. Be “especially” careful in higher Gain settings of

either channel. Too much Bass will cause a flabby unfocused sound that can’t

be dialed out with the graphic EQ because excessive Bass has been introduced

to the pre-amp in the early stages. Try setting the BASS to

for clean sounds

in the RHYTHM Channel and

or below when dialing up high gain overdriven

GAIN:

(Continued)

TREBLE:

GAIN TREBLE

INPUT

FOOT

SWITCH

MIDRANGE

GAIN TREBLE MID

INPUT

FOOT

SWITCH

BASS:

GAIN TREBLE MID BASS

INPUT

FOOT

SWITCH

sounds in this channel. In the LEAD Channel, try setting the BASS Control somewhere between

and

. These settings will vary

with the amount of Gain and Treble you have dialed up.

These two controls attenuate the upper high end harmonics and control dynamic compression in the power section. High settings

produce more sparkle and cut, lending a more open quality to the Channel. Low settings of the PRESENCE Control compress the

sound and enhance the more vocal qualities of single notes.

This control can also produce a fatter, warmer character, especially in the LEAD Channel. Lower Treble settings, combined with low

PRESENCE Control settings produce the richest, roundest lead

sounds. Try setting the RHYTHM Channels’ PRESENCE Control at

around

for the sweet blend of sparkle and cut. This range

in the RHYTHM Channel also tends to give the impression of more

headroom. Try a LEAD Channel PRESENCE Control setting of

start with and adjust to taste. Avoid setting the LEAD PRESENCE

Control to

when high Gain and Treble settings are in use. This

reduces the likelihood of annoying microphonic tube problems.

The DC-3 has an individual REVERB Control per channel. This enables different amounts of the rich ALL TUBE reverb to be mixed

with the dry signal of each channel. It is normal for extreme settings of the REVERB Control to slightly alter the character of the

channel as the voicing of the reverb circuit becomes more

dominant in the mix.

The individual channel MASTER Controls serve three purposes in the layout of the DC-3. FIRST: They serve as level balancing

controls for each of the two channels. This enables a wide range of front end gain settings to be matched to a given listening level and

the level of the other channel. SECOND: They act

as effects send controls, for each channel, in the

effects loop. As with many of the controls on the

DC-3, the best results for balance and tone are

usually found in the medium range of this control.

THIRD: The MASTER Control is the Recording

jacks’ send level control.

When using the direct Recording jack found on the

Rear Panel to interface directly to a mixing board

or recorder, this control will determine the amount of signal you will be sending via this jack. In this application it is usually best to start

with the MASTER Controls set to 0and gradually increase them to the proper level. This minimizes the possibility of blowing

speakers or eardrums in the event the engineer has an extremely sensitive input headroom setting in place at the console.

BASS:

(Continued)

PRESENCE:

GAIN TREBLE MID BASS PRESENCE

INPUT

FOOT

SWITCH

REVERB:

GAIN TREBLE MID BASS PRESENCE REVERB

INPUT

FOOT

SWITCH

MASTER:

PAGE 4

GAIN TREBLE MID BASS PRESENCE REVERB MASTER

INPUT

FOOT

SWITCH

NOTE: When trying to use your DC-3 at extremely low volume levels it will be necessary to reduce the far left Gain control. Once the

Masters and Output Levels has been reduced to roughly 1.5 , reducing the Masters or Output Level below this point causes phase

interaction that prevents a clean signal from passing through this circuit junction. If you must use your DC-3 at whisper levels to

practice late at night etc...get used to reducing the Gain as well as the Masters and Output levels. This effect is most noticeable in the

Rhythm channel set for a crystal clean sound. In the Lead channel set for a high gain sound the interaction effect is greatly reduced

and virtually unnoticeable.

This lonely knob is the DC-3’s final Output knob or overall master. After the relative balance of the two channels has been set with the

channel MASTER Controls, use this OUTPUT LEVEL Control to increase or decrease the listening volume. It is also the Effects

Return Level control, a point we thought you should know. This

design element makes setting up a lot easier and gives you one

less knob to deal with when interfacing to your favorite effects.

Optimum setting depends on the size of the room you wish to

rock, but generally the DC-3 sounds best with a setting some-

where between

and

on the OUTPUT LEVEL Control.

The five band graphic provides limitless additional shaping of the already curvacious tone. It is bypassable and channel assignable.

It is also footswitchable manually via the stereo 1/4 inch jack located on the Rear Panel. These assignment choices are menued on

the Rear Panel around the rotary control that is used to choose each position. The five choices are: “OUT’ all the time (bypassed), “IN”

all the time (engaged), “IN” on the Rhythm Channel, “IN” on the Lead Channel and “Footswitchable.” The Graphic is not a necessity

to amazing tone, but can greatly enlarge the scope of sonic possibilities through experimentation. If you never turned it on you would

still have one of the most amazing sounding amps around...but it’s there...so you may as well take a crack at some tweaking. One

setting that keeps popping up as a classic Boogie EQ curve is the fabled “V”. This setting increases the bottom, scoops the mids and

leaves the highs to do their harmonic best. Be sure to try this at some point as many Boogie users have found it to be their main sound

with its huge wideness and spread. Below are some sample settings that we see used quite often, but by all means experiment.

PAGE 5

OUTPUT LEVEL:

80 240 750 2200 6600

OUTPUT

LEVEL

STANDBY POWERLEAD

UAL

ALIBER

DC-3

ON ONRHYTHM

GRAPHIC EQ:

MASTER:

(Continued)

80 240 750 2200 6600

The fabled "V" shape

80 240 750 2200 6600

PAGE 6

This toggle calls up one channel or the other and can take the place of the Channel Select footswitch when there isn’t one handy.

Perfect for set breaks... this toggle switch also serves an even more important purpose. In the Standby position the tubes are at idle

so that during power up they may warm up before being put to use. Before Power is switched on make sure the STANDBY switch

is in the Standby position. Wait at least 30 seconds and then flip the STANDBY switch to the

“ON” position. This prevents tube problems and increases their toneful life substantially.

This switch delivers the A.C. power to the DC-3. Make sure the unit is grounded (All three terminals of the A.C. cord must be

connected whenever possible to avoid injury to the user as well as to the unit) and that the proper voltage is present. Follow the cold

start procedure described in the above section ON / STANDBY when powering up your DC-3.

TOGGLE SWITCHES

RHYTHM / LEAD:

STANDBY POWERLEAD

ON ONRHYTHM

UAL

ALIBER

DC-3

ON / STANDBY:

STANDBY POWERLEAD

ON ONRHYTHM

UAL

ALIBER

DC-3

POWER:

STANDBY POWERLEAD

ON ONRHYTHM

UAL

ALIBER

DC-3

REST AREA

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