Mesa/Boogie WalkAbout Bedienungsanleitung

OOGIE

MESA

Owner's Manual

Greetings from the Home of Tone

Congratulations on your choice of the WalkAbout as your Bass amplifier and welcome

to the MESA/Boogie family! As a discriminating player you probably know that you

have purchased the most comprehensive instrument for amplifying Bass that is

available. What you might not realize is that this entitles you to all the experience,

resources and commitment our twenty-five years of service to musicians world wide

has to offer. Our responsibility is to help you sound great! So, if at any time you feel

you need help or direction, we are here for you...a phone call away.

PRECAUTIONS & WARNINGS

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:

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

WARNING: EU: permission from the Supply Authority is needed before connection.

WARNING:

Vacuum tube amplifiers generate heat. To insure proper ventilation always make

certain there is at least four inches (100mm) of space behind the rear of the amplifier cabinet.

Keep away from curtains or any flammable objects.

WARNING:

Do not block any ventilation openings on the rear or top of the amplifier. Do not

impede ventilation by placing objects on top of the amplifier which extend past the rear edge of

its cabinet.

WARNING:

Do not expose the amplifier to rain, moisture, dripping or splashing water. Do not

place objects filled with liquids on or nearby the amplifier.

WARNING:

Always make certain proper load is connected before operating the amplifier.

Failure to do so could pose a shock hazard and may result in damage to the amplifier.

Do not expose amplifier to 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. 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. Remove the power plug from the AC mains socket if the unit is to be stored

for an extended period of time. 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. 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 filled out by the store at which it was purchased and return to

Mesa/Boogie.

FRONT PANEL:

REAR PANEL:

Precautions 0

Overview 1/2

Instant Gratification 2

Helpful Hints 2/3

Instrument Inputs: ACTIVE & PASSIVE 3

CONTROLS:

GAIN 4

BASS 4

MID 5

TREBLE 5

DI LEVEL 6

MASTER 6

PARAMETRIC EQUALIZER 6/7

FREQUENCY CONTROLS 7

FUSE 8

A.C. RECEPTACLE 8

DIRECTOUT: Post / Pre - Ground Lift - XLR Jack 8

EFFECTS LOOP: Send & Return 9

SPEAKER OUTPUT 9

FACTORY SAMPLE SETTINGS 10

PERSONAL SETTINGS PAGE 11

TUBE NOISE and DIAGNOSING PRE-AMP TUBE PROBLEMS 12

PARTS SHEET 13

Table of Contents

OVERVIEW:

Congratulations on your choice of the

M-Pulse WalkAbout

BassAmplifier! This compact and powerful little brother to the

M-Pulse

600

and

360

delivers all the tone and most of the features in a package thats bound for the open road.

At the heart of this giant killer is a robust 300 watt

Simul-State

power section that will handle most clubs and smaller venues with

surprising headroom. This tube driven mosfet design combines the best qualities of both tube and solid state technology to achieve a

lightweight, reliable platform that is supremely musical. This toneful power is metered out with the MASTER control, and can be used

to drive any two speaker cabinets via the two SPEAKER OUTPUT jacks, with a combined overall load of 4 Ohms being the preferred

impedance. Should you find yourself in larger venues, an XLR Balanced Direct output with a convenient Front Panel DI LEVEL control

enables you to send your choice of pre or post signals to the board for Front Of House reinforcement.

The

WalkAbout

Preamp is a four stage, all-tube, finely-tuned instrument of shaping power for bass. The signal path begins with the

Input jacks and both ACTIVE and PASSIVE instruments have been provided for with a dedicated jack. The front end GAIN control

determines the amount and color of preamp signal and/or drive you wish to push through the rotary Tone Controls. Active shelving

PAGE 1

Operating Instructions

INSTRUMENT

INPUTS

PASSIVE

ACTIVE

POWER

E N G I N E E R I N G

GAIN BASS MID

FOUR - STAGE VACUUM TUBE PREAMPLIFIER

S I M U L S T A T E B A S S A M P L I F I E R

0 db 0 0

60 Hz 340Hz 2K

PARAMETRIC EQUALIZER

30 300 200 2K 1.2K 12K

-15 + - + - +15

TREBLE DI LEVEL MASTER

FRONT VIEW: WalkAbout

CAUTION

Unplug power

before removing fuse or

bolts holding chassis

POWER FUSE

SLO

BLO

120 V~

60 Hz

6 A

GROUND

LIFT

DIRECT OUT

POST PRE

EFFECTS LOOP

WARNING

To reduce risk of fire or

electric shock, replace fuse with

same type and rating only. Do not

expose this unit to rain or moisture.

WARNING

To reduce risk of fire or electric

shock, Do not remove cover. No user-

serviceable parts inside. Refer

servicing to qualified personnel.

SPEAKER OUTPUT

SUGGESTED LOAD

RETURN SEND

4 OHMS

REAR VIEW: WalkAbout

SIMUL STATE BASS AMPLIFIER

TUBE DRIVEN-MOSFET POWER

HANDBUILT IN PETALUMA , CALIFORNIA

M-PULSE

WALKABOUT

E N G I N E E R I N G

PAGE 2

OVERVIEW:

Continued

type BASS and TREBLE controls are combined with a passive style MID to produce a powerful string of musically interactive and

comprehensive tone controls. If even further tweaking is desired, we have included a 3 Band Semi-Parametric Equalizer that covers

frequencies between 30Hz and 12Khz. This in-line EQ assures that any sound you can dream of can be dialed in quickly and

accurately. The three bands sensible Q points make for ease of understanding and the FREQUENCY controls overlap to allow

pinpoint accuracy in the regions where the controls meet.And finally, a series EFFECTS LOOPpatch point between the preamp and

the power section.

Now that you have an overview of the controls and features of your new

WalkAbout

, let’s move on to understanding each of them

individually so that you can dial in your own personal sound quickly and easily.

HELPFUL HINTS:

1. Connect your A.C. Power Cable to a grounded outlet. Avoid ground lifts (3 to 2 prong adapter) whenever possible.

2. The optimum speaker load for your

WalkAbout

is 4 Ohms. You may use a cabinet (s) of a higher rating safely (8 Ohm) with no

degradation in tone, however the amplifier will not produce its full rated wattage. Minimum load rating is 2 Ohms and while the

WalkAbout

will handle this lower load condition - and in fact produce more than its rated power, it is not recommended. Prolonged

use of a 2 Ohm load will cause the power mosfets to run hot causing the protection circuit to trigger and mute the output signal until

such time as the mosfets can return to a safe operating temperature. Avoid using 2 Ohm loads whenever possible.

3. Use high quality cable from your instrument to the

WalkAbout

and from the

WalkAbout

to your speaker. Instrument

cable should be relatively low capacitance shielded cable. Whenever possible use lengths of 15 feet or shorter. Longer than 15’tends

to introduce too much capacitance resulting in reduced punch and top end clarity. Speaker cable should be at least 14 gauge (or

thicker) unshielded cable and again try to keep the length of cable as short as possible for the best tonal results.

4. The BASS and TREBLE controls are active shelving type controls with a broad response even though they are acting primarily

on their center frequency Q point. This broader response works extremely well with the passive, broad-band MID control. Because

BASS and TREBLE are active controls, they actually cut (or notch) the region around the Q point when the control is set below 12:00,

Instant Gratification:

INSTRUMENT

INPUTS

PASSIVE

ACTIVE

POWER

E N G I N E E R I N G

GAIN BASS MID

FOUR - STAGE VACUUM TUBE PREAMPLIFIER

S I M U L S T A T E B A S S A M P L I F I E R

0 db 0 0

60 Hz 340Hz 2K

PARAMETRIC EQUALIZER

30 300 200 2K 1.2K 12K

-15 + - + - +15

TREBLE DI LEVEL MASTER

PAGE 3

HELPFUL HINTS:

(Continued)

and boost these frequencies when the control is set above 12:00. The MID works like a normal passive control and boosts a broad

band of frequencies as it is increased.

5. When using the Parametric EQ keep in mind that cutting (notching) undesirable frequencies is often preferable to boost-

ing desirable ones. By using this technique you will keep noise to a minimum and ensure ample headroom at all times.The Paramet-

ric is a powerful tone shaping tool when used tastefully, but all too often they are abused and set to their extremes which can result in

an unbalanced tone that is “full of holes” or excessive noise.

6. When using Outboard Signal Processors, the best results are usually found by inserting them into the Effects Loop which provides

a patch point between the preamp and the power section of your

WalkAbout

. The processors’ Input should be connected to the

SEND jack and its Output should be connected to the RETURN jack.Always use the shortest length possible (1-3 feet) of good quality

low capacitance cable to preserve the integrity of your sound.

7. The DIRECT OUTPUT circuit provides a GROUND LIFT that disconnects chassis ground from circuit ground. Should you encoun-

ter a hum or buzz when interfacing to live or recording consoles, try flipping this ground lift after you have muted that channels’ input

orzero’edthe fader. Manytimes(but not all) thehumis created by agroundloop between the

WalkAbout

andtheconsole and lifting

the

WalkAbout

chassis to circuit ground will remedy the situation.

Hopefully these hints have helped get you up and running with your new

WalkAbout

and you are well on your way to having the best

tone you have ever heard! Now that you have a better idea of the layout and features, we are ready to move on to understanding the

individual controls and circuits in more detail.

FRONT PANEL:

INSTRUMENT INPUTS: ACTIVE / PASSIVE These are the Instrument Input jacks and between them you can match the

signal output level of virtually any instrument.

The ACTIVE Input is padded down for greater input stage headroom and this works well

with basses that use an on-board pre-amp with an active tone control circuit. Usually these

instruments put out a much hotter signal than conventional basses, even when their tone

controls are set “flat”. The added headroom is needed to prevent clipping in the first stage

of the pre-amp and the ACTIVE Input should be used whenever instruments that utilize

active style pickup/EQ harnesses are used.

Youcanuse the ACTIVE Inputforconventional passive instrumentsalso,for heavy handed

players needing extra headroom or simply a “cleaner” sound. However, note that unless

you have Kong size hands it may be difficult to bring the amplifier to full power with this

reduced front end sensitivity.

The PASSIVE Input is set up for more conventional basses with passive pickups that produce lower output signal levels. This jack is

more sensitive than theACTIVE Input and therefore can drive the first stage to clip with a much lower signal. Keep this in mind if you

play with a heavy touch or want a little bit of growl or front end clip. In those scenarios this jack can be quite useful to push the first

stage of the pre-amp.

INSTRUMENT

INPUTS

PASSIVE

ACTIVE

INSTRUMENT

INPUTS

PASSIVE

ACTIVE

FRONT PANEL CONTROLS:

(Continued)

GAIN: This control determines the overall character of the input sensitivity. The lower regions of the control (below 12:00) lend

greater headroom and provide a scooped, brighter personality. The upper harmonics come through more prominently in this area of

the control making the top end sound more transparent and sweet. This region is especially

useful for funkier stuff when thumbing is in order. It keeps the rubber- band feel intact in the

lows and mids while voicing the snap just high enough to avoid harshness, or the dreaded

“gak” when the G string is plucked.

As the GAIN control is increased past 12:00 a richer, more “well-rounded” voice becomes

dominant and headroom starts to diminish in increments until eventually, a tube overdrive

sound appears as the 12AX7 input tube is driven into saturation.

The region between 12:00 and 2:30 is where the classic, warm tube sound resides and

within this narrow band you will discover a world of tone. Tiny increments here produce

subtle, but important differences in the attack characteristic which in turn, feel like changes in the time domain. By experimenting with

the amount of gain, you can actually voice the amp to feel as if it bounces just ahead of the groove - or lays back a little deeper to

produce a more Fatback feel. The difference in attack and sustain produces striking results as to how the bassist - and in fact the

whole band - perceives things in the time domain.

BASS: This control is responsible for the basic mix of low frequencies in the tube pre-amp. As mentioned earlier in the Helpful

Hints section, the BASS control is an active shelving type as opposed to a passive style control.This means that a center Q point has

been chosen and this control allows you to either boost or cut that frequency. This control differs from the low band of the PARAMET-

RICinthatithasabroaderQpointwithamoregentlerampasopposedtothePARAMETRICS’

narrow Q that is used with a separate GAIN control.

The BASS control is actually a gain and frequency control all rolled into one with the Q

center at 55Hz and harmonics in both low and high directions are affected because of its

broader band nature.As the control is increased past 12:00 there is a 6db per octave rise in

gain with the frequency topping out at 321Hz. With 12:00 straight-up representing “flat” (a

no boost/no cut setting).

As the BASS control is dialed below 12:00, 55Hz and all associated harmonics are reduced

and eventually notched completely out of the signal. Conversely, there is a 6db per octave

cut beginning at 55Hz going down to 20Hz where the shelving ends with a

cut gain

of -20db as the control approaches 7:30 (off).

This type of broad band, active rotary control makes it possible to achieve bass characteristics far beyond that of a conventional

passive type control. It can increase the low end to an almost absurd level and with a flick of the wrist, dip it to near transitor radio

skinniness. Needless to say, with any control this powerful a certain amount of finesse must be applied to achieve musical results. Be

especially mindful of this when using the 3 Band Semi-Parametric in conjunction with the BASS control.

PAGE 4

INSTRUMENT

INPUTS

PASSIVE

ACTIVE

GAIN BASS

FOUR - STAGE VACUUM TUBE

INSTRUMENT

INPUTS

PASSIVE

ACTIVE

GAIN BASS

FOUR - STAGE VACUUM

FRONT PANEL CONTROLS:

(Continued)

MID: This is the only passive style control in the string of rotary tone controls. This scheme was chosen for its inherently musical

blend and for the way the passive style midrange control, with its wide spread and smooth taper,

fills in the holes

. Unlike the BASS,

this control is a

boost only,

and while it can competently remove this broad

spectrum of midrange from the mix, it cannot provide the extreme attenuation of

an active style control.

You will find, as we did, that this control works amazingly well for shaping the

midrange frequencies with a natural earthiness and character that is a perfect

counterpart to its active neighbors. It is hard to dial wrong with this more forgiv-

ing control, as it seems to give you just enough and no more. This simplicity can

beawelcomerespitefrom thehighertech poweroftheadjacenttonecontrols...not

to mention the 3 Band SEMI-PARAMETRIC EQ For radical and specific scoop-

ing of the midrange frequencies for modern R&B and Funk styles, there is plenty

of notching power that is infinitely more accurate to be found in the 3 Band SEMI-PARAMETRIC. Because of this, we opted for the

tried and true passive style midrange control that has been working great in all of our amplifiers for decades. It’s hard to improve on

a classic.

TREBLE: The TREBLE is also an active shelving style control like that found in the BASS and again, it was chosen for its ability

to radically shape the upper harmonic region. Like the BASS, it also has a center Q point with harmonics above and below responding

in harmony as it is dialed for either cut or boost.

As the control is increased past 12:00, it produces a 6db per octave rise in gain

starting at 723Hz until +20db is reached. From this point, gain remains constant

at +20db for all frequencies above 723Hz all the way out to 20Khz.This scheme

lends a sweetness of sound while retaining all the necessary cut and focus

associated with a traditional passive TREBLE control.

As the control is dialed below 12:00, it begins a 6db per octave cut from 3.2Khz

to the shelving point at 723Hz, where it continues to attenuate all frequencies

above 723Hz until - 20db is reached where

cut gain

remains constant until the

control reaches 7:30 (off).The ability to cut these frequencies more radically makes it possible to obtain incredibly rich and warm old-

school R&B and Jazz sounds that rival any recordings of the day.

This active shelving TREBLE control completes the rotary tone control string to create a powerful and extremely accurate network to

use as your fundamental platform. It’s no wonder many first time

WalkAbout

players make the comment that just these controls

combined with the GAIN create the best tone they have ever heard!

NOTE:

As with the BASS control, may we remind you that a control of this type with its increased power should be used with finesse.

In the TREBLE’S case, almost more so, because higher frequencies seem louder to the ear and are generally more painful when set

to extremes. Another reason to use care is that high frequencies tend to increase the ambient noise floor when set too high. This is

then exacerbated if the 3 Band SEMI-PARAMETRIC EQ is combined for added top end boost. Dial with care and music in mind.

PAGE 5

POWER

TREBLE DI LEVEL MASTER

INSTRUMENT

INPUTS

PASSIVE

ACTIVE

GAIN BASS MID

FOUR - STAGE VACUUM TUBE PREAMPLIFIER

FRONT PANEL CONTROLS:

(Continued)

DI LEVEL: This rotary control determines the amount of signal present at the Rear Panel DIRECTOUT XLR jack. You will find

ample gain here and should be able to dial in the appropriate amount of signal for most any

live or recording console. It is a good idea to get in the habit of powering up your

WalkAbout

with the DI LEVEL control Zeroed out, to avoid damaging the console, speakers or an unpre-

pared set of ears in the event you strike a big note or chord before the console input level has

been set.

MASTER:

This basic control determines the overall final output level of your

WalkAbout

so that you can adjust the front end

GAIN control to your tonal needs and then push the

SIMUL-STATE

power section to the

desired listening level.

NOTE:

Use the MASTER output level control with care. The

WalkAbout

is capable of very

loud output volumes that could potentially cause damage to your hearing or the hearing of

others. May we suggest always beginning your set-up by zeroing-out the MASTERoutput

level control to avoid accidental volume attacks on unsuspecting bandmates, engineers or

audiences.

PARAMETRIC EQUALIZER: Your

WalkAbout

is equipped with a powerful in-line 3 BAND SEMI-PARAMETRIC EQUAL-

IZER that allows you to shape your signal to achieve virtually any sound.Anything from subtle enhancement to extreme notching or

boosting is possible with the only limit being your imagination. As mentioned earlier, the EQ is an in-line type, which means that it is

in the signal path at all times. If you do not wish to shape your signal with the EQ section of the preamp,

simply leave all the controls set to 12:00 (straight up) and the EQ will pass the signal unaffected. This

12:00 setting would be considered “flat” or in other words, basically bypassed.

GAIN: These 3 GAIN controls adjust the amount of whatever frequency has been zeroed-in on for

manipulation with the FREQUENCY control. Each of the 3 GAIN controls allows a full 30db of gain

adjustment with 15db of cut and 15db of boost from the center 12:00 (0db) position. When searching for

sounds it is sometimes faster to either notch or boost the respective GAIN control radically and then

sweep for the desired frequency with the FREQUENCY control. This way it will be very apparent what

you are doing to the sound.

This is a good place to mention that, because of the strength of the 3 GAIN controls, it is possible to very quickly go beyond the realm

of balanced musical tone and blow holes in your mix. Therefor, start by building a great sound using the standard rotary TONE

controls and then begin with subtle tweaking of the frequencies using the PARAMETRIC EQ. Don't start boosting everything all over

POWER

DI LEVEL MASTER

POWER

DI LEVEL MASTER

PAGE 6

0 db 0 0

60 Hz 340Hz 2K

PARAMETRIC EQUALIZER

30 300 200 2K 1.2K 12K

-15 + - + - +15

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