Collector owned for decades, just traded in. Classic Vintage Boogie tones!
No graphic EQ on this model, but footswitch is included !
As per Premier Guitar Mag: "After building approximately 3000 of the Mark I models, Mesa introduced the Mark II in 1978. It had footswitchable channels and an optional 5-band graphic EQ. In 1980, Mesa introduced the Mark IIB, which had an effects loop, an expanded control panel that included Lead Drive and Lead Master controls, and their famous optional Simul-Class system.
Many players love the clean channel on the Mark II and Mark IIB because of how it breaks up slightly when turned up."
Here is a list of controls and features and sample settings to help you gain familiarity with your new amplifier. You are encouraged to experiment every way possible with speakers, controls and external effects; your Boogie has been made virtually foolproof so damage in the event of accident or misuse is quite unlikely. First, plug the AC cord into a wall socket and turn the Power switch ON. It is not always necessary to have the three pin power plug grounded, and in some situations (such as multiple-amp setups) a ground float adaptor may reduce line buzz. The Ground switch located on the amplifier rear panel should be set to the middle position and switched to right or left only when buzzing line conditions warrant its use. With the amplifier on STANDBY, plug the footswitch box into the lower front panel jack using the cord supplied, though any cord will work. If the red LED indicator on the footswitch box does not light up, press the footswitch, also check that all five pullout switches on the control knobs are fully pushed in. When the red LED is lit, the amplifier is in the Rhythm mode (Red=Rhythm). Set Volume 1 to about 7 and Master 1 to about 2. These are the two gain controls used primarily for rhythm playing. Generally you will want to run the Volume 1 control as high as possible without causing unwanted distortion, in order to have available the most possible sustain when switching into the Lead mode. The Master 1 will control the playing loudness without changing the tone. The Bright switch pullout on the Volume 1 control has less and less effect as the control is turned up higher and will have no noticeable effect from about 8 to 10. Set the Treble control to about 7. When the knob is pushed in, the tone control equalization is similar to that on old Fender™ amplifiers; when pulled out, the Treble control frequency center point is shifted downward to give a more robust sounding mid range. Treble Shift, when pulled, is automatically switched on in Lead mode to give a hotter, fatter lead sound. Set the Bass and Middle controls to about 2 each. The Master 1 control (already set to 2) also incorporates the Gain Boost pull switch which can be used for adding extra bottom to the amp's tone as well as a slight increase in gain. The Lead Drive controls the amount of overdrive sustain and distortion; set it to about 8. The Pull Lead switch built into this control performs the same function as the footswitch, namely triggering the relay. You will see the LED indicator on the box go out when the Lead Drive knob is pulled. The Lead Master controls the playing loudness in the Lead mode - set it to about 2. The Pull Bright on this control only has effect on the Lead mode and not the Rhythm mode, and adds gain and sustain as well as brightness. So, to summarize briefly: Volume 1 and Master 1 regulate the gain and the loudness of the Rhythm mode, Lead Drive and Lead Master regulate the overdrive distortion and loudness of the Lead mode where Volume 1 still provides the initial signal strength. Or, in other words, the amp uses two volume controls for Rhythm (Volume 1, Master 1) and three volume controls for Lead (Volume 1, Lead Drive and Lead Master). Please note, however, that the Master 1 is always active in the circuit and will limit the maximum volume of the Lead mode when it is set too low. With only a little practice you should be able to work these controls to provide just the right rhythm tone and just the right lead tone with the loudness of both independently adjustable by the Master controls.
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