Bass; Presence - Mesa/Boogie MARK 5 THIRTY-FIVE Owner's Manual

The middle region (11:00–1:00) is where the punch and attack begin to come on with more urgency and this is where mahogany
guitars really like to see the MID set for adding the cut and definition. Here the high mid and lower top end begins to creep into the
mix of the MID controls' spectrum and chording sounds start to chime and slash with a more forward and punchy character.
From there on up (1:00–5:30) the MID introduces an aggressive range of sounds that are both full and forward as the dominant
frequencies become those present under control of the MID. In this range you may choose to increase the BASS to add back in the
richness and warmth that gets overshadowed when the MID control is set high. If you like the attack and urgency found in this range
of the MID, all the other controls (except maybe the MASTER, which you may have to back down as the sound gets more forward)
may have to be set higher to keep up with the MID dominant curve. This is fine although there will reach a point of diminishing return
as the headroom in the preamp gets eaten up by this tonal "arms race" and you begin to clip the preamp with the larger signal levels
from the Tone control string.
For gain sounds in Channel 2 a similar story unfolds as the MID is increased. Lower settings (7:30–10:30) will produce wider sound-
ing, more elastic feeling chordal sounds and the single notes will have a more creamy, smooth character. High harmonics created
by the gain and controlled largely with the TREBLE and PRESENCE, will put a patina of three-dimensional haze on the sound that
smears nicely when the MID is in this lower region. As the MID is increased past this region, more thick "gut punch" and low-Treble
region attack creeps in and the sound becomes more forward. As the MID is cranked past 1:00 the sound gets very forward and the
harmonics begin to get recessive, replaced by the punch and focus of the increasing midrange frequency bump.
NOTE: Be sure to experiment with the MID in all the gain Modes of Channels 2, paying special attention to the feel as well as the
sound. The MID really changes the dynamic content as well as how the strings feel to play. Lower settings here work well for more
creamy, scooped single note solo sounds, where as higher settings deliver Classic Rock crunch rhythm sounds that kick with authority
and punch.

BASS

Much like the MID, the BASS control responds like a typical Tone control and blends in a fairly wide slice of rich bottom
end to round out the sound. Internal switching that occurs when the different Modes are selected re-voices both the location and the
frequency of bass present for each of the six circuits (Modes) in the MARK FIVE: 35. These differences are crucial to each
of the sounds and a big part of their character.
BASS

PRESENCE

The CLEAN and FAT Modes of Channel 1 incorporate a much lower bass frequency than that of virtually all the other
Modes that adds depth, dimension and air to the sound. Because of this, Channel 1 needs a much slower taper pot to
balance this huge low end with the sounds in the higher gain circuits. The CRUNCH Mode in Channel 1 and most all the
Modes in Channel 2 utilize a much higher bass frequency. This produces a more resonant, thumping quality and keeps
MARK FIVE: 35™
things tracking tighter and gives gain sounds a more bouncy, dynamic, alive feel. These higher frequencies can be used in greater
VACUUM TUBE
AMPLIFIER
proportions as compared with the lower (and sometimes more treacherous) frequencies used in the CLEAN and FAT Modes because
they have less of a tendency to slow things down or get in the way during faster playing.
RETURN HEADPHONE REVERB
CH 2 CH 1
You can utilize higher settings of this higher frequency on the BASS control in the XTREME Mode of Channel 2 where there is a huge
amount of high-mid/low-treble attack in the sound. You may want to try running the BASS in the 10:00–12:00 range in the XTREME
Mode for some huge crunch rhythm sounds. If that's still not enough bottom, turn to the 80 and 240Hz SLIDERS in the Graphic EQ.
We recommend setting the BASS control in the low end of its sweep (7:30–10:00) for both single note and chording sounds whenever
very high GAIN settings are in place. You can take a little more liberty with BASS settings (10:00–12:00) as the GAIN is decreased to
add breath and fullness to purring pushed rhythm and Blues solo sounds.
PRESENCE
This control adjusts high frequencies above those of the TREBLE and is located in the power section, farther
downstream in the signal path, and not in the preamp like the other rotary Tone controls. The PRESENCE adjusts a specific zone of
frequencies in the negative feedback circuit of the power section that best suit the needs of each individual Mode. The
MARK FIVE: 35 incorporates substantial circuitry to achieve the complex switching of parts needed to voice each Mode
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correctly and ensure an adjustable range on the PRESENCE that is sound-style appropriate as well as musically usable.
PRESENCE MASTER
EQ
O
MADE IN PETALUMA, CA
WITH THE WORLD'S
FINEST MATERIALS
SPEAKERS
EQ ON
O
EQ FS
MASTER
EQ
EQ ON
O
EQ FS 80Hz 240 750
MADE IN PETALUMA, CA
WITH THE WORLD'S
FINEST MATERIALS
SPEAKERS
SPKR
ON
SPKR
4 OHM 4 OHM 8 OHM OFF
EQ ON 35 W
EQ FS 10 W
EQ ON 35 W
80Hz 240 750 2200 6600
EQ FS 10 W
SPKR CLOSED
ON BACK
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P
E
35 W
25
10 W
SOLO 1
PWR
SOLO 2
35 W
25
2200 6600
10 W
THIRTY-FIVE
CLOSED
BACK LIFT
O
P
E
N
VINTAGE GROUND
CabClone™
D.I.
25
ON
SOLO 1 POWER
PWR
SOLO 2 STANDBY
ON
25
M 5
ARK
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THIRTY-FIVE
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LIFT
ON
POWER
STANDBY
ON
5
M
ARK
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