Instant Gratification; Front Panel; Input Jack; Mute Switch - Mesa/Boogie Subway TT-800 Owner's Manual

turned up, at some point this tube will begin to overdrive, adding a more neutral, modern tube overdrive. Generally, a 12AT7 is the
preferred tube for this position because it is a little more colored and adds a nice dimensionality to the more modern channel voicing.
If you prefer a cleaner, less complex or colored tone, especially when driven hard, a 12AU7 may be a better choice. The amp ships
with a 12AT7 in this position.

INSTANT GRATIFICATION:

The SUBWAY TT-800 is really a very simple amp to get great tone. Start with the MUTE switch down (mute off), the GAIN SWITCH
to the low gain position, the DEEP and BRIGHT SWITCHES off, and the HIGHPASS FILTER set to the 9:00 position.
On the SUBWAY CHANNEL, set the BASS, MID and TREBLE eq controls in the "flat" (12:00 straight up) position, the SUBWAY
CHANNEL VOLUME control set to the 1:00 position.
On the BOOGIE CHANNEL, set the BASS control, to the 10:30 position, the MID control to the 3:30 position, the MID FREQ control
all the way to the normal position and the TREBLE control to the 10:00 position. Set the BOOGIE CHANNEL VOLUME control set to
the 1:00 position.
Set the IMPEDANCE SELECTOR SWITCH on the back of the amp to match the total impedance of the connected speakers (never
set this switch to an impedance higher than the impedance of your total speaker load). Plug your bass in, select the SUBWAY CHAN-
NEL with the channel switch and turn the SUBWAY CHANNEL GAIN control up until you reach your desired volume. Now switch to
the BOOGIE CHANNEL and turn the BOOGIE CHANNEL GAIN control up until you reach your desired volume.
Switch between the two channels to get a feeling for the native voicings of the two channels. Now, experiment by setting the GAIN,
DEEP and BRIGHT SWITCHES, the HIGHPASS FILTER, MID FREQ and EQ to taste. The more time you spend with your new amp,
the easier and quicker it will become to get to the tone that's in your head.
FRONT PANEL (CONTROLS & FEATURES)

INPUT JACK:

This 1/4" (6.35mm) TS (tip-sleeve) jack is the instrument INPUT that feeds the first input amplifier stage (V1A &
V1B) of the SUBWAY TT-800. This stage is inherently transparent, and directly feeds all remaining circuitry including the following
tube gain stages.

MUTE SWITCH:

This switch (and its associated red indicator/tally LED) mutes the audio signal being sent to all outputs ex-
cept the TUNER OUT jack for silent tuning with either a tuner connected to the instrument cable and then through to the amp or to
the TUNER OUTPUT jack. When the switch is in the up position, the red LED will illuminate and NO audio will be present at either
of the DIRECT OUTPUT jacks, EFFECTS SEND jacks, HEADPHONE jack, or the SPEAKER OUTPUT jacks. This switch can also
be used to place the amp into standby mode before and between sets without adjusting any of the controls. When using the MUTE
FOOTSWITCH, this mini-toggle switch must be placed in the down position. When using the EFFECTS RETURN jack(s) as inputs
for external preamps, these signals will not be muted by the mute switch.

GAIN SWITCH:

This switch (and its associated blue indicator/tally LED) sets the internal sensitivity (drive level) of the input
amplifier stage. This function allows the tube gain stages following the input amplifier to be driven harder in the high gain position,
making it easier to overdrive the tube stages if that's part of your desired tone. In the low gain position, it also allows for very high
output pickups to drive the tube gain stages at a level that will not cause overdrive or distortion. Simply choose the position that gives
you the desired results. This control does not change or lower the input impedance of the amplifier, nor does it "suck tone" like the
input pads can do on some other amps.

DEEP SWITCH:

This switch (and its associated blue "tally" or "indicator" LED) engages the DEEP filter, our take on classic
low frequency enhancement and extension. Engaged, there is a mild boost in the very low frequency response while also lowering
the effective high pass filter frequency. This combination brings a more round, thicker, fatter response to the bottom end. When us-
ing with small (compact style) cabinets, and limited power handling capabilities, especially with HIGH PASS FILTER settings below
~40Hz, be aware of the possibility of damage to the speaker(s) due to overpowering at high volumes.
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