Front Panel Controls & Features; Volume 1; Volume 2 - Mesa/Boogie King Snake Owner's Manual

FRONT PANEL CONTROLS & FEATURES

VOLUME 1:

This control adjusts the gain for Input 1's tube overdrive stage, which comes ahead of the Input 2 jack and its tube
stage, architecture-wise. Much like the way an overdrive pedal boosts the gain and saturates the input stage of an amp, the VOLUME
1
2
VOLUME 1
using the upper range of the MID/BOOST (5.0–10.0) to achieve true all-tube overdrive. Input 1 accesses an additional high gain
tube stage in front of this "traditional amp" accessed by Input 2 and produces anything from a purring "threshold clip" up to completely
saturated overdrive, depending on the setting of the two VOLUME controls. As VOLUME 1 only affects the tube stage for Input 1, it
can be ignored when plugging into Input 2.
~
120V
3 A
60 Hz
SLO
3 A BLO
CAUTION:
Unplug power
As mentioned earlier in the Helpful Hints section, we prefer to run the VOLUME 1 control either equal to, or a little below, the setting
before servicing
fuse or chassis
of Input 2 (Example; 5.0 on V1 & 7.0 on V2). For maximum saturation try 8.0 on Volume 1 and 10.0 on Volume 2.
To our ears (and hands) this scenario produces a more focused, smoothly sculpted overdrive that is warm and round and free of
detached harmonic artifacts.
The MID/BOOST is effective for adding additional gain to either Input as it comes later downstream in the signal path, but its main
intended use is for adding additional drive when using Input 2.
NOTE: Using the upper range of the MID/BOOST with higher settings of Input 1/ VOLUME 1 will likely oversaturate the notes and
result in a compromised attack characteristic. Extreme settings may also push the preamp tubes past their limit and can cause mi-
crophonic tube noise (a whistle or a high pitched squeal). Avoid excess tube noise and microphonics by using common sense and
apply the MID/BOOST in tasteful amounts when using Input 1.
IMPORTANT! The VOLUME control shapes the Tone of whichever Input you are using and while you should spend some time learn-
ing the nuances for yourself, this general rule applies; lower GAIN settings produce less drive and thinner, brighter, more-scooped
sounds. Higher GAIN settings produce more drive and thicker, warmer sounds that have a rounded and more compressed attack.
Using this knowledge and different combinations of the VOLUME controls (1 set low/2 set high, both set equal or 1 set high/2 set low)
and the two Rear Panel PRESENCE choices, you will be able to achieve almost any style and tonal characteristic you wish.
NOTE: The King Snake has SUBSTANTIAL BASS. One other important rule or scheme to follow is this; As the VOLUME (1 & 2) goes
up, the BASS should come down. Adding substantial gain to bass-heavy sounds (or vice-versa) is rarely a recipe for great Tone and
will compromise your attack and the ability of the preamp–and power section to "track" your playing. Do yourself a favor and avoid
the flub... reduce the BASS control as you increase the VOLUME 1 (and/or VOLUME 2). DON'T BE SURPRISED IF THE TIGHTEST
TRACKING AND MOST BALANCED TONE IS DELIVERED AT "LOWER THAN NORMAL" BASS SETTINGS. This can also apply to
the upper region of the MID/BOOST control in both Inputs as it increases the preamp gain substantially.

VOLUME 2:

This Input and Gain control allows adjustment of the second stage of gain when you are connected to INPUT 1, and the
first stage (Input Tube) if your instrument is feeding INPUT 2. When in INPUT 2 the control works exactly like it does on all (vintage) amps—it
cranks up the preamp.
Lower settings (3.5–5.5) produce a brighter, more scooped sound with increased headroom and a bell-like harmonic chime
on the top end. Higher settings (5.5–7.0) bring in gradual tube saturation and adds girth, low end "air", breath and dimen-
sionality. Above 7.0 on VOLUME 2, tube saturation becomes the dominant trait and clean response is only possible with ex-
VOLUME 2 MASTER
tremely weak pickup output – by design or by your application. In this fashion, many traditionalist Blues and Roots aficionados
live full-time in this area and achieve their "clean" sounds by backing off the guitar's Volume control when they are not soloing.
3 A
SLO
AMPLIFIER
BLO
44YV
REV. FT. SW REVERB
1 control increases the signal strength many times with an additional tube stage "in front of" Input 2's classic
gain (which can also be cranked up) to create a thick complex overdrive.
You can think of the KING SNAKE's preamp like this; Input 2 accesses a vintage amp that produces tradi-
tional gain that is clean below 6.0 and reaches mild clipping and singing drive when maxed out at 10. For
VOLUME 2 MASTER TREBLE
those who prefer the urgency of a "Clean-amp-cranked", this "vintage gain" can be greatly enhanced by
VACUUM TUBE AMPLIFIER
AMPLIFIER
44YV
REV. FT. SW REVERB SEND LEVEL
TREBLE MID/BOOST
KING SNAKE
™
VACUUM TUBE AMPLIFIER
SEND LEVEL SEND RETURN
MID/BOOST BASS
KING SNAKE
™
SEND RETURN SLAVE
BASS
HANDCRAFTED
IN PETALUMA, CALIFORNIA PAGE 6
BLACK FACE
TWEED
SLAVE SLAVE LEVEL PRESENCE
HANDCRAFTED
IN PETALUMA, CALIFORNIA
BLACK FACE
TWEED
SLAVE LEVEL PRESENCE 8 OHM
USE WITH
100
100 WATTS ON ON
60
10 WATTS STANDBY POWER
™
TUBE GUIDE
4 x 6L6
5 x 12AX7
PATENTED
7,173,488
8 OHM 4 OHM 4 OHM
7,412,064
USE WITH USE WITH TWO USE WITH COMBO OTHER PATENTS
100 CAB 8Ω SPKRS, & 100 8Ω SPKR, & 60
W W W
100 WATTS ON ON
60
10 WATTS STANDBY POWER
™
TUBE GUIDE
4 x 6L6
5 x 12AX7
PATENTED
7,173,488
4 OHM 4 OHM
7,412,064
USE WITH TWO USE WITH COMBO
OTHER PATENTS
CAB 8Ω SPKRS, & 100 8Ω SPKR, & 60
W W W PENDING
PENDING