Late last week, the gang at Mesa/Boogie posted a video of Dream Theater guitarist John Petrucci (and his signature Ernie Ball/Music Man Majesty guitar) testing out a prototype of the company's Mark 5 Twenty-Five guitar amp.
Someone could write a PhD thesis on Mesa/Boogie’s scores of user-interfaced tone-shaping circuits and their permutable effects.
The simplest, most powerful and iconic of these innovative tools is undoubtedly Mesa’s five-band graphic equalizer. Developed by Randall Smith in the early Seventies, the circuit features a quintet of frequency sliders that lets players morph a Mesa amp’s response far beyond what can be achieved with the tone knobs alone.
Mesa/Boogie is now making its game-changing EQ available to everyone in the form of three thoughtfully engineered stomp boxes: the standalone Boogie Five-Band Graphic, the high-gain Flux-Five outboard preamp pedal and the Rectifier-in-a-can Throttle Box EQ.
The key to getting great guitar tones in the studio and onstage is control, but nothing is more out of control than a big guitar amp cranked up to its sweet spot.
The excess volume levels coming from a speaker cabinet can easily overload most microphones, and placing the mic in the perfect location can be an art unto itself that’s often difficult to duplicate.
While a few modern amps have built-in cabinet simulators or DI outputs that provide a reliable solution to this problem, the new Mesa CabClone is a sophisticated and versatile cabinet simulator that lets guitarists plug directly into a mixing board or console and enjoy great sound every time. It can even serve as a headphone amplifier with any amp rated at 100 watts or less.
Let's face it, bringing a 100-watt guitar amp to your average weekend bar gig is a lot like taking a Lamborghini to Shop Rite for Sunday-afternoon grocery shopping. You simply don't need all that power.