Mesa Boogie Stereo Amplifier M 2000 User Manual

ESA OOGIE  
B
M
BASIS M 2000  
OWNER'S MANUAL  
The Spirit of Art in Technology  
1317 Ross Street Petaluma, CA 94954  
USA  
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Hello from the Tone Farm...  
Congratulations on your choice of the BASIS M-2000 as your amplifier and welcome to  
the MESA/Boogie family! As a discriminating player you probably know that you have  
purchased the most comprehensive instrument for amplifying bass that is available. What you  
might not realize is that this entitles you to all the experience, resources and commitment our  
twenty-five years of service to musicians world wide has to offer. Our responsibility is to help  
you sound great! So, if at any time you feel you need help or direction, we are here for you...a  
phone call away.  
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BASIS M 2000  
TABLE OF CONTENTS  
Precautions  
Overview  
Page #  
1
FRONT PANEL Description  
Initial Set-Up Connect Speaker / Foot Controller / Choose Switching Logic  
Output Level Control (Adjusting Listening Level)  
Select Instrument Inputs  
2
2
2
VACUUM TUBE CHANNEL  
Set Rotary Tone Controls & Graphic E.Q. Setting Mini-Toggles  
Set Compressor, Threshold & Frequency Set Listening Level  
Set Bright & Normal Switch 9 Band EQ  
Compressor  
3
3
4
4
FIELD EFFECT CHANNEL  
Set Rotary Controls & Graphic E.Q.  
4 & 5  
Tunable Bass Control Set Mini Toggles  
Set Compressor Threshold & Frequency Set Master Control  
Set Bright Normal Switch 9 Band EQ Compressor  
Settings Thus Far Mix Mode Select Mix Mode Blend Control  
Mixing A Distortion & Clean Sound  
5
5
6
7
8
8
Graphic E.Q. Mix Assign  
REAR PANEL Description  
9
9
9
Channel Select  
Footswitch Function Assign  
Balanced Output / Balanced Level  
9 & 10  
9
Footswitch Control  
Effects Loop  
10 & 11  
11 & 12  
12  
Speaker Out  
External Select Fuse A.C. Receptacle  
Sample Settings...Personal, Field Effect Ch. and Vacuum Tube Ch.  
Parts Sheet  
13 - 14 - 15  
16  
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Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.  
USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:  
Do not expose amplifier to moisture, rain or water, direct sunlight  
or extremely high temperatures.  
Always insure that amplifier is properly grounded.  
Always unplug AC power cord before changing fuse or any tubes.  
When replacing fuse, use only same type and rating.  
Avoid direct contact with heated tubes.  
Insure adequate air circulation behind amplifier.  
Keep amplifier away from children.  
Be sure to connect to an AC power supply that meets the power  
supply specifications listed on the rear of the unit.  
If there is any danger of lightning occurring nearby, remove the  
power plug from the wall socket in advance.  
To avoid damaging your speakers and other playback equipment,  
turn off the power of all related equipment before  
making the connections.  
Do not use excessive force in handling control buttons, switches  
and controls.  
Remove the power plug from the AC mains socket if the unit is to  
be stored for an extended period of time.  
Do not use solvents such as benzene or paint thinner to clean the  
unit. Wipe off the exterior with soft cloth.  
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE  
PERMANENT HEARING DAMAGE!  
No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power before  
removing chassis.  
EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding  
conforms with local standards.  
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.  
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OVERVIEW  
For ease of understanding the M-2000 and to reduce the intimidation factor that one might experience upon first glance, it should  
be noted that the unit may be digested one channel at a time. The only shared controls on the entire front panel are the MIX  
control and the Output Level control. Thinking of the M-2000 as two completely separate pre-amplifiers - sharing one common  
power section, may help you to understand it at a faster rate.  
SIMUL STATE POWER  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
ACTIVE  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
INSTRUMENT  
INPUTS  
ON  
ESA OOGIE  
BASIS M 2000  
B
M
NORMAL  
HI GAIN  
NORMAL  
HI GAIN  
FET  
TUBE  
MIX  
3:1  
3:1  
NORMAL  
FET  
TUBE  
LOW  
5:1  
5:1  
PASSIVE  
POWER  
MIX  
ASSIGN  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
MIDDLE  
BASS BASS FREQ.  
BASS  
SHIFT  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL  
VACUUM TUBE  
CHANNEL CONTROLS  
FIELD EFFECT  
CHANNEL CONTROLS  
ONLY TWO CONTROLS  
THAT ARE COMMON  
TO BOTH CHANNELS  
NOTE  
You may be much too excited about playing your new toneship to spend the time now to read this manual cover to cover  
explaining the M-2000's many controls and features. For those of you with the most serious tone "jones" we've included this B-  
Line to great Bass sound. By all means...ENJOY! So that you get the most from your M-2000 for years to come, please take  
the time and read this manual at some point. It contains information that you will need to know in order to optimize the M-2000's  
performance so that it can, in return, catipult your playing to a new level of inspiration.  
INSTANT GRATIFICATION (DEMO)  
SIMUL STATE POWER  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
50Hz 80 180  
600 1.2K 4K 6K 8K  
300  
ACTIVE  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
INSTRUMENT  
INPUTS  
ON  
ESA OOGIE  
BASIS M 2000  
B
M
NORMAL  
HI GAIN  
NORMAL  
HIGH  
TUBE  
FET  
MIX  
3:1  
3:1  
NORMAL  
FET  
TUBE  
LOW  
5:1  
5:1  
PASSIVE  
POWER  
MIX  
ASSIGN  
MIDDLE  
BASS BASS FREQ.  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
BASS  
SHIFT  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL  
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BASIS M 2000  
Description:  
By now you see the M-2000 houses two completely different pre-amplifiers, one all tube, one FET. These may be footswitched  
between and/or combined by utilizing the Mix Mode, in which any blend of the two may be created. The Tube Channel offers the  
choice of a normal (low gain) mode operation and an all tube Hi Gain overdrive mode for wilder applications. Each of these pre-  
amps offers the full array of rotary style tone controls, producing a rich, warm blend...fast! Each Channel may then be further  
customized by engaging its own nine band graphic equalizer. These channel specific EQ's may be triggered in three ways: 1. Via  
the front panel's mini toggle switch 2. Via the foot controller and 3. Programmed to engage in the Mix Mode automatically. Both  
EQ's, as well as the modes, can be triggered remotely by using most tip to ground switches, such as the kind found on many  
Master Rack Control systems. These ports appear as 1/4 inch jacks found on the rear panel in the External Select section.  
Each channel also houses a Frequency Activated (shelving type) Compressor that can be bypassed or applied in 3:1 and 5:1  
ratios. The M-2000 is fitted with a parallel effects loop with a crossover enabling frequency specific effect placement as well as a  
dry/wet blend control. This loop may be assigned to auto engage in any or all of the modes as well as bypassed. This crossover  
can also be used to send a pre-amp signal of a selected frequency to another power amplifier for bi-amping. A Balanced Output  
with pre and post EQ positions and a level control is provided for recording or live sound reinforcement applications. An output for  
a Tuner is included and may be triggered remotely by the Gain switch on the Foot Controller.  
The M-2000's Simul-State power section feeds two mono 1/4 inch jacks or two 3-pin XLR jacks to deliver a robust 600 Watts  
RMS into 4 Ohms which is the recommended load. The toneful Simul-State circuit uses a 12AX7 driver tube to feed the power  
block of 12 high quality mosfets. This design boasts the smooth warmth found in all tube circuits and the tight, immediate  
response often associated with solid state amplification. As you can see, the M-2000 has all the needed features to elevate your  
playing to new plateaus, yet it remains simple and straightforward to use. The following is an explanation ot the controls and a few  
setting examples.  
CAUTION: NEVER BLOCK AIR VENT  
FRONT VIEW BASIS M-2000  
SIMUL STATE POWER  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
ACTIVE  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
INSTRUMENT  
INPUTS  
ON  
ESA OOGIE  
BASIS M 2000  
B
M
NORMAL  
HI GAIN  
NORMAL  
HIGH  
TUBE  
FET  
MIX  
3:1  
3:1  
NORMAL  
FET  
TUBE  
LOW  
5:1  
5:1  
PASSIVE  
POWER  
MIX  
ASSIGN  
MIDDLE  
BASS BASS FREQ.  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
BASS  
SHIFT  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL  
REAR VIEW BASIS M-2000  
SPEAKER OUT  
SPEAKER  
OUT  
EXTERNAL SELECT  
CHANNEL SELECT  
EFFECTS LOOP  
TUBE  
12A S.B.  
FUSE  
FET  
TUBE  
FET MIX MODE  
CROSSOVER  
ON  
OFF  
FET  
MIX  
MODE  
EXT  
FOOT  
SWITCH  
TUBE  
TUBE  
HI GAIN  
SEND  
HIGH  
LOW  
MIX  
FOOTSWITCH  
FUNCTION ASSIGN  
FX LOOP AUTO  
PRE  
EQ  
EQ  
250 VOLTS  
SUGGESTED LOAD 4 OHMS  
600 WATTS RMS  
MINIMUM LOAD 2 OHMS  
RETURN  
GAIN  
MUTE  
POST  
0%  
100%  
SPEAKER  
OUT  
TUBE  
HI GAIN  
MIX  
MODE  
BALANCED  
LEVEL  
TUNER  
OUTPUT  
117 VAC 60Hz 1200VA  
SPEAKER OUT  
BALANCED OUTPUT  
FOOTSWITCH  
PAGE 1  
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INITIAL SET-UP  
CONNECT SPEAKER  
First connect the M-2000 to your favorite speaker cabinet using either the 1/4 inch jacks or the 3-  
pin XLR's. The recommended load is 4 Ohms.  
SPEAKER OUT  
SPEAKER  
OUT  
SUGGESTED LOAD 4 OHMS  
600 WATTS RMS  
MINIMUM LOAD 2 OHMS  
SPEAKER  
OUT  
SPEAKER OUT  
Then connect the M-2000 's Foot Controller to its 6-Pin Male XLR Jack.  
CONNECT FOOT CONTROLLER  
RETURN  
GAIN  
MUTE  
100%  
CED  
L  
TUNER  
OUTPUT  
FOOTSWITCH  
Select FOOTSWITCH with the rotary control. (If the Foot Controller is not available, use  
the rotary control to select the channels during this exercise.)  
CHOOSE SWITCHING LOGIC  
CHANNEL SELECT  
LOOP  
VER  
FET MIX MODE  
EXT  
TUBE  
FOOT  
SWITCH  
SEND  
TUBE  
HI GAIN  
HIGH  
FOOTSWITCH  
FUNCTION ASSIGN  
RETURN  
GAIN  
MUTE  
100%  
OUTPUT LEVEL CONTROL  
Important... Set the Output Level Control located in the center of the front panel to 0.  
(7 O'Clock)  
50%  
TUBE  
FET  
MIX  
TUBE  
FET  
HI GAIN  
CLIP  
OUTPUT LEVEL  
Connect your instrument to the appropriate Input jack (Active or Passive.) If your  
instrument incorporates a pre-amp which uses a battery for power, you will probably want to  
use the Active Input Jack. Most other instruments should work well with the Passive Input.  
SELECT INSTRUMENT INPUT  
ACTIVE  
INSTRUMENT  
INPUTS  
PAGE 2  
PASSIVE  
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VACUUM TUBE CHANNEL  
ROTARY CONTROLS & GRAPHIC EQ  
Select the VACUUM TUBE CHANNEL using the footswitch labeled TUBE on  
the Foot Controller and set the controls as per this example.  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
EQ IN  
OUT  
NOTE  
The M-2000 automatically returns to the mode that was last used upon  
MIX MODE  
BRIGHT  
power-up, (when the Channel Select rotary switch is set to Footswitch.) When the  
Foot Controller is not being used, the M-2000 will power-up with the mode  
chosen on the Channel Select rotary switch.  
ESA OOGIE  
B
M
NORMAL  
HI GAIN  
NORMAL  
MIX  
ASSIGN  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
VACUUM TUBE CHANNEL  
MINI TOGGLES  
Locate the 3 mini toggle switches on the left side of this channel and set to these positions.  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
ESA OOGIE  
B
M
NORMAL  
HI GAIN  
NORMAL  
MIX  
ASSIGN  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
VACUUM TUBE CHANNEL  
COMPRESSOR THRESHOLD & FREQUENCY  
Set the Vacuum Tube Channel's Compressor Threshold and Frequency  
Controls per this example, while leaving the Ratio toggle switch in the  
COMPRESSION  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
3:1  
OFF  
(down position.)  
5:1  
FET  
TUBE  
OFF  
MIX  
THRESHOLD  
3:1  
3:1  
TUBE  
FET  
5:1  
5:1  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
OUTPUT LEVEL  
With your instrument connected to the proper Input jack (Passive or Active,) SLOWLY bring up the  
volume with the Output Level control while playing a note.  
LISTENING LEVEL  
50%  
NOTE  
Use care as this control is capable of unleashing substantial  
TUBE  
FET  
power which can result in either speaker or hearing damage.  
MIX  
TUBE  
FET  
HI GAIN  
CLIP  
OUTPUT LEVEL  
PAGE 3  
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BRIGHT  
While playing an open string, activate the BRIGHT / NORMAL switch to the  
(up  
BRIGHT / NORMAL SWITCH  
NORMAL  
position.)  
180  
600 1.2K 4K 6K  
50Hz 80  
8K  
300  
ACTIVE  
Become familiar with the frequencies that this  
switch enhances as it works along side the  
Graphic Equalizers' top 3 bands ( 4 - 6 - & 8K ) to  
bring out the upper harmonics and sparkle.  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
INSTRUMENT  
INPUTS  
NORMAL  
9 BAND EQ  
Set the Tube Channel's 9 Band Equalizer per this example (if you have not done so) and activate it by using  
EQ IN  
the 3 position mini toggle switch  
(up position.)  
OUT  
MIX MODE  
180  
600 1.2K 4K 6K  
50Hz 80  
8K  
300  
ACTIVE  
EQ IN  
To activate the 9 Band Equalizer via the  
Footcontroller, you must have the front panel 3  
position mini toggle switch in the OUT position or in  
the MIX MODE position. There are two of these  
switches, one per channel located to the right and  
left respectfully. When the E.Q. 3 position switch is  
in the MIX MODE, the E.Q. will automatically be  
engaged.  
OUT  
MIX MODE  
BRIGHT  
INSTRUMENT  
INPUTS  
NORMAL  
Turn on the Compressor by selecting the 3:1 position on the face panel of the M-2000. With the  
Threshold set per the example to the left, play a low note and sweep the Frequency control clockwise.  
You will notice less compression as you pass 12 O' clock until there is none at all. Now reverse this  
procedure. Play a high note (you may have to change the Threshold to maximize the effect for this  
test) and sweep the Frequency control counter-clockwise. As you pass 12 O' clock you will again hear  
the compression effect lessen. This "Shelving" (frequency specific) control allows the compression of  
the low frequencies without affecting the high frequencies and similarly the opposite. To compress  
the lows and highs equally, set the Frequency control straight up to 12 O' clock and adjust the  
Threshold control accordingly. Select the 5:1 ratio position for a much "thicker" compression.  
Remember that the Threshold setting is crucial to obtaining a usable, musical compression  
setting. Following the same procedure, we will run through the Field Effect Channel.  
COMPRESSOR  
COMPRESSION  
THRESHOLD  
3:1  
5:1  
OFF  
FREQUENCY  
FIELD EFFECT CHANNEL  
ROTARY CONTROLS & GRAPHIC EQ  
Set the FIELD EFFECT CHANNEL rotary controls and the 9 Band Graphic E.Q.  
per this example, making sure that the FET channel's MASTER control  
is set to zero. You will notice there is no Gain control in this channel.  
This was done to make room for a different tone control wiring scheme.  
The FET channel's Treble and Mid are wired in the same fashion as that of  
the Tube channel (though they may seem to enhance different frequencies  
because of the very nature of the FET design.) The Bass controls are  
where the similarity ends.  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
ON  
BASIS M 2000  
NORMAL  
HIGH  
LOW  
POWER  
MIDDLE  
BASS BASS FREQ.  
MASTER TREBLE  
BASS  
SHIFT  
FIELD EFFECT CHANNEL  
PAGE 4  
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TUNABLE BASS CONTROL  
In this channel the bass frequencies are shaped utilizing a pair of parametric type controls.  
Two rotary controls, Bass and Bass Frequency enable you to  
NOTE  
center in on the region of lows that you wish to enhance and  
When switch  
HIGH  
1.2K 4K 6K  
8K  
is in the "Down" position  
boost or cut them to your desire. Just to the right of these two  
controls there is a mini-toggle switch that enables you to  
"Shift" the region of bass that the Bass Frequency rotary  
control affects.  
the controls, BASS and  
EQ IN  
LOW  
BASS FREQ., shape  
OUT  
and control frequencies from  
30Hz to 100Hz.  
MIX MODE  
BRIGHT  
ON  
2000  
NORMAL  
HIGH  
NOTE  
As you might have guessed, this mini-toggle switch lowers  
the action of the control when in the down position and  
shifts the region up higher when the toggle is in the up  
position. So that you have complete control of the entire  
range of low frequencies, the Low and High ranges of the  
Bass Shift overlap at 100Hz.. This overlap occurs at 5:30  
When switch  
HIGH  
is in the "Up" position the  
LOW  
controls, BASS and  
POWER  
BASS BASS FREQ.  
NNEL  
BASS  
SHIFT  
LOW  
BASS FREQ., shape  
and control frequencies from  
100Hz to 200Hz.  
(fully cranked) on the Bass Frequency control when the Bass Shift switch is in the Low position. When the Shift is switched to High  
you will find this 100Hz. overlap at 7:30 (all the way down) on the Bass Frequency control. This difference in Bass controls in the  
FET channel is crucial to its tighter attack and cut-off point characteristics, which is an integral part of the FET channel's  
personality...making it strikingly different in nature to the Vacuum Tube channel.  
MINI TOGGLES  
Locate the 3 mini toggle switches on the right side of this channel and set to these positions.  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
BASIS M 2000  
ON  
NORMAL  
HIGH  
MASTER TREBLE  
MIDDLE  
BASS BASS FREQ.  
LOW  
POWER  
FIELD EFFECT CHANNEL  
Set the Field Effect Channel Compressor's Threshold and Frequency  
COMPRESSOR THRESHOLD & FREQUENCY  
Controls per this example, while leaving the Ratio toggle  
3:1  
50%  
COMPRESSION  
COMPRESSION  
switch in the OFF  
(down position.)  
5:1  
OFF  
TUBE  
FET  
MIX  
THRESHOLD  
THRESHOLD  
3:1  
3:1  
TUBE  
FET  
5:1  
5:1  
HI GAIN  
CLIP  
OFF  
OFF  
OUTPUT LEVEL  
FREQUENCY  
FREQUENCY  
With your instrument still connected to the appropriate jack, SLOWLY bring up the FET channel's  
MASTER CONTROL  
MASTER Control to the desired volume.  
BASIS M 2000  
NORMAL  
HIGH  
LOW  
MASTER TREBLE  
MIDDLE  
BASS BASS FREQ.  
BASS  
SHIFT  
FIELD EFFECT CHANNEL  
PAGE 5  
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BRIGHT  
Again, play an open string and activate the Bright / Normal switch by selecting the (up  
BRIGHT / NORMAL SWITCH  
( up position. )  
position.)  
NORMAL  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
ON  
ESA OOGIE  
B
M
NORMAL  
HIGH  
LOW  
POWER  
MASTER TREBLE  
MIDDLE  
BASS BASS FREQ.  
BASS  
SHIFT  
FIELD EFFECT CHANNEL  
EQ IN  
OUT  
Engage the 9-Band Graphic Equalizer  
(toggle in the up position) and notice that though they are  
9 BAND EQ  
MIX MODE  
the same controls, they react differently because of the FET  
channel's personality.  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
EQ IN  
To activate the 9 Band Equalizer via the Footcontroller, you  
must have the front panel 3 position mini toggle switch in the OUT  
position or in the MIX MODE position. There are two of these  
switches, one per channel located to the right and left respectfully.  
OUT  
MIX MODE  
BRIGHT  
ON  
BASIS M 2000  
NORMAL  
HIGH  
When one of the E.Q. 3 position switches is in the MIX MODE, that  
E.Q. will automatically be engaged when the MIX MODE is  
selected.  
LOW  
POWER  
MASTER TREBLE  
MIDDLE  
BASS BASS FREQ.  
BASS  
SHIFT  
FIELD EFFECT CHANNEL  
COMPRESSOR  
Turn on the Compressor by selecting the 3:1 position on the Face Panel of the M-2000. With the  
Threshold set per the example to the left, play a low note and sweep the Frequency control clockwise.  
You will notice less compression as you pass 12 O' clock until there is none at all. Now reverse this  
procedure. Play a high note (you may have to change the Threshold to maximize the effect for this  
test) and sweep the Frequency control counter-clockwise. As you pass 12 O' clock you will again  
hear the compression effect lessen. This "Shelving" (frequency specific) allows the compression of  
the low frequencies without affecting the high frequencies and similarly the opposite.  
COMPRESSION  
THRESHOLD  
3:1  
5:1  
To compress the lows and highs equally, set the Frequency control straight up to 12 O' clock and  
adjust the Threshold control accordingly. Select the 5:1 ratio position for a much "thicker"  
compression, remembering that the Threshold setting is crucial to obtaining a useful, musical  
compression setting.  
OFF  
FREQUENCY  
PAGE 6  
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VACUUM TUBE CHANNEL SETTINGS THUS FAR  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
ACTIVE  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
INSTRUMENT  
INPUTS  
ESA OOGIE  
B
M
NORMAL  
HI GAIN  
3:1  
NORMAL  
5:1  
PASSIVE  
MIX  
ASSIGN  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
OFF  
FREQUENCY  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL SETTINGS THUS FAR  
180  
600 1.2K  
6K  
50Hz 80  
4K  
8K  
300  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
FREQUENCY  
ON  
BASIS M 2000  
NORMAL  
HIGH  
3:1  
LOW  
5:1  
POWER  
MIDDLE  
BASS BASS FREQ.  
MASTER TREBLE  
BASS  
SHIFT  
OFF  
FIELD EFFECT CHANNEL  
MIX MODE  
MIX MODE SELECT  
Engage the MIX Mode by triggering the MIX switch on the M-2000 Foot Control panel. (If the foot  
controller is not available, use the rotary switch on the right side of the Rear Panel and select the MIX  
position.)  
CHANNEL SELECT  
FET MIX MODE  
EXT  
FOOT  
SWITCH  
TUBE  
TUBE  
HI GAIN  
MIX MODE BLEND CONTROL  
While playing a note on an open string, sweep the MIX Control from the center (Equal  
Blend of Tube and FET), to the left (100% Tube) and to the right (100% FET.) Between  
COMPRthese three positions lie a myriad of unique and outrageous sounds that you will find yourself  
exploring for many years. The ability to combine two completely separate front end technologies  
allows you to "custom-build" the pre-amp of your dreams, by simply using the MIX Pan Pot.  
SSION  
50%  
TUBE  
FET  
MIX  
HOLD  
ENCY  
THRE
TUBE  
FET  
The MIX Mode also makes possible a third footswitchable sound from a two channel layout that  
HI GAIN  
CLIP  
is distinctly different from either channel. Now that you have heard one possible way of using  
FREQUthe MIX Mode, we encourage you to experiment and create some sounds of your own!  
OUTPUT LEVEL  
PAGE 7  
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MIXING A DISTORTION and a CLEAN SOUND  
Next, let's try mixing a distortion (or maybe just  
a slightly overdriven) sound from the VACUUM  
TUBE CHANNEL with a tight clean sound from the FIELD EFFECT CHANNEL.  
While still in the MIX Mode, select the HI-GAIN setting of the MIX ASSIGN Switch  
in the TUBE Channel's lower left corner.  
50Hz 80 180  
4K  
6K  
8K  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
50%  
COMPRESSION  
ESA OOGIE  
B
BASIS M 2000  
M
NORMAL  
NORMAL  
HI GH  
TUBE  
FET  
HI GAIN  
MIX  
THRESHOLD  
FREQUENCY  
THRESHOLD  
3:1  
3:1  
TUBE  
FET  
LOW  
5:1  
5:1  
NORMAL  
BASS  
SHIFT  
MIDDLE  
BASS BASS FREQ.  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
HI GAIN  
CLIP  
OFF  
OFF  
FIELD EFFECT CHANNEL  
FREQUENCY  
VACUUM TUBE CHANNEL  
OUTPUT LEVEL  
Set the controls in both channels to the setting shown in the above illustration. For this example, we have chosen a medium  
overdrive sound to audition. Select the MIX Mode (if you have not already done so.)  
Start with the MIX Control panned hard right (100% FET) and sweep left. At slightly before 12:00, you will hear the overdrive from  
the TUBE Channel's HI-GAIN Mode start to come into the mix. Continue sweeping toward the TUBE Channel until the desired  
blend is reached. To adjust the amount of overdrive in the TUBE Channel, simply raise or lower the GAIN Control until you find the  
intensity (amount of distortion) that you desire.  
NOTE It may be helpful to reduce the setting of the rotary BASS Control in the TUBE Channel when using the HI-GAIN Mode,  
especially with higher settings of the GAIN Control. High settings of these two controls simultaneously will often produce a flubby,  
indistinct attack. If you need more low frequencies when dialing up Hi Gain sounds, try using the lower bands ( 50 - 80 - & 180K )  
of the Graphic Equalizer as it occurs later in the signal path and is therefore less likely to be detrimental to the attack characteristic.  
GRAPHIC E.Q. MIX ASSIGN  
One or both 9 Band Equalizers may be automatically engaged when the MIX Mode is  
called up via the footswitch (or via the Rear Panel rotary switch.) Simply select the MIX  
ASSIGN (down position) of the 3 position E.Q. mini-toggle switch that is adjacent to each Equalizer and it will be activated  
automatically every time you choose the MIX Mode. Needless to say, this increases the sonic power of the MIX Mode  
exponentially.  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
SIMUL STATE POWER  
180  
600 1.2K  
6K  
50Hz 80  
4K  
8K  
300  
EQ IN  
EQ IN  
OUT  
MIX MODE  
OUT  
MIX MODE  
ESA OOGIE  
B
BASIS M 2000  
M
Now that we've run through the two channels, we are ready to spin the unit around and review the M-2000s' Rear Panel.  
REST AREA  
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REAR PANEL  
SPEAKER OUT  
SPEAKER  
OUT  
EXTERNAL SELECT  
CHANNEL SELECT  
EFFECTS LOOP  
CROSSOVER  
TUBE  
12A S.B.  
FUSE  
FET  
TUBE  
FET MIX MODE  
ON  
OFF  
FET  
MIX  
MODE  
EXT  
FOOT  
SWITCH  
TUBE  
TUBE  
HI GAIN  
SEND  
HIGH  
LOW  
0%  
MIX  
FOOTSWITCH  
FUNCTION ASSIGN  
FX LOOP AUTO  
PRE  
EQ  
EQ  
250 VOLTS  
SUGGESTED LOAD 4 OHMS  
600 WATTS RMS  
MINIMUM LOAD 2 OHMS  
RETURN  
GAIN  
MUTE  
POST  
100%  
SPEAKER  
OUT  
TUBE  
HI GAIN  
MIX  
MODE  
BALANCED  
LEVEL  
TUNER  
OUTPUT  
117 VAC 60Hz 1200VA  
SPEAKER OUT  
BALANCED OUTPUT  
FOOTSWITCH  
Let's start from the right, as you are looking at the Rear Panel and go through the features one at a time. We are starting from the  
right because the more frequently used features begin here, as you have probably already experienced.  
CHANNEL SELECT  
This rotary control engages the two channels and their Modes of operation.  
When the M-2000 Foot Controller is not available, use this rotary control to  
CHANNEL SELECT  
FET MIX MODE  
EXT  
FOOT  
SWITCH  
TUBE  
choose the desired mode of operation. To use the M-2000 Foot Controller, set the CHANNEL SELECT  
Rotary Switch to the "Footswitch" position. The M-2000 may also be controlled via an external switching  
source that uses 1/4 inch "tip to ground" ports. This way, the M-2000 can easily be interfaced to existing  
MIDI controlled systems, allowing instant access to the Modes under MIDI program change commands.  
Set the CHANNEL SELECT to "EXT" and connect the six 1/4 inch jacks found in the EXTERNAL SELECT  
section (far left of the Rear Panel) to the switching source. Unshielded cable is preferable for this  
application. Trigger the M-2000 Modes by programming your switching system to "ground" the  
corresponding M-2000 External Select jack to bring up the Mode of your choice under a given MIDI  
program number.  
TUBE  
HI GAIN  
FOOTSWITCH  
FUNCTION ASSIGN  
GAIN  
MUTE  
FOOTSWITCH  
FOOTSWITCH FUNCTION ASSIGN This mini-toggle switch programs the GAIN switch on the  
FOOTSWITCH  
FUNCTION ASSIGN  
M-2000  
Foot Controller. The GAIN switch serves a dual  
GAIN  
MUTE  
purpose in the switching scheme of the M-2000. It may be used in its normal mode to select the TUBE  
Channel's HI-GAIN Mode. In this case, set the FOOTSWITCH FUNCTION ASSIGN Switch to the GAIN  
(right) position. This toggle switch may also be used in conjunction with the TUNER Output to  
produce a "silent tuning" mode for stage use.  
FOOTSWITCH  
FUNCTION ASSIGN  
GAIN  
MUTE  
Connect a tuner to the 1/4 inch jack labeled TUNER OUTPUT (located just to the left of the 6 pin  
XLR Footswitch jack.) Select "MUTE" with the FOOTSWITCH FUNCTION ASSIGN (toggle  
switch to the left.) When the GAIN switch is selected on the M-2000 Foot Controller, all  
sound to the power section will be muted and the instrument signal will pass straight  
through to the TUNER OUTPUT jack.  
TUNER  
OUTPUT  
FOOTSWITCH  
BALANCED OUTPUT / BALANCED LEVEL  
This electronically balanced XLR jack provides two  
possible ways of interfacing to mixing consoles for live  
CHANNEL SELECT  
FET MIX MODE  
EXT  
FOOT  
SWITCH  
TUBE  
and recording situations. POST: captures all the robust warmth of the M-2000's two powerful and distinct  
pre-amp circuits, as well as giving you the added flexibility of 18 bands (9 per channel) of "Bass friendly"  
graphic equalization. Add to this the frequency specific compression  
TUBE  
HI GAIN  
MIX  
FOOTSWITCH  
FUNCTION ASSIGN  
FX LOOP AUTO  
circuits in each channel that are tweaked for Bass - and we think  
RETURN  
GAIN  
PRE  
MUTE  
POST  
0%  
100%  
you too will find the M-2000 is the ultimate way to capture Bass  
direct. Switched to PRE: all M-2000 circuitry is removed from the  
signal path and the signal is then fed straight from either Instrument  
Input jack to the Balanced Level control and straight on to the  
BALANCED  
LEVEL  
TUNER  
OUTPUT  
BALANCED OUTPUT  
FOOTSWITCH  
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BALANCED OUTPUT / BALANCED LEVEL (Continued)  
Balanced Output XLR jack. Basically,  
this means that your instrument is  
CHANNEL SELECT  
FET MIX MODE  
EXT  
FOOT  
SWITCH  
TUBE  
going directly into the console with no alteration from the M-2000. Sometimes this is preferred when  
playing venues with large sound systems that have plenty of low frequency  
TUBE  
HI GAIN  
power of their own and don't always need the added shaping that is happening  
on the stage.  
FOOTSWITCH  
FUNCTION ASSIGN  
RETURN  
GAIN  
MUTE  
0%  
100%  
The BALANCED LEVEL control enables you to match the optimum levels  
required by most mixing consoles. It is always good practice to "zero out" the  
level on the M-2000 before connecting it to a console, just in case the channel  
at the console was last used for a weak signal and is set to extremes.  
BALANCED  
LEVEL  
TUNER  
OUTPUT  
FOOTSWITCH  
NOTE It is NOT necessary to connect a speaker load to the M-2000 when using the BALANCED OUTPUT for recording or  
live use. No damage to the amplifier will occur from having no load connected. Simply turn the OUTPUT LEVEL (located in the  
center, bottom portion of the Front Panel) to 7:00 (this would be the Off position for this control.)  
NOTE In certain situations a hum or buzz may occur when using the direct BALANCED OUTPUT. This occurs due to different  
references (impedance) to ground between the M-2000 and the console. If this occurs you may want to lift the M-2000 ground  
path by either using an XLR Ground Lift Adapter or by simply making a cable with the grounds disconnected. You might also try a  
simple A.C. Ground Lift ( 3 to 2 adapter ) on the M-2000's power cord just to make sure the noise that you are experiencing is  
not A.C. Ground related.  
FOOTSWITCH CONTROL  
This 6 pin XLR jack accepts and powers the M-2000 FOOT  
CONTROL unit. It uses a locking type jack so that the foot controller  
will not be accidentally removed during a performance. Depress the catch on the plug when removing the  
foot controller's cable from the amplifier.  
CHANNEL SELECT  
FET MIX MODE  
EXT  
FOOT  
SWITCH  
TUBE  
TUBE  
HI GAIN  
FOOTSWITCH  
FUNCTION ASSIGN  
RETURN  
GAIN  
MUTE  
0%  
100%  
BALANCED  
LEVEL  
TUNER  
OUTPUT  
FOOTSWITCH  
The M-2000 has an advanced way of  
dealing with signal processing. You may  
choose not only how much of a given effect you wish to blend  
with the dry signal, but also which frequencies will receive  
processing! The loop is wired in parallel with the direct  
signal, ensuring that your tone stays bold and authoritative.  
EFFECTS LOOP  
CHANNEL SELECT  
EFFECTS LOOP  
CROSSOVER  
TUBE  
FET MIX MODE  
ON  
OFF  
FET  
MIX  
MODE  
EXT  
FOOT  
SWITCH  
TUBE  
SEND  
TUBE  
HI GAIN  
HIGH  
LOW  
0%  
MIX  
FX LOOP AUTO  
FOOTSWITCH  
FUNCTION ASSIGN  
RETURN  
GAIN  
MUTE  
100%  
It is comprised of a SEND and a RETURN that appear as a pair of 1/4 inch jacks  
forming a bridge between the pre-amp and power sections of the M-2000.  
These are then fed to the crossover circuit, allowing you control of the  
frequencies that you wish to apply signal processing to, via the CROSSOVER  
rotary control. To either side (and slightly below this rotary control,) you will see  
LOW and HIGH. When this control is swept to the left toward the LOW  
position, the low frequencies will be the primary ones that receive  
processing.  
BALANCED  
LEVEL  
TUNER  
OUTPUT  
FOOTSWITCH  
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When panned hard left  
(7:00), mostly lows will  
pass this junction. When the rotary control is swept toward  
HIGH, the crossover will allow more of the upper harmonic  
range to receive processing. Panned hard right (5:00), mostly  
highs will be present in the loop's signal path. With the  
CROSSOVER control set straight up (12:00), the whole range of frequencies  
(lows and highs) pass equally through the EFFECTS LOOP. The MIX Control  
lets you decide how much of the frequency specific affected signal you  
wish to blend with the dry (unaffected) signal. Panned hard left, (0%)  
removes all the wet signal from the mix. Panned hard right (100%) allows only  
the wet signal to pass the MIX Control. In general, its always a good idea to set  
up your signal processor with its mix control at 100% wet and then slowly raise  
EFFECTS LOOP (Continued)  
CHANNEL SELECT  
EFFECTS LOOP  
CROSSOVER  
TUBE  
FET MIX MODE  
ON  
OFF  
FET  
MIX  
MODE  
EXT  
FOOT  
SWITCH  
TUBE  
SEND  
TUBE  
HI GAIN  
HIGH  
LOW  
MIX  
FX LOOP AUTO  
FOOTSWITCH  
FUNCTION ASSIGN  
RETURN  
100%  
GAIN  
MUTE  
0%  
BALANCED  
LEVEL  
TUNER  
OUTPUT  
FOOTSWITCH  
the M-2000 's FX LOOP MIX Control until you reach the desired blend. This scheme preserves the integrity of the attack and  
punch characteristics the M-2000 is capable of delivering (when no processing is being used.) Finally, the FX LOOP AUTO  
ASSIGN rotary control activates the loop as well as allowing you to engage it automatically in any of the three Modes when they  
are called up with either the CHANNEL SELECT Rotary Control or the FOOT CONTROLLER.  
NOTE A great way to check out the power of this advanced loop is to try this simple exercise: 1. Connect your favorite signal  
processor to the SEND and RETURN (Input to SEND - Output to RETURN.) May we humbly suggest a "chorus" program as these  
seem to be great for the purpose of this exercise. 2. Set the signal processor's Dry / Wet Blend to 100% Wet. 3. Sweep the  
CROSSOVER control to approximately 3:00 (this will allow mostly high frequencies to be processed.) 4. Use the FX LOOP AUTO  
assign rotary to activate the loop in the Mode that you wish to play in. 5. While playing an open string, slowly increase the FX  
LOOP MIX control until you reach the desired dry / wet blend.  
Right away you should be able to appreciate the fact, that, while you have chorus (or whatever effect you choose) on "top" of your  
sound, you have not lost the punch and authority that is so often sacrificed when using effects...especially less expensive units that  
don't incorporate high quality operational amplifiers in their mixer and output stages. At this time you may also want to sweep the  
CROSSOVER control over to 9:00 to experience the same test passing mostly low frequencies through the loop. While quite  
different and interesting, we think most players will want to process their highs, keeping the bottom end tight with unprocessed  
definition.  
SPEAKER OUT  
The BASIS M-2000 provides two types of  
interconnects for powering speaker enclosures,  
SPEAKER OUT  
SPEAKER  
OUT  
XLR and the standard 1/4 inch phono jacks. Each of these formats include a  
pair of jacks that are wired in parallel and which may be used individually or  
together to power additional cabinets. The recommended speaker load  
impedance for the M-2000 is 4 Ohms at which the mighty SIMUL-  
STATE power section is capable of delivering a whopping 625 watts RMS  
before clip, and peaks of over 2000 watts! A speaker load of 8 Ohms may  
also be used and at this impedance, though the overall power will be  
reduced to roughly 300 watts.  
SUGGESTED LOAD 4 OHMS  
600 WATTS RMS  
MINIMUM LOAD 2 OHMS  
SPEAKER  
OUT  
SPEAKER OUT  
CAUTION: NEVER BLOCK AIR VENTS  
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EXTERNAL SELECT  
This section of the Rear Panel as we mentioned earlier,  
while explaining the CHANNEL ASSIGN section, is  
EXTERNAL SELECT  
9A S.B.  
FUSE  
FET  
TUBE  
provided to make possible the triggering of the M-2000 Modes from remote switching  
sources. The six 1/4 inch jacks represent all four Modes of operation and the two  
channels' Graphic Equalizers. These functions may be controlled by connecting most  
any "tip to ground" type switcher to the appropriate jacks and grounding them. This  
method of Mode selection is provided so that the M-2000 may be easily interfaced to a  
system using MIDI Program Change Commands as a switching format.  
EQ  
EQ  
250 VOLTS  
TUBE  
HI GAIN  
MIX  
MODE  
117 VAC 60Hz 1200VA  
NOTE If you wish to use the External Select Jacks to call up a Mode or E.Q., you must have the Rotary Mode Select Switch  
(located on the right side of the Rear Panel) set to the EXT position. These External Select Jacks can always be used to select a  
Mode, regardless of the state of any other switching logic.  
This is the A.C. Mains Fuse for the M-2000. REPLACE ONLY WITH A  
SLO-BLO TYPE FUSE OF THE SAME RATING. THIS IS EXTREMELY  
FUSE  
EXTERNAL SELECT  
FET  
TUBE  
9A S.B.  
IMPORTANT, AS THE M-2000 DRAWS A SUBSTANTIAL AMOUNT OF CURRENT AT  
HIGH OUTPUT LEVEL SETTINGS.  
FUSE  
EQ  
EQ  
250 VOLTS  
= 117  
FUSE RATING ( USA ) 10 A S.B. / 250 VOLTS ONLY  
TUBE  
HI GAIN  
MIX  
MODE  
= All Others  
117 VAC 60Hz 1200VA  
FUSE RATING ( IEXPORT ) 6 1/4 A S.B. / 250 VOLTS ONLY  
100 / 220 / 230 / 240  
EXTERNAL SELECT  
The "Euro Style" A.C. cord connector that is supplied with the  
M-2000 makes set-ups and tear-downs after the gig a snap.  
A.C. RECEPTACLE  
9A S.B.  
FUSE  
TUBE  
FET  
It also makes de-racking much easier when you wish to remove the unit from a hard  
wired rack system where all the A.C. cords have been cut to length. Additional heavy  
duty cords are available should you ever need one...simply call us direct and we can ship  
one directly to you for a nominal charge, plus shipping costs. Make sure the A.C. Cord is  
firmly in its socket (receptacle) before powering up the unit.  
EQ  
EQ  
250 VOLTS  
TUBE  
HI GAIN  
MIX  
MODE  
117 VAC 60Hz 1200VA  
SPEAKER OUT  
SPEAKER  
OUT  
SUGGESTED LOAD 4 OHMS  
600 WATTS RMS  
MINIMUM LOAD 2 OHMS  
CAUTION: NEVER BLOCK AIR VENTS  
CAUTION: NEVER BLOCK AIR VENTS  
SPEAKER  
OUT  
SPEAKER OUT  
CAUTION: NEVER BLOCK AIR VENTS  
EPILOGUE  
We hope this manual has answered most of your operating questions and that you now feel confident to start  
experimenting on your own. The M-2000 was created in the pioneer spirit and from its conception, was  
intended to be an instrument of limitless expression. As you become more familiar with the unit, we're sure that you will realize that  
the M-2000 is a wise investment in your future as a bassist and one of the best things you ever did for your musical pursuits. We  
are proud to be your amplifier company. Thank you for trusting us with your sound...Best Wishes !  
PAGE 12  
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Settings Templates for Your Personal Favorite M-2000 Sounds  
SIMUL STATE POWER  
180  
600 1.2K 4K 6K 8K  
300  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
50Hz  
80  
ACTIVE  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
MIX  
COMPRESSION  
THRESHOLD  
FREQUENCY  
INSTRUMENT  
INPUTS  
ON  
ESA OOGIE  
BASIS M 2000  
B
M
NORMAL  
HI GAIN  
NORMAL  
HIGH  
TUBE  
FET  
3:1  
3:1  
NORMAL  
FET  
TUBE  
LOW  
5:1  
5:1  
5:1  
5:1  
5:1  
5:1  
PASSIVE  
POWER  
MIX  
ASSIGN  
MIDDLE  
BASS BASS FREQ.  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
BASS  
SHIFT  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL  
SIMUL STATE POWER  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
ACTIVE  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
COMPRESSION  
THRESHOLD  
INSTRUMENT  
INPUTS  
ON  
ESA OOGIE  
BASIS M 2000  
B
M
NORMAL  
HI GAIN  
NORMAL  
HIGH  
TUBE  
FET  
MIX  
3:1  
3:1  
NORMAL  
FET  
TUBE  
LOW  
PASSIVE  
POWER  
MIX  
ASSIGN  
MIDDLE  
BASS BASS FREQ.  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
BASS  
SHIFT  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL  
SIMUL STATE POWER  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
ACTIVE  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
INSTRUMENT  
INPUTS  
ON  
ESA OOGIE  
BASIS M 2000  
B
M
NORMAL  
HI GAIN  
NORMAL  
HIGH  
TUBE  
FET  
MIX  
3:1  
3:1  
NORMAL  
FET  
TUBE  
LOW  
PASSIVE  
POWER  
MIX  
ASSIGN  
MIDDLE  
BASS BASS FREQ.  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
BASS  
SHIFT  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL  
SIMUL STATE POWER  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
ACTIVE  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
INSTRUMENT  
INPUTS  
ON  
ESA OOGIE  
BASIS M 2000  
B
M
NORMAL  
HI GAIN  
NORMAL  
HIGH  
TUBE  
FET  
MIX  
3:1  
3:1  
NORMAL  
FET  
TUBE  
LOW  
5:1  
5:1  
PASSIVE  
POWER  
MIX  
ASSIGN  
MIDDLE  
BASS BASS FREQ.  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
BASS  
SHIFT  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL  
SIMUL STATE POWER  
50Hz 80 180 300 600 1.2K 4K 6K 8K  
50Hz  
80  
180  
600 1.2K 4K 6K 8K  
300  
ACTIVE  
EQ IN  
EQ IN  
OUT  
OUT  
MIX MODE  
BRIGHT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
INSTRUMENT  
INPUTS  
ON  
ESA OOGIE  
BASIS M 2000  
B
M
NORMAL  
HI GAIN  
NORMAL  
HIGH  
TUBE  
FET  
MIX  
3:1  
3:1  
NORMAL  
FET  
TUBE  
LOW  
5:1  
5:1  
PASSIVE  
POWER  
MIX  
ASSIGN  
MIDDLE  
BASS BASS FREQ.  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MASTER TREBLE  
BASS  
SHIFT  
HI GAIN  
CLIP  
OFF  
OFF  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
FIELD EFFECT CHANNEL  
PAGE 13  
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Sample Settings - Field Effect Channel  
Punch Funk  
UL STATE POWER  
180  
600 1.2K 4K 6K  
50Hz 80  
8K  
300  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
ON  
BASIS M 2000  
NORMAL  
HIGH  
FET  
MIX  
FET  
3:1  
5:1  
LOW  
BASS  
SHIFT  
POWER  
MIDDLE  
BASS BASS FREQ.  
MASTER TREBLE  
CLIP  
OFF  
FIELD EFFECT CHANNEL  
OUTPUT LEVEL  
Scooped FET  
UL STATE POWER  
180  
600 1.2K 4K 6K  
50Hz 80  
8K  
300  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
ON  
BASIS M 2000  
NORMAL  
HIGH  
FET  
3:1  
MIX  
FET  
5:1  
LOW  
BASS  
SHIFT  
POWER  
MIDDLE  
BASS BASS FREQ.  
MASTER TREBLE  
CLIP  
OFF  
FIELD EFFECT CHANNEL  
OUTPUT LEVEL  
Articulate Solo  
UL STATE POWER  
180  
600 1.2K 4K 6K  
50Hz 80  
8K  
300  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
50%  
COMPRESSION  
THRESHOLD  
FREQUENCY  
ON  
BASIS M 2000  
NORMAL  
HIGH  
FET  
MIX  
FET  
3:1  
5:1  
LOW  
BASS  
SHIFT  
POWER  
MIDDLE  
BASS BASS FREQ.  
MASTER TREBLE  
CLIP  
OFF  
FIELD EFFECT CHANNEL  
OUTPUT LEVEL  
PAGE 14  
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Sample Settings - Vacuum Tube Channel  
Fat R & B  
SIMUL STATE PO
180  
600 1.2K 4K 6K  
50Hz 80  
8K  
300  
ACTIVE  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
COMPRESSION  
THRESHOLD  
50%  
INSTRUMENT  
INPUTS  
ESA OOGIE  
B
M
NORMAL  
HI GAIN  
TUBE  
MIX  
3:1  
TUBE  
NORMAL  
5:1  
5:1  
5:1  
PASSIVE  
MIX  
ASSIGN  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
OFF  
HI GAIN  
FREQUENCY  
VACUUM TUBE CHANNEL  
OUTPUT LEVEL  
Thumb Funk  
SIMUL STATE PO
180  
600 1.2K 4K 6K  
50Hz 80  
8K  
300  
ACTIVE  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
COMPRESSION  
50%  
INSTRUMENT  
INPUTS  
INPUTS  
ESA OOGIE  
M
B
NORMAL  
HI GAIN  
TUBE  
MIX  
3:1 THRESHOLD  
TUBE  
NORMAL  
PASSIVE  
MMIIXX  
AASSSSIIGGNN  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
OFF  
HI GAIN  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
Driving Rock  
SIMUL STATE PO
180  
600 1.2K 4K 6K  
50Hz 80  
8K  
300  
ACTIVE  
EQ IN  
OUT  
MIX MODE  
BRIGHT  
50%  
COMPRESSION  
INSTRUMENT  
INPUTS  
INPUTS  
ESA OOGIE  
M
B
NORMAL  
HI GAIN  
TUBE  
MIX  
3:1 THRESHOLD  
TUBE  
NORMAL  
PASSIVE  
GAIN  
TREBLE  
MIDDLE  
BASS  
MASTER  
MIX  
ASSIGN  
OFF  
HI GAIN  
FREQUENCY  
OUTPUT LEVEL  
VACUUM TUBE CHANNEL  
PAGE 15  
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Download from Www.Somanuals.com. All Manuals Search And Download.  
ESA OOGIE  
B
M
The Spirit of Art in Technology  
Thank you for trusting MESA/Boogie to be your amplifier  
company. We wish you many years of toneful enjoyment from this  
handbuilt all tube instrument.  
Download from Www.Somanuals.com. All Manuals Search And Download.  

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