Mesa Boogie Studio Series.
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Boogie Bill
New member
Re: Mesa Boogie Studio Series.
Well, Mesa actually produced three amps with the Studio moniker, not including the Studio Preamp.
The Studio .22 features a 2XEL84 power section, rated at 22 watts. Its bigger brother is the .50 Caliber, and you'll see these with both 4XEL84 and 2X6L6 power sections. The original Studio .22 amps were designed for players who didn't need the power and tonal versatility of the Mark Series amps. They have fewer switching options; but don't mistake them for budget amps. These are built to the same high quality standards as the other bigger Mesas, and offer a professional quality amp with professional features. However, if you're looking for an amp where you need total control over the RHYTHM and LEAD CHANNELS tone and gain--this might not be the best amp for you. I think these amps work best in a studio situation, where you can tweak it to get a great tone for a clean rhythm track; and then reset the tone controls to overdub your solos with a searing lead voice.
It Studio .22 Plus is basically the same amp, but the preamp now features a LEAD MASTER control to help better balance the channels when used in live music situations. I believe that there were notable upgrades made to the power amp supplies, and to the effects loop. But again, one set of tone controls for both channels.
One really great feature that can be found on both the Studio .22 and the Studio .22 Plus is the optional GRAPHIC EQ. Most Mark Series users will tell you that the GRAPHIC EQ is a very handy feature to have. I have two Mark III amps, and I can't imagine not having this feature.
The final step in the Studio Series is the Studio Caliber .22 DC-2. The Dual Caliber amps now offer independent gains, tones, and master volumes on each channel--plus, an overall MASTER OUTPUT LEVEL. The RHYTHM CHANNEL is said to be from the MARK IV; while the LEAD CHANNEL is based on the Dual Rectifier's LEAD CHANNEL design. The effects loop is now a parallel, rather than a series loop. A switch on the back panel offers the option of SILENT RECORDING, removing the speaker output for those late-nite sessions. There are three more amps in the DC Series: DC-3 (4XEL84--35 watts); DC-5 (2X6L6--50 watts); and the DC-10 (4X6L6--100 watts) I have a DC-3, and it is one of my all-time favorite amps. Alas, no GRAPHIC EQ option on the DC-2.
These are all terrific amps to have around for recording, practice, and even playing out. A lot of jazz players love the warm tones of the Studio amps; and the blues and rock player with find some searing tones when these amps get cranked. Loud enough to hang with a drummer; just don't expect the tight chunka-chunka of a big 100-watt amp and 412 cab. The little 112 combos do have their limitations. Mesa amps typically handle pedals well. If you want to use the Studio set for clean tones, you can always add a good distortion box in front if you need to.
The Peavey Classic 20 and the Classic 30 are generally well-regarded amps; but I think the Mesa Studio amps just smoke the Peaveys. You might pay a little more, but you'll get what you paid for: more professional features, better reliability--a better-built amp that will last lifetime.
The Studio .22 Series amps are long discontinued, but their legacy lives on. The Nomad 45/55/100 are direct descendants of the DC-3/DC-5/DC-10; the F-30 used the popular 2XEL84 power amp section of the DC-2 with a newly-designed preamp. And now, the Mesa Express 5:25 and 5:50 keep that tradition alive. Like their ancestors, these amps may be small; but they are potent--and 100% professional.
I hope that helps. For more info, check out the User's Manuals at http://mesaboogie.com/Product_Info/product_info.htm
Bill
Well, Mesa actually produced three amps with the Studio moniker, not including the Studio Preamp.
The Studio .22 features a 2XEL84 power section, rated at 22 watts. Its bigger brother is the .50 Caliber, and you'll see these with both 4XEL84 and 2X6L6 power sections. The original Studio .22 amps were designed for players who didn't need the power and tonal versatility of the Mark Series amps. They have fewer switching options; but don't mistake them for budget amps. These are built to the same high quality standards as the other bigger Mesas, and offer a professional quality amp with professional features. However, if you're looking for an amp where you need total control over the RHYTHM and LEAD CHANNELS tone and gain--this might not be the best amp for you. I think these amps work best in a studio situation, where you can tweak it to get a great tone for a clean rhythm track; and then reset the tone controls to overdub your solos with a searing lead voice.
It Studio .22 Plus is basically the same amp, but the preamp now features a LEAD MASTER control to help better balance the channels when used in live music situations. I believe that there were notable upgrades made to the power amp supplies, and to the effects loop. But again, one set of tone controls for both channels.
One really great feature that can be found on both the Studio .22 and the Studio .22 Plus is the optional GRAPHIC EQ. Most Mark Series users will tell you that the GRAPHIC EQ is a very handy feature to have. I have two Mark III amps, and I can't imagine not having this feature.
The final step in the Studio Series is the Studio Caliber .22 DC-2. The Dual Caliber amps now offer independent gains, tones, and master volumes on each channel--plus, an overall MASTER OUTPUT LEVEL. The RHYTHM CHANNEL is said to be from the MARK IV; while the LEAD CHANNEL is based on the Dual Rectifier's LEAD CHANNEL design. The effects loop is now a parallel, rather than a series loop. A switch on the back panel offers the option of SILENT RECORDING, removing the speaker output for those late-nite sessions. There are three more amps in the DC Series: DC-3 (4XEL84--35 watts); DC-5 (2X6L6--50 watts); and the DC-10 (4X6L6--100 watts) I have a DC-3, and it is one of my all-time favorite amps. Alas, no GRAPHIC EQ option on the DC-2.
These are all terrific amps to have around for recording, practice, and even playing out. A lot of jazz players love the warm tones of the Studio amps; and the blues and rock player with find some searing tones when these amps get cranked. Loud enough to hang with a drummer; just don't expect the tight chunka-chunka of a big 100-watt amp and 412 cab. The little 112 combos do have their limitations. Mesa amps typically handle pedals well. If you want to use the Studio set for clean tones, you can always add a good distortion box in front if you need to.
The Peavey Classic 20 and the Classic 30 are generally well-regarded amps; but I think the Mesa Studio amps just smoke the Peaveys. You might pay a little more, but you'll get what you paid for: more professional features, better reliability--a better-built amp that will last lifetime.
The Studio .22 Series amps are long discontinued, but their legacy lives on. The Nomad 45/55/100 are direct descendants of the DC-3/DC-5/DC-10; the F-30 used the popular 2XEL84 power amp section of the DC-2 with a newly-designed preamp. And now, the Mesa Express 5:25 and 5:50 keep that tradition alive. Like their ancestors, these amps may be small; but they are potent--and 100% professional.
I hope that helps. For more info, check out the User's Manuals at http://mesaboogie.com/Product_Info/product_info.htm
Bill
LesPaulRules
New member
Re: Mesa Boogie Studio Series.
I used to own a Studio .22 back in the early 90's.
The amp sounded decent, but the build quality wasn't the greatest. It was in the shop several times. One time I remember was due to the pc board/some component, having problems with the heat generated by the EL84's.
I liked the amp... when it worked, though I can't say I miss it.
I used to own a Studio .22 back in the early 90's.
The amp sounded decent, but the build quality wasn't the greatest. It was in the shop several times. One time I remember was due to the pc board/some component, having problems with the heat generated by the EL84's.
I liked the amp... when it worked, though I can't say I miss it.
S
supernosher
Guest
Re: Mesa Boogie Studio Series.
I own a Studio Caliber - it just says Studio Caliber, not .22 (which I've played before). So my question to Boogie Bill is is my amp a rare transitional model? And, by the way I am wondering which preamp sockets are for which function. I can't find anything on the net in regards to any sort of tube chart for this "Studio Caliber".
I used to work at MESA Engineering and I've played lots of different MESA's. Although I am falling in love with my Studio Caliber, I really always loved the Simul-Class 2:90 power amp, the Trem-o-Verb, and the Mark I. Also the Rocket 44 really kicks alot of ass as a one-trick pony!
I own a Studio Caliber - it just says Studio Caliber, not .22 (which I've played before). So my question to Boogie Bill is is my amp a rare transitional model? And, by the way I am wondering which preamp sockets are for which function. I can't find anything on the net in regards to any sort of tube chart for this "Studio Caliber".
I used to work at MESA Engineering and I've played lots of different MESA's. Although I am falling in love with my Studio Caliber, I really always loved the Simul-Class 2:90 power amp, the Trem-o-Verb, and the Mark I. Also the Rocket 44 really kicks alot of ass as a one-trick pony!
crusty philtrum
Vintageologist
Re: Mesa Boogie Studio Series.
I had a Studio 22 and the equaliser sucked tone. The amp was far better with the equaliser switched out of the circuit.
One of the 5 watt power resistors fell off the circuit board one day. That was interesting.
A cheaper Boogie ... pay less, and that's what ya get. Less.
Not that i like Boogies anyway, but the Studio 22 was not a durable build and the equaliser was a tone-sucker. If you want an over-rated amp, this one is for you.
I had a Studio 22 and the equaliser sucked tone. The amp was far better with the equaliser switched out of the circuit.
One of the 5 watt power resistors fell off the circuit board one day. That was interesting.
A cheaper Boogie ... pay less, and that's what ya get. Less.
Not that i like Boogies anyway, but the Studio 22 was not a durable build and the equaliser was a tone-sucker. If you want an over-rated amp, this one is for you.
Laughing Kookaburra
Active member
Re: Mesa Boogie Studio Series.
Had a friend who had a non graphic eq model that he was willing to sell. I really wanted to like that amp as it seemed to have potential as a great portable unit, and he was selling cheap.
Couldn't do it. Cleans were just ok, the OD was too fizzy for me, and the lead boost function was too much of a volume jump. I guess I could have just used my OD pedal in front of the clean channel, but I already had a Fender that did that trick better.
On a recent discussion of this amp on another forum, it was mentioned in a couple of posts that the tone controls need to be worked in a much different manner than, say, Fender or Marshall. I don't know if that is true. If it is, then maybe that was my problem.
Had a friend who had a non graphic eq model that he was willing to sell. I really wanted to like that amp as it seemed to have potential as a great portable unit, and he was selling cheap.
Couldn't do it. Cleans were just ok, the OD was too fizzy for me, and the lead boost function was too much of a volume jump. I guess I could have just used my OD pedal in front of the clean channel, but I already had a Fender that did that trick better.
On a recent discussion of this amp on another forum, it was mentioned in a couple of posts that the tone controls need to be worked in a much different manner than, say, Fender or Marshall. I don't know if that is true. If it is, then maybe that was my problem.
dystrust
Well-known member
Re: Mesa Boogie Studio Series.
True and then some. Older mark series amps (at least II-IV in my experience) are notoriously finicky in terms of how their tone controls are set. The best advice I can give to approaching one is to forget everything you think you know about settings and let your ears guide you. Many of them also have two gain controls on the lead channel, a gain and separate lead drive. Balancing them incorrectly often results in the buzzy or fizzy sound you described. As far as the graphic EQ goes, it becomes less and less necessary as you decrease gain levels. You don't really need it to play classic Stones, but you can't get Metallica or Dream Theater rhythm sounds without it.
True and then some. Older mark series amps (at least II-IV in my experience) are notoriously finicky in terms of how their tone controls are set. The best advice I can give to approaching one is to forget everything you think you know about settings and let your ears guide you. Many of them also have two gain controls on the lead channel, a gain and separate lead drive. Balancing them incorrectly often results in the buzzy or fizzy sound you described. As far as the graphic EQ goes, it becomes less and less necessary as you decrease gain levels. You don't really need it to play classic Stones, but you can't get Metallica or Dream Theater rhythm sounds without it.
marvar
New member
Re: Mesa Boogie Studio Series.
That was NOT my experience, i had one in the 90s, with the -EQ. it was a great amp- sounded even better with a 4x12 cab- I played one without the EQ and I couldn't get anything I liked out of it.
That was NOT my experience, i had one in the 90s, with the -EQ. it was a great amp- sounded even better with a 4x12 cab- I played one without the EQ and I couldn't get anything I liked out of it.
Boogie Bill
New member
Re: Mesa Boogie Studio Series.
Nor mine...
Bill
Nor mine...
Bill
