We're kicking off the season on the right foot. You probably got your fill last month with the Epiphone and the X3 Live, right? But for a guitar to sound, you need an amplifier, don't you? So, to keep up our good habits, what better way to start the new season of reviews than with the crème de la crème of tube amps: Mesa Boogie®.
And in front of us we have a top-of-the-line model: the Dual Rectifier Roadster, in its combo version with two 12" speakers. A Dual, but is it the same as always, or does it come brimming with new features that will make us drool compared with what we're used to? This beauty deserves a thorough going-over so we can find out, with determination, emphasis and absolute confidence. Let's go!
Unboxing
Since we're dealing with a boutique amp company, the first thing that stands out are the details beyond the amp's technical and functional side. In this case, it comes well stocked: a waterproof synthetic cover for both the combo and the included control footswitch; casters to mount on the amp; plenty of documentation (a folder with the warranty, the user manual, the company's current catalog and a sticker with its logo). The inclusion of removable casters rounds out the accessories that come with our guest, something to be grateful for considering its size. Meanwhile, the amp's appearance is more promising than any other I've seen: on both the front and the back I see countless knobs and switches. Rugged, well finished, and one detail about the excellent Celestion V30 speakers: the cabinet is closed-back.
Getting it ready: Features
Looking at the front panel, we see that we have no fewer than four channels, with three possible modes for each, selectable with three-position switches. That gives us a total of... 12 basic sounds!
On either side of the four-band EQ (treble, mid, bass and presence) are, respectively, each channel's volume control and the signal gain. Beyond those controls we find a global output control for the whole amp, as well as a knob labeled "solo." This knob controls the solo volume, activated with the footswitch that comes with the amp. It's a feature I've praised, since a single press of the footswitch automatically changes the volume for playing solos.
There are also LEDs that light up according to the selected channel, the activation of the effects loop and the selection of the "mute" option, which brings the volume down to zero with a single stomp on the corresponding footswitch.
Speaking of LEDs, the big red one that lights up when we turn the unit on deserves a mention. To do that, we proceed the usual way, as with any other tube amp: turn it on, wait for the tubes to warm up, and then flip the standby switch. The difference from other amps? It turns out the power switch, having three positions, allows two modes: Spongy and Bold. What do we get by selecting one or the other? Spongy means lower power consumption and therefore lower voltage. This mode extends tube life (especially the power tubes) and gives sounds that particularly favor clean tones and mild distortion. Bold mode is exactly the opposite: it uses maximum voltage, resulting in tube life closer to the standard (two years for preamp tubes, a year and a half for power tubes). This mode is the one that really delivers the punch we need when we turn up the volume for live shows, and that will let us truly stand out on stage, wrapping it in our sound.
Enough? Not by a long shot. The real surprise came when we turned our attention to the back of the Roadster. We have speaker cabinet outputs at 4, 8 and 16 ohm impedances; manual channel selection; outputs for control footswitches, independent of the features mentioned (the channels, loop, reverb effect, solo, and mute to engage the tuner), all of which use true bypass; an effects loop send/return (true bypass); BIAS control; and, what I liked most: independent features per channel. For each channel we can choose the output power (50 or 100 W), switch the effects loop on/off, set the reverb level and, of course, choose the type of rectifier. The latter is obvious, since we're looking at a Dual Rectifier, where we can choose diodes or tubes (if we choose tubes, both will be engaged if the channel is set to 100 W, and one if it's set to 50 W).
I liked the way the tubes are laid out. They're protected by a removable metal grille, which gives us two advantages: on the one hand, it properly protects the circuit from possible knocks; and on the other, we can take advantage of the physical fact that metal absorbs the heat given off by the tubes well, so we can tell their temperature by touch (note: you should never touch a hot tube with your fingers).
The circuit has six 12AX7 preamp tubes, four 6L6 power tubes and two 5U4 rectifier tubes (in addition to the solid-state rectifier mentioned, made up of diodes). A pretty smart choice, in my view; but to each their own, and you may prefer a more British sound and therefore favor EL34s as power tubes. No problem: a new BIAS adjustment, flipping the switch from 6L6 to EL34, and you're set.
Any drawbacks? This little monster's weight is mammoth, but that's to be expected considering everything it contains. Besides, the folks at Mesa have thought about this dilemma, and the amp comes with three handles: one on the top and two on the sides so two people can carry it comfortably.
We haven't talked in detail about the footswitch, and it certainly has almost everything you could expect from an amp controller in pedalboard format. No fewer than eight switchable pedals: channel 1, channel 2, channel 3, channel 4, effects loop, mute, solo and reverb. Each channel has a register that stores the information on those features. Here's another example that keeps alive the philosophy of independent settings per channel maintained for this model. Of course, these settings include a 100% true bypass circuit. The only thing I'd add to make this a functionally perfect footswitch would be a per-channel mode switch.
As for its construction, quality aluminum has been used, and it withstands the toughest conditions of the wildest live shows, as well as the most insistent boots.
Sound
We finally get to this section. We grab a Stratocaster to start with and plug in (there are tags all along the cable reminding you of the safety measures to keep in mind for proper use of the amp).
We plug straight into the amp's input, select the first channel in "clean" mode, set the EQ, and when we play the first chord we hear a very round, warm, defined sound and, above all, a completely natural sonic response. What I mean is that we can make our guitar sound exactly according to the attitude of our fingers. The definition is such that we can play natural harmonics even at the fourth fret.
I took the opportunity to try the reverb. Very well done, smooth and with a nice tail, the kind you can tell from the start is 100% natural. Good reverb that doesn't "swallow" our notes.
We switch to "fat" mode and the lows increase substantially, giving a jazzier sound, but it doesn't saturate; instead it keeps that constant balance that avoids the annoying boom from too much bass. Perfect for classic blues or jazz.
Now comes my favorite for Fender guitars and their offshoots: "tweed" mode, which brings out that "twang" so characteristic of these guitars. It has a higher output, and by tweaking the EQ and turning up the reverb we can get almost all the bright, bell-like sounds that made that brand famous in the '60s.
Now, as for the second channel, the first two modes are the same as on channel 1, while the third mode, called "brit," delivers a sound that made me smile as soon as I heard it, because it's the classic British rock of the '70s (think Deep Purple or Pink Floyd, for example). You do have to turn up the gain considerably to notice a bit more output, but it's enough to just play harder.
These first two channels, at 100 W and combined with tube rectification mode (rect-o-tracking) and the Spongy voltage mode, made up my favorite cocktail.
Now we move on to the battle channels. To start, the first mode on the third channel ("raw") shows off that American rock sound so typical of the Southern states (think ZZ Top), which reminded me of the classic Plexi. A rich, bright, crunchy sound. It's clearly different from the next mode ("vintage"), which alludes to the old-school '80s metal sound (think Randy Rhoads). More balanced mids and lows, with a bright edge, which make this mode my favorite for playing solos. Here the influence of Mesa's classic Dual Rectifiers starts to show more.
And now, the most hard-hitting mode: "modern." With more low end, presence, density and sustain, it holds the true spirit of New Metal. I couldn't resist turning up the gain (though you shouldn't turn it all the way up, since that can wear out the tubes faster), cutting the mids, boosting the treble, bass and presence and, of course, switching to diode rectification, which results in a harder sound. The quintessence of modern metal, no doubt about it.
As for the fourth channel, it's a copy of the third, only with a bit more presence and gain, since it's the channel most geared toward metal and the extreme styles derived from it. The truth is that here I was especially drawn to "modern" mode. Even so, versatility makes room for itself here too, because by playing with the EQ, reducing the gain and switching to rect-o-tracking mode, you can get tremendously attractive sounds suited to more styles, even on this channel. That drove me into a frenzy of versatility and experimentation, to the point where I still haven't had enough time to get everything out of it.
On these two channels, given their focus (rock, metal), I found the 50 W settings more attractive (so I could turn up the volume, since it's distortion), with diode rectification, and the reverb low in "modern" mode and halfway in vintage mode, since solos benefit from a bit of reverb.
Finally, I'd note that, although the repetition of modes might suggest others could have been included, it's actually useful, since we may want to use on two channels two modes that are, in principle, tied to the same channel, and with this footswitch that's the only way to do it.
Live performance
I was able to use it live, and the result was simply sensational. This is where the true essence of this amp comes out. Pure sound, with no unwanted distortion, and with power and volume levels that at medium-sized gigs make you wonder whether it really needs to be miked. It's so powerful that I couldn't turn the amp's master output past 4 out of 10, or else I would have buried the rest of the musicians. A real cannon blast, backed by speakers that couldn't be better for such "heavy-hitting" amps.
What does Mesa Boogie have? How does it do it?
You probably think this section should have been at the beginning of the article. However, I wanted you, after reading about all these wonders, to be asking yourselves things like "how is this possible?" Well, here are answers to everything.
a) MATERIALS AND CONSTRUCTION
One of the most important components in building tube amps are the input and output transformers. That's part of the reason for a good tube amp's high price, since a mistake in manufacturing and calibrating transformers will, in the long run, lead to failures and a deteriorating sound.
The chassis, meanwhile, is made of aircraft-grade aluminum, an excellent material that will keep the amp armored against the harsh conditions of live shows.
As for construction, the amps are assembled by hand by highly qualified professionals, so every Mesa, during manufacturing, has to pass through the hands of several specialists in each area (chassis, wiring, tube installation, etc.). Those technicians attest to all this in the included documentation.
b) TUBES
Mesa Boogie is one of the few tube amp makers that also inspects tubes and labels them as "Mesa Engineering." Like any other tube-screening company (Sovtek, Svetlana...), they buy the tubes from an aerospace supplier and put them through a rigorous testing process; the screening leads to more than 50% of the tubes being rejected. They're analyzed by computer and then subjected to a "road test," that is, to the extreme conditions typical of life on the road. The aim is to make sure that, besides working perfectly, the tubes stay intact in the amp while being transported (resistance to bumps on the road, temperature changes, etc.).
c) TESTS
After the last screw is put into the amp, every Mesa is put through tests, such as checking that it can perform at very high volumes without distorting, speaker stress tests, checking tube warm-up temperature, etc. One mistake here, and it's back to square one. That means that, to keep that from happening, the technicians have to be extremely careful and apply slow manufacturing and testing processes. That, then, justifies the high price of these amps.
Conclusion
Few tube amps have given me the confidence this little guy has. An all-rounder that excels in every respect (setting aside the price: high, but justified). That said, although it's as solid as a tank, it's still a tube amp, which means you absolutely must use it with care.
A word of advice: the smartest thing to do right after buying a tube amp is to get a UPS. I assume you know what it is, but just in case, here goes: it's a device that supplies power to one or more devices from an internal battery. How long it can supply power depends on the power it provides, the number of devices connected to it and the power they draw. I know more than one person who has seen their power tubes knocked out because of a blackout in the middle of a concert, which results in an improper shutdown for the amp; so much so that, at the very least, the power tubes blow and, at the extreme, key parts of your amp can be damaged. Considering what they usually cost, even in the best case (€50 per power tube, installation not included), safety is really something to take seriously.
And what more can be said about the Roadster? One of the most versatile tube amps you can find today, with crystal-clear, round cleans, natural distortion, completely independent operation per channel (power, effects loop, reverb and rectifier selector), great power and a closed-back cabinet loaded with two V30s. I think it's designed especially for musicians devoted to rock and its offshoots, but its versatility extends it to more styles.
The truth is that one thing about the commercial policy does bother me, and that's that the prices Mesa/Boogie sets for Europe are somewhat higher than those set for its home market.
In this case we're talking about €2,820. Clearly this isn't a price where you try to cut corners; it's a range we go into knowing exactly what we want, and we pay a high sum in exchange for getting everything we ask for and more. This is one of those times when even the slightest mistake is unforgivable, but Mesa Boogie has certainly made sure every cent invested in this amp is worth it. To give you an idea, greats like John Petrucci use the Mesa Boogie Road King, which is basically the Roadster with added options in the power amp circuitry so different power tube models can be combined. The preamp, however, is identical in both models. Obviously, musicians at that level wouldn't choose an ordinary preamp, so... you can count on this being gear for life, built to withstand endless roads.
The ultimate amplifier? I think the only way for you to get the answer is to do what I'm about to do right now: plug it in and play.