From: rblander@watdragon.waterloo.edu (Robyn Landers)
Subject: Re: Mesa/Boogie preamps
Summary: Studio .22 versus Studio Preamp
Organization: University of Waterloo
Date: Thu, 16 Apr 1992 22:22:53 GMT

In article <73694@netnews.upenn.edu> sarisky@a.chem.upenn.edu (Mark J. Sarisky) writes:
>   [tons of stuff deleted]
>A better deal than all of the above is to get a Studio .22 amp and then a 
>Boogie Rack Mount kit.  You get the same preamp as the studio, a great sounding
>18 watt 2 EL-84 power amp and a cool Black Shadow Vintage Speaker.  
>For @600 new and I am selling one to a fellow for $350 used, which seems to be
>the going rate.  It is exactly the same preamp and I rememeber reading a story
>that the Studio preamp was marketed because LA studio guys were using Studio 
>.22's as preamps anyway.

	I generally agree with this but must take issue with a 
couple things.  First, yes, I agree completely about "a great sounding 
18 watt 2 EL-84 power amp".  I'd be really happy if MESA sold an 
affordable stereo rack mount power amp based on two pairs of EL84s, 
and not just the mega-$ channel-switching high-power 6L6 amps.  
(Yes I know about the 50/50 and the low power switch, but I happen to 
really like the EL84 sound).

	I have a minor quibble with "For @600 new".  January 1991
price list shows $500 for base model Studio .22+, or $650 with
the graphic EQ option, plus $100 for a rack adaptor and another $30
for a cooling fan.   So yes, $600 is possible, up to $780.
A Studio Preamp is $595.  You supply the power amp and speakers :-)

	Where I must disagree is here:
"You get the same preamp as the studio", and "It is exactly the same preamp".  
This is not true.  Before continuing let me state my "qualifications".
(Pretentious? Moi? :-)   I own both a Studio .22 combo (not the "plus"
version, although I have first-hand experience with that model as well) 
and a Studio Preamp (as well as a SimulClass MkIII head).

	The Studio Preamp represents quite a significant refinement
and improvement of the Studio .22.  In addition to the numerous
additional features, the basic sound has changed a bit as well.
The essential format is the same:  one very clean rhythm channel,
and one very distorted lead channel, with one set of shared tone
controls, built-in reverb, and (optional on .22) assignable graphic EQ.

	The refinements and improvements I would say are: much lower noise, 
more treble in the clean channel, tons more bass in the lead channel,
and complete control over lead channel gain and volume.

	The numerous additional features include extra switches for
rhythm bright, lead bright, lead fat.  You get an effects loop
with low or line level selectable send, and buffered stereo returns.
You get footswitchable reverb.  And finally two sets of A and B
outputs, one set uncompensated and one set with speaker emulation 
for recording or running into the guitar input of a regular amp
(thus turning the Preamp into a pretty serious stomp box :-).

	All this makes the Preamp lots more flexible for use in 
a rack with other effects and amps.   But how does it sound?
Well, all the features and flexibility aside, the .22 has a certain
something extra in its lead channel that I haven't been able
to coax out of the Preamp.  There's extra, richer harmonic content,
whereas the Preamp is a little more like the MkIII.  Having had
the .22 so long, I prefer it and wish the Preamp could do it,
but it's not a huge difference, and the Preamp works so well
in the rack setup for live use that it's going to stay.
But the .22 is going to stay too.   I use its power amp with
the Preamp to drive an extension cabinet.  And for convenience,
you can't beat having such a great sounding amp in such a small 
portable package.

	Here are my hot tip for .22 owners.  If your .22 doesn't
already have the built-in EQ option, buy something like the
Rockman EQ and patch it into the effects loop, and rewire your
footswitch with a DPDT switch and two conductor cable so you
can emulate the MESA "EQ-auto" behaviour (i.e. EQ operating
only when amp is in lead channel).   Now you can have the bass
boost that the lead channel needs, plus a volume balance control
between the rhythm and lead channels.  Also, run the amp into
an extension cabinet, like 2x12 or 4x12 and be amazed.
Finally, get a little fan and hang it off the back of the amp.
Class A means lots of heat, and your tubes will be happier if
you help keep them cooler.

>Anyway, that I my experience.  BTW, I don't work for Boogie but wish I did!

	Ditto, on both statements!
>
>Mark
>sarisky@a.chem.upenn.edu

-----
Robyn
rblanders@watmath.waterloo.edu
	"I'm just doing my rock'n'roll duty." -- Dubois

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