It's like there speaking in the forum...NICE!:
MARK II-C+ (Mode Select Switch Up):
NOTE: The original MARK II-C+ amplifiers had power sections wired in TRIODE configuration. To hear the sound of the original II-C+,
set the Rear Panel Channel 3 Power Switch (located below CH. 3 REVERB Control) to TRIODE. See IMPORTANT NOTE at the end
of this section for further information.
This is a recreation of the much sought after sound of these two channel MARK series amps produced in the mid eighties that became
the voice of choice for so many recording artists of the day. Today there is a hard-core cult following for these vintage
II-C+’s and - when they can be found - they bring 3 - 4 times their original price. Many artists even now have standing
orders with their techs to buy these amps wherever they are found, regardless of price. There will probably be those
who tout the tone and authenticity of their prized vintage gems (yes, we are pleased and flattered) – and just like vintage
guitars this will probably always be the case. However, rest assured…you now own a MARK II-C+ down to the last circuit
detail and the tone is identical except for the Sylvania 415 power tubes, which are no longer available. During the R&D
process we even found ways to mimic the important mid-punch character inherent in those tubes. And far better… you don’t have
to compromise your clean or lead sound because they share controls as they do in the original layout! You also get another sound
to switch to that also has no shared controls or compromise! So, if you run into II-C+ snobs who brag about their amps or doubt the
authenticity of your rendering, smile and feel a pang of pity for the price they probably paid and let them have their glory. After all,
they need their pride because they don’t have the other 8 amplifiers you have on board to express themselves with.
The II-C+ trademark sound is urgent and stripped but also has incredible focus despite its’ precious multi-dimensional layers of upper
harmonics. It works equally well for both aggressive high gain chording and blistering single note soloing in low or high regions of
the GAIN control. When dialed in (GAIN 1:30 – 2:30, TREBLE 12:00 – 1:00, BASS 10:00 – 12:00, PRESENCE 9:00 – 11:30), it has
a lead voice that is unrivaled in articulation, nuance and time domain accuracy in the high gain genre. These qualities are especially
favored by those players whose technical ability demands instantaneous response and tight, detailed tracking of the pick attack. After
the attack, a beautiful morphing of harmonics occurs and the notes segue through a whole range of dynamic and frequency changes
that is a joy to experience. You will find yourself playing like never before and reaching newfound depths of expression.
For high gain rhythm work the II-C+ unleashed the other sound in Heavy Rock Crunch. More complex and harmonically layered than
its’ British fueled counterpart, the C+ comes on like a grinding wall of gain that is truly menacing. This aggression and sheer size is
made even more impressive with the application of the on-board Graphic EQ. The shameless scooping of mids and rebellious boost-
ing of both lows and highs simultaneously led to the iconic “V” curve becoming so popular in the eighties recordings, that it became
synonymous with the II-C+ sound. This sound reached further notoriety and became referred to as Boogie Crunch and even the
“California Sound”.
MK II C+
MK
IV
EXTREME
EQ ON
O
EQ FS
90 W
10 W
45
CH
3
CH 3
NORMAL
BRIGHT
GAIN
TREBLE
