
The Electra-Dyne strays from Mesa/Boogie''s traditional format, but delivers killer cleans.
Download Example 1 Clean | |
Download Example 2 Overdrive: Hi Mode | |
Clips recorded through a Mesa/Boogie Stiletto 4x12. Clean recorded with a 2008 Nash '63 Strat, Hi Mode recorded with a Gibson Les Paul Studio |
In comparison with most of Boogie’s past offerings, the Electra-Dyne is astonishingly simple. A total of only six control knobs grace the front panel, which is strange to see from a company known for popularizing the use of extensive options in amp design. With a simple three-band EQ, Presence, Gain and Master Volume knobs, and a tall head shell tailored with piping, it’s hard not to make a visual comparison to the famed Marshall Super Lead. Rounding out the front panel are the standard Power and Standby switches and a three-way toggle to switch between Clean, Low, and Hi gain modes.
Plugging In
After connecting the head to a Boogie 4x12 cab, I plugged in a 1978 Gibson Les Paul Custom with Tom Anderson pickups. I originally dropped the Tom Andersons in my Gibson when I owned a Trem-O-Verb combo, a highly underrated Mesa amp from yesteryear, and I know just how well Mesa designs treat their sound (Mesa has used Anderson guitars and pickups to test their amps for years). The Electra-Dyne can be set for either 90 or 45 watts via a small switch on the rear panel of the amp. In this case, I went with the 90-watt option. With all of the controls at noon (which is usually how I like to set up Mesas at first) and the amp set to clean, the Electra-Dyne roared with authority, exhibiting a noticeably huge amount of headroom—Mesa’s amps deserve their reputation for being on the loud side. The Electra-Dyne might be one of the loudest I’ve ever heard. It could also be that my ears just perceived it as being so, because the amount of headroom on the Clean mode is astonishing.
Mesa attributes this to the Simul-Class power amp. This mode is the only one in the amp that leans towards the American-voicing side, and it sounds utterly fantastic, like there’sa Deluxe Reverb hidden inside that’s been juiced to high heaven. With a dash of reverb (controlled from the rear panel), it was perfect for light and heavy chording, only getting thicker and more powerful the harder I hit the strings. I realized that I’d finally found a Mesa clean tone that beat out my favorite, the aforementioned Trem-O-Verb I used to own. Being highly satisfied with the clean tone this amp is capable of producing with a Les Paul, I wondered what it would sound like with a guitar known for that tone. I reached for an American Fender Jazzmaster, and kept the amp in the 90-watt mode. The high end was more pronounced of course, so I flipped to the 45-watt setting and brought the presence down a little to compensate. With the Reverb almost dimed, I was able to get some huge Johnny Greenwood-esque soundscapes with a glistening crispness that was absolutely beautiful. That reverb is no slouch, either.
Put Some Gain on It
The gain modes on the Electra-Dyne are simply that: modes, though you can footswitch between all three (Clean, Low and Hi) quite effectively. Mesa wanted to keep the amp as close to its single-channel roots as possible, so the two gain options are British-voiced variations on the core tone. Starting with the low-gain option with the Les Paul, the amplifier took on a very unique tone for Mesa, one with more punch in the upper mids and a slight rolloff in the highs. This mode can get saturated to a point, about as much as some of the midgain settings on a vintage JCM800. The Hi gain mode definitely had that liquid gain that Mesa is known for, but with the same kick in the mids that the Low mode had. It was strange at first, because I wasn’t used to hearing this sound come from a Mesa amp. After a while, however, I really started to love it.
Since these two modes are Mesa’s homage to vintage Brit amp tones, I decided to compare them to an original legend in that vein. I set up a 1973 Marshall Super Bass head with a Bogner 4x12” next to the Mesa, and ran an A/B box between the two. I know full well that the Super Bass traditionally has fewer highs and more lows than a Super Lead, but this particular one seems to have the best of both worlds, and is one of the best representations of that era that I’ve come across. Switching between both amps driven, the similarities were highly evident: strong upper midrange, smooth lows and strong attack in the high end. What was particularly evident in the Mesa was just how strong and balanced the sound was over the vintage Marshall. Obviously, there is a major difference in the power amp structure, but this was why I set up both in the first place. Mesa took some of the best things about British preamp design and stuck their own engine init, effectively making a great British-voiced amp with a huge, clean power section.
On the Back
The rear panel houses three controls for the reverb circuit: a knob to adjust the amount of the effect, a switch that removes it from the circuit entirely with a hard bypass and—for even more versatility—a Mode Defeat switch allowing you to remove the reverb from Vintage Hi or Low mode while retaining it on the Clean, so you can have one gain mode wet and the other dry. My favorite setting was to remove the reverb from the high-gain mode and drench the Low with a liberal amount of the effect. While the Jazzmaster inherently has a lot of high end, I found it difficult even after much adjustment to dial out the superhigh frequencies without losing the body of the sound. With an American Fender Strat, it was easier to control. The Electra-Dyne revealed itself to be very sensitive to the type of guitar plugged into it, more than most amps I’ve come across.
The final two controls available are Clean Level Trim and Gain Trim, which address the issue of volume balancing. All too often, guitarists have had to deal with the difficulty of finding that perfect balance when switching between clean and overdriven tones that still sits in the mix and doesn’t overpower everything else. Using the Clean Level Trim, I was able to reduce the clean volume to match the gain modes. The Gain Trim either lowers the gain of the Clean (for players who use higher gain modes) or lowers the gain for the Low and Hi modes. I was able to get some fantastic tones using the Les Paul with the Gain Trim on the Hi mode, allowing me to crank the amp much louder to get that non-master-volume-esque cut without oversaturating the tone.
The Final Mojo
The Electra-Dyne is an appealing addition to the Mesa/Boogie catalog. For players longing for another Mesa amp with simple controls to make its debut, this is most certainly worth a look. It’s an excellent hybrid of a new, powerful amplifier design and a nod to the tones that made so much rock ‘n’ roll possible. Some guitarists, namely those who’ve played Mesa products for years and are used to their sound, might not like the direction this amp is going. It’s not a high-gain metal monster, and the high-end response from some guitars might send certain players in the other direction, but for those on the lookout for an utterly flooring clean tone and excellent boost options—that also comes in rackmount, 1x12 and 2x12 combo formats—the Electra-Dyne might be just the ticket. It’s a new sound for Mesa, and it’s an interesting one.
Buy if...
you want some of Mesa/ Boogie’s best clean tones, and simple and straightforward is the order of the day.
Skip if...
you’re looking for more of the traditional Mesa tone or a modern metal amp.
Rating...![]()
Street $1599 - Mesa/Boogie - mesaboogie.com |
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PG contributor Tom Butwin profiles three versatile - and affordable - acoustic guitars from Cort, Epiphone, and Gold Tone. These classic designs and appointments offer pro-level sound for an accessible price.
Cort Essence Series ES-GA4 Grand Auditorium Cutaway Acoustic Electric Guitar, Natural Semi Gloss (GA4NSG)
Epiphone Slash J-45 Acoustic Guitar - November Burst
The classic J-45 has been the choice of legendary musicians ever since it was first introduced in 1942. Known as The Workhorse, it is Gibson's most famous and most popular acoustic guitar model. Now Epiphone has released a new Inspired by Gibson"' J-45"' with all of the features players want, including all solid wood construction, a comfortable rounded C neck profile, 20 medium jumbo frets, the 60s style Kalamazoo headstock shape and a gorgeous Aged Vintage Sunburst finish. The Fishman® Sonicore under-saddle pickup and Sonitone preamp make this Workhorse stage-ready too. Optional hardshell or Epilite"' case available separately. A battery is not included. To power your pickup, you will need a 9-volt battery.
Gold Tone The Bell Acoustic-electric Guitar - Natural
Gold Tone’s Festival Series: The Bell stands out by blending classic craftsmanship with stage-ready versatility. Its all-solid wood construction—featuring a Sitka spruce top and mahogany back and sides—produces a rich, balanced tone that shines in any setting. The slope-shoulder design offers both comfort and clarity, perfect for fingerstyle or strumming. With a slim "D" neck, Fishman electronics, Grover tuners, and D’Addario strings, The Bell is crafted for players who demand tone, playability, and reliable performance—on stage or in the studio.
A beautifully realized mashup of two iconic guitars.
Reader: Ward Powell
Hometown: Ontario, Canada
Guitar: ES-339 Junior
I’ve always liked unusual guitars. I think it started when I got my first guitar way back in 1976. I bought a '73 Telecaster Deluxe for $200 with money I saved from delivering newspapers.
I really got serious about playing in 1978, the same year the first Van Halen album was released. Eddie Van Halen was a huge influence on me, including how he built and modded guitars. Inspired by Eddie, I basically butchered that Tele. But keep in mind, there was once a time when every vintage guitar was just a used guitar—I still have that Tele, by the way.
I never lost that spirit of wanting guitars that were unique, and have built and modded a few dozen guitars since. When I started G.A.S.-ing simultaneously for a Les Paul Junior and a Casino, I came up with this concept. I found an Epiphone ES-339 locally at a great price. It already had upgraded CTS pots, Kluson tuners, and the frets had been PLEK’d. It even came with a hardshell case. It was cheap because it was a right-handed guitar that had been converted to left handed and all the controls had been moved to the opposite side, so it had five additional holes in the top.
Fortunately, I found a Duesenberg wraparound bridge that used the same post spacing as a Tune-o-matic. I used plug cutters to cut plugs out of baltic birch plywood to fill the 12 holes in the laminated top. I also reshaped the old-style Epiphone headstock. Then, I sanded off the original finish, taped the fretboard, and sprayed the finish using cans of nitro lacquer from Oxford Guitar Supply. Lots of wet sanding and buffing later, the finish was done.
I installed threaded insert bushings for the bridge, so it will never pull out. The pickup is a Mojotone Quiet Coil P-90 and I fabricated a shim from a DIY mold and tinted epoxy to raise the P-90 up closer to the strings. The shim also covers the original humbucker opening. I cut a pickguard out of a blank and heated it slightly to bend it to follow the curvature of the top.
All in all, I'm pretty happy how it turned out! It plays great and sounds even better. And I have something that is unique: an ES-339 Junior.
The Gibson EH-185, introduced in 1939, was one of the company’s first electric guitars.
Before the Les Pauls and SGs, this aluminum-reinforced instrument was one of the famous brand’s first electric guitars.
It’s hard to overstate the importance of electric guitar in shaping American popular music over the last half-century. Its introduction was a revolution, changing the course of modern musical styles. Today, when we think of the guitars that started the revolution, we think of the Stratocaster and the Les Paul, guitars held against the body and fretted with the fingertips. But the real spark of this musical mutiny was the lap-steel guitar.
In the early 20th century, guitar music was moving out of the parlors of homes and into public spaces where folks could gather together and dance. Guitarists needed to project their sound far beyond where their wimpy little acoustic instruments could reach. Instrument manufacturers began experimenting with larger body sizes, metal construction, and resonators to increase volume.
Around this time, George Beauchamp began experimenting with electric guitar amplification. He settled on a design using two U-shaped magnets and a single coil of wire. Beauchamp was in business with Adolph Rickenbacker, and they decided to stick this new invention into a lap steel.
If we put on our 1930s glasses, this decision makes perfect sense. The most popular music at the time was a blend of Hawaiian and jazz styles made famous by virtuosos like Solomon “Sol” Hoʻopiʻi. Photos of Hoʻopiʻi with a metal-body resonator abound—one can imagine his relief at being handed an instrument that projected sound toward the audience via an amplifier, rather than back at his own head via resonator cones. Beauchamp and Rickenbacker were simply following the market.
As it turned out, the popularity of Hawaiian music gave way to swing, and electric lap steels didn’t exactly take the world by storm. But Beauchamp and Rickenbacker had proven the viability of this new technology, and other manufacturers followed suit. In 1937, Gibson created a pickup with magnets under the strings, rather than above like Beauchamp’s.
“When I plugged in the EH-185 I expected to hear something reminiscent of Charlie Christian’s smooth, clean tone. But what I got was meatier—closer to what I associate with P-90s: warm and midrange-y.”
The first page of Gibson’s “Electrical Instruments” section in the 1939 catalog features a glowing, full-page write-up of their top-of-the-line lap steel: the EH-185. “Everything about this new electric Hawaiian Guitar smacks of good showmanship,” effuses the copy. “It has smoothness, great sustaining power, and an easy flow of tone that builds up strongly and does not die out.”
Picking up the 1940 EH-185 at Fanny’s House of Music is about as close as one can get to traveling back in time to try a new one. It is just so clean, with barely any dings or even finish checking. Overall, this is a 9/10 piece, and it’s a joy to behold. Speaking of picking it up, the first thing you notice when you lift the EH-185 out of the case is its weight. This is a much heavier instrument than other similar-sized lap steels, owing to a length of thick metal between the body and the fretboard. The catalog calls it “Hyblum metal,” which may be a flowery trade name for an early aluminum alloy.
This 1940 EH-185 is heavier than other lap steels in its class, thanks to a length of metal between its fretboard and body.
Photo by Madison Thorn
There are numerous other fancy appointments on the EH-185 that Gibson didn’t offer on their lesser models. It’s made of highly figured maple, with diamond-shaped decorations on the back of the body and neck. The double binding is nearly a centimeter thick and gives the instrument a luxurious, expensive look.
Behind all these high-end attributes is a great-sounding guitar, thanks to that old pickup. It’s got three blades protruding through the bobbin for the unwound strings and one longer blade for the wound strings. When I plugged in the EH-185 I expected to hear something reminiscent of Charlie Christian’s smooth, clean tone. But what I got was meatier—closer to what I associate with P-90s: warm and midrange-y. It was just crying out for a little crunch and a bluesy touch. It’s kind of cool how such a pristine, high-end vintage instrument can be so well-suited for a sound that’s rough around the edges.
As far as electric guitars go, it doesn’t get much more vintage than this 1940 Gibson EH-185 Lap Steel. It reminds us of where the story of the electric guitar truly began. This EH-185 isn’t just a relic—it’s a testament to when the future of music was unfolding in real time. Plug it in, and you become part of the revolution.
Sources: Smithsonian, Vintage Guitar, Mozart Project, Gibson Pre-War, WIRED, Steel Guitar Forum, Vintaxe
J Mascis is well known for his legendary feats of volume.
J Mascis is well known for his legendary feats of volume. Just check out a photo of his rig to see an intimidating wall of amps pointed directly at the Dinosaur Jr. leader’s head. And though his loudness permeates all that he does and has helped cement his reputation, there’s a lot more to his playing.
On this episode of 100 Guitarists, we’re looking at each phase of the trio’s long career. How many pedals does J use to get his sound? What’s his best documented use of a flanger? How does his version of “Maggot Brain” (recorded with bassist Mike Watt) compare to Eddie Hazel’s? And were you as surprised as we were when Fender released a J Mascis signature Tele?