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Only six knobs? Are you sure it's a Boogie?

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• Review

The second is a three-way toggle called 'gain trim'. This adds more flexibility to your front-end gain by regulating the drive down in either clean or vintage hi/low modes. So for example, if you want to run a fairly high level of front-end gain in the clean channel, but don't want the dirty modes to scream too much, set the gain trim to 'hi/low' where it'll trim the gain back in vintage hi/low modes.

Conversely, if you want a very gainy sound in vintage hi/low, but you want to keep the clean mode clean, set the switch to 'clean'. You might wonder why Mesa hasn't just included separate gain and master controls for each mode. One answer is that these are set-and-forget controls that you don't need to alter. More usefully, the sounds really don't feel compromised at all, which is testament to Mesa's doubtless extensive R&D with pot values, tapers and so on: it just works.

While we're around the back, it's worth noting that the slave output for driving other amps, the switchable 4/8-ohm speaker outs, the bias switch enabling you to use either 6L6 or EL34 valves and the simple series effects loop. The latter is completely hard-bypassed when not in use. When it is in use, it's best paired with serious quality processors and professional, line-level rack gear – 'normal' pedals are better off in the front end.

The in-built spring reverb will work globally, or you can set it so it works only the clean mode and vintage hi, or the clean mode and vintage low, enabling the one remaining mode to be dry. That's useful because classic Marshall rock amps – and therefore most classic rock sounds – are without reverb.

You can go from reverb-drenched, blooming-bottom Fender-derived cleans, to tight and punchy no-reverb crunch with one tap of the footswitch. If reverb isn't your thing, there's a hard bypass option including its driver valve and circuitry.

The whole amp is switchable between 45 watts (two 6L6s, class A) and 90 watts (four 6L6s, using Mesa's trademark Simul-Class that blends class A and class A/B circuitry); the latter altogether bigger and bolder with more clean headroom, more of which later.

Inside the chassis we find Mesa's usual, custom-designed circuit boards with everything laid out neatly. From the silk-screened decals to the powder-coated steel chassis and securely fastened metal jacks, it's clear that this, like the vast majority of Mesa/Boogie amps, is built to be thrashed. We've heard some independent techs bemoan their 'complicated' construction when it comes to repairs, but personal experience tells us they break down far less frequently than more run-of-the-mill amps.

Sounds

The Electra Dyne's clean mode has acres of clean spank, good deep bass after two o'clock – even from the 1 x 12 format – and sparkling trebles, especially in the full-power, 90-watt setting, which lends almost a Vox-like character to the otherwise Fendery-response.