Hughes & Kettner Matrix 100 manual The MATRIX 100’s four Channels

MATRIX™ 100 Manual

plug a cab into just one jack, its impedance must be 4 ohms or higher.

1.5 Headphones out

same time, leaving REVERB unaffected. You can use a double footswitch (such as the Hughes & Kettner® FS-2) to switch the modulation effects and DELAY, and REVERB seperately.

Connect standard stereo headphones to jack 26, HEADPHONES. Adjust the volume via the MASTER knob. Always plug in a stereo 1/4" jack when connecting headphones. The headphones output may be damaged if you insert a mono plug into the jack. The MATRIX™ 100 speaker output is deactivated when a plug is inserted into this jack.

1.6 LINE OUT

Use jack 27, LINE OUT, (mono 1/4" jack) to patch out the amp’s signal, including all effects, to another power amp or a DI box (for example, the Hughes & Kettner® RED BOX).

1.7 CD/LINE INPUT

Use jack 28, CD/LINE INPUT, to patch in any type of line signal. For example, you could plug in a CD player to play along with a recorded track. Use a cord equipped with stereo 1/4" jack plugs to do this. Adjust the level using knob 22, MASTER VOLUME.

1.8 FX SEND/RETURN

Connect an effect device’s output to jack 29, FX RETURN; connect an effect device’s input to jack 30, FX SEND. The effects loop is a serial circuit, so adjust the effect amount (or wet-to-dry balance) at the effect device. The entire preamp signal is routed through the inserted effector and processed there. Please note that your rig’s sound quality depends to a considerable extent on the quality of the employed effect device. A poor-quality signal processor can have an adverse effect on the MATRIX™ 100’s sound quality.

•Use high-quality patch cords only to prevent signal loss, background noise and drop-outs.

•Ensure that the effect device is not being overdriven. Be sure to keep an eye on whatever type of level meter, gain indicator or overload lamp the effects device is equipped with, and adjust its input and output controls accordingly.

•Fuzz boxes, overdrives and distortion units don’t belong in an FX loop. Plug them into the amp’s input.

1.9 FOOTSWITCH

Your MATRIX™ 100 comes with a four-way footswitch that plugs into jack 31. The buttons on the footswitch correspond to buttons 1 to 4 on the MATRIX™ 100’s front panel. When the footswitch is plugged into the amp, buttons 1 to 4 serve display purposes only, and the footswitch switches channels.

1.9.1 FX ON/OFF

Especially for live performances, the Matrix™ 100 enables you to turn the internal effects on and off individually, in addition to the 4 switchable channels. To do this, you need to con- nect a footswitch to the stereo 32 FX ON/OFF jack. Using a simple footswitch (such as the Hughes & Kettner® FS-1) will enable you to switch the modulation effects and DELAY at the

2 The MATRIX™ 100’s four Channels

2.1 CLEAN

The Clean is channel is tweaked to sound sweet when driven by single-coil as well as humbucking pickups.

2.1.1 CLEAN VOL

Adjusts the CLEAN channel’s volume level. Players who opt for this class of amp demand a clean channel with enough head- room to ensure it remains clean. This amp certainly does that. Depending on the pickups’ output power, you may also be able to dial in a touch of grit. For single-coils, we recommend that you turn the knob well up. Do this, and the amp will reward you with tight &punchy midrange response that is both crisp and fat. If your axe sports humbuckers, set this knob some- where around the 12 o’clock position for crystal-clear clean tone.

2.1.2Clean Voicing Section: BASS, MID and TREBLE knobs. MID and TREBLE controls infl uence each other, as is standard and desirable in the tube amps that this voicing section is patterned on. If you boost the high end, mids are cut and vice versa. This sound-shaping feature lets you to dial in a wide variety of subtle tonal variations. We recommend that you go easy on the bass for the CLEAN channel. Generally, the more mids you dial in, the more assertive your clean tone in the band’s soundscape. Note that the TREBLE knob shapes your guitar signal’s bell-like overtones.

2.2 CRUNCH

Overdriven sounds à la carte! This channel covers a diverse tonal spectrum ranging from squeaky clean to gritty overdrive. It responds to every nuance in your picking attack, granting you precise control over the amount of overdrive via your guitar‘s volume knob. Higher CRUNCH knob settings elicit warm sustain that is ideal for singing leads with breathy dynamics.

2.2.1 CRUNCH GAIN

Controls the CRUNCH channel’s input sensitivity and thus the amount of saturation. You can dial in anything from tone that is just sweet enough to pass for clean to throaty tones that are distinctly rough around the edges. Again, crank the knob for single-coils; back it off a bit for humbuckers.

2.2.2 CRUNCH VOL

Controls the CRUNCH channel’s level; use it to determine the balance between it and the other channels.

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