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MATRIX™ Manual
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™’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™ 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™’s front panel. When the footswitch is plugged into the amp,
buttons 1 to 4 serve display purposes only, and the footswitch switches
channels.
1.10 FX ON/OFF
Especially for live performances, the MATRIX™ enables you to turn the
internal effects on and off individually, in addition to the 4 switchable
channels. To do this, you need to connect 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 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.
1.11 MATRIX FX-ON/OFF Programming
The switching function of the stereo socket FX-ON/OFF on the back
of the MATRIX can be programmed by turning the MOD FX knob and
holding CLEAN and LEAD pressed down. The following configurations
show which effects blocks are assigned in this way to switch 1 and
switch 2 of the double foot switch:
1) MOD FX knob is in 6:00 - 9:00 range
switch 1: MOD+DLY, switch 2: REV (factory preset)
2) MOD FX knob is in 9:00 - 12:00 range
switch 1: MOD, switch 2: DLY (reverb is not connected)
3) MOD FX knob is in 12:00 - 15:00 range
switch 1: MOD, switch 2: DLY + REV
4) MOD FX knob is in 15:00 - 18:00 range
switch 1: MOD+DLY+REV, switch 2 remains free (as “global bypass
when single footswitch is used”)
After switching-on, the MATRIX 100 confirms the selected
configuration by making all four channel selecting switches blink
on and off a corresponding number of times. For example, once for
combination 1, and twice for combination 2, etc.. As soon as the LEDs
are flashing, you can let go of CLEAN and LEAD.
ATTENTION: If CLEAN and WARP are kept pressed down at the same
time, the entire AMP (all sounds and the FX-ON/OFF configuration) is
reset to the factory presets.
2
The MATRIX™’s four Channels
2.1 CLEAN
The Clean 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.
2.1.2 Clean Voicing Section: BASS, MID and TREBLE
knobs. MID and TREBLE controls influence 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.
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