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MATRIX™ 100 Manual
plug a cab into just one jack, its impedance must be 4 ohms or
higher.
1.5 Headphones out
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
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.
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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.
2.1.2 Clean 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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