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The matrix™ 100’s four channels – Hughes & Kettner Matrix 100 User Manual

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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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