Crunch Channel; Lead Channel; Ultra Channel; Gain - Hughes & Kettner Switchblade Head 100 Manual

Switchblade

2.2 CRUNCH Channel

Classic British overdrive à la carte! The
diverse tonal spectrum from Clean to mean, and all points in between.
The Gain control's integrated Boost function transforms tight rhythm
tone into a throaty growl perfect for rockin' riffs.

2.3 LEAD Channel

The sound is the first choice for hard-rockin', classic British
LEAD
high-

GAIN

tone to fuel Leads, power chords and riffs. Courtesy of its
fine-tuned compression, this Channel delivers the lubricant that makes
those slick riffs and licks fly off your fingertips.

2.4 ULTRA Channel

American high-Gain sound with sumo-sized low end and snarling top
end. The ULTRA Channel delivers the kind of merciless performance
that is sure to delight nu metal meisters and dropped tuning
aficionados. Ultra is also an alluring alternative for guitarists seeking to
super-size their sound with a high-calorie topping of rich tone.
2.5 GAIN
The knob determines Input sensitivity and thus the Level of
GAIN
saturation and distortion. SWITCHBLADE
feature: Just before the knob arrives at the far right position, a
stage kicks in (and the red LED lights up). Now, when you see Boost
on other amps, this usually means all frequencies are boosted. But
Switchblade's Boost amplifies selected frequency ranges for each
Channel to attain creamier tone.

2.6 BASS, MID, TREBLE

The voicing section is tweaked to accomplish the best, most efficient
sound-shaping for each Channel. Getting right to the heart of the sonic
matter, every knob addresses each Channel's characteristic frequency
ranges. Like on every tube amp, the knobs of a Channel influence each
other. That is, if you boost the Treble, the midrange is cut and vice
versa. This puts a much greater range of subtle tonal variations at your
fingertips.

2.7 PRESENCE

This knob determines the overtone content. Unlike a
which boosts whatever high frequencies are available,
actually determines the amount of harmonic overtones generated by
the amp. Usually a PRESENCE knob controls the overtone content
of the overall amp rather than of individual Channels. Courtesy of
SWITCHBLADE 's programmability, you can define
not only for each Channel, but also for each Preset.

2.8 MASTER

Use the Channel knob to adjust the given Channel's Volume
MASTER
and balance it out with the other Channels' Levels. On Switchblade this
knob serves another vital purpose: It lets you store the same sound
at different Volumes to any of the 128 Presets, for example, a softer
version for rhythm and a louder setting for Leads.
Note: The Channel MASTER is a different breed of knob. It adjusts the
Channels' relative levels, and is tweaked to help you quickly dial in the
best balance. Unlike a conventional Master knob, it can't be turned
CRUNCH Channel covers the
's GAIN offers a special
BOOST
knob,
TREBLE
PRESENCE
PRESENCE settings
all they way Down; it merely boosts or cuts the given Level. This
design makes musical and practical sense: The Clean Channel normally
requires a much higher Master Level than a distorted Channel, which
is why it is about as loud as the other Channels when the knob is set
to the center position. That's why the 12 o'clock position is always the
best starting point for adjusting Volume.
3

Digital Effects

SWITCHBLADE offers three independent digital effect sections that can
be used simultaneously. Like Channel settings, all effect settings are
programmable.
Note: The internal effects are added to the signal via an intelligent
analog circuit. Effect routings in no way comprise the integrity of
SWITCHBLADE's tube tone, which remains intact in all its quality.
3.1 REVERB
SWITCHBLADE 's Reverb is modeled to match the warmth and musicality
of classic spring Reverbs. A genuine improvement over its analog
forebears, it automatically adjusts the Reverb tail to suit the setting: The
more REVERB you add to the signal, the longer the

3.2 DELAY

The Delay section's VOLUME, TIME
total control over all parameters. This lets you dial in everything from
rockabilly style slap-back echo to U2-inspired Delay extravaganzas and
Queen-like bombast.
3.2.1 VOLUME
Adjusts the Volume of the repetitions, sweeping from all the way off to
just as loud as the original signal.
3.2.2 FEEDBACK
Adjusts the number of repetitions from one to infinite.
3.2.3 TIME
Adjusts the Time to the next repetition from 80 ms to 1.4 s.
TIP: TIME can be remote-controlled via the included FSM 432 using
the TAP function. This lets you respond quickly and conveniently to
timing changes. You'll find TAP to be a very helpful feature, particularly
on stage! More on this in chapter 6.1.3

3.3 MOD FX

The three most important modulation effects are
and TREMOLO , and they're all on board, readily activated via a single
knob. CHORUS is active in the first third,
and in the final third of the control range. You can shape the
TREMOLO
effect within its assigned third of the control range using this knob. The
parameters were tweaked to make musical sense: A twist of the knob
is all it takes to get the desired effect. Twisting clockwise adjusts the
rate of the modulation effects. Modulation depth is adjusted
REVERB time.
and FEEDBACK knobs afford you
CHORUS, FLANGER
FLANGER in the second third,
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