Crunch Gain; Clean Vol - Hughes & Kettner ATTAX 100 Head Manual

ATTAX 100™ Manual
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
ATTAX 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 ATTAX 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 ATTAX 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.
1.10 FX ON/OFF
Especially for live performances, the ATTAX 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 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 ef-
fects and DELAY at the same time, leaving REVERB unaffected. You can
use a double footswitch (such as the Hughes & Kettner
the modulation effects and DELAY, and REVERB seperately.
1.11 FX-ON/OFF Programming
The switching function of the stereo socket FX-ON/OFF on the back of
the ATTAX 100 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 −9 o'clcok position
switch 1: MOD+DLY, switch 2: REV (factory preset)
2) MOD FX knob is in 9 −12 o'clcok position
switch 1: MOD, switch 2: DLY (reverb is not connected)
3) MOD FX knob is in 12 −15 o'clcok position
switch 1: MOD, switch 2: DLY + REV
4) MOD FX knob is in 15 −18 o'clcok position
10
switch 1: MOD+DLY+REV, switch 2 remains free (as "global bypass
when single footswitch is used")
After switching-on, the ATTAX 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 ULTRA 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
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 somewhere 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
®
FS-2) to switch 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.
The ATTAX 100's four Channels