SLAVE CONTROL: This 1/4 jack and control provide a signal derived from the speaker jack. Perfect for using either 100MT as a master pre-amp, and additional power
amps for more power when needed.
NOTE: Once a signal is taken from the SLAVE, it can not be inserted back into the FX Loop Return jack or a feedback loop will occur. Much like holding a microphone
into the PA system’s cabinets…a loud high pitched squeal will be the result.
SPEAKERS: Two 4 Ohm, Two 8 Ohm and one 16 Ohm jack are provided for speaker interfacing. PumPkin G-100MT is not very sensitive to speaker mismatches and will not be
damaged by them, except that very low ohmage loads will cause the power tubes to wear faster. A single twelve-inch 8 Ohm speaker should generally be connected to the 8
Ohm output. When suing two 8 Ohm speakers, connect them both to the 4 Ohm outputs provided because the total loads is 4 Ohm in that case.
4.12 cabinets may be 4, 8 or 16 Ohms. If you are not sure of the impedance of your cabinet, you may need to remove the Rear Panel in order to verify the impedance
rating of the individual speaker or speakers.
FX LOOP: The Effects Loop of the PumPkin G-100MT is probably one of the most comprehensive loops in any amplifier. It is wired in series to the dry signal and is
comprised of five elements, four on the Rear Panel and one on the Front Panel. Together they provide virtually seamless interfacing of processors of almost any style
while preserving the integrity of this high tuned gain machine. These elements are as follows:
1. An ASSIGN rotary control that allows you to have any combination of LOOP ON status or completely remove it from the signal path altogether.
NOTE: LOOP BYPASS defeats the Front Panel OUTPUT and SOLO Controls as they are part of the FX RETURN circuit. This tube stage and associated circuitry are omitted when
you select LOOP BYPASS. The Channel MASTER Controls become the final output controls in this case.
2. A SEND LEVEL Control that allows matching of levels between the output of your PumPkin G-100MT and your processors’ input.
3. A SEND jack that captures the preamp signal and pads it down to accommodate outboard signal processors input stage.
4. A Return jack that accepts the signal from a processors output and boosts the level back up to unity gain (or beyond) to be mixed back into the original signal.
5. An OUTPUT Control Front Panel that is the effects return stage level control which also doubles as an overall control for the whole amplifier. This scheme allows
the channels levels to be matched to each other and/or fine tuned for a sound and an effects level. Once this is achieved the level of the whole amplifier can be
raised or lowered with one control.\
EXTERNAL SWITCHING JACKS: These jacks allow usually MIDI-programmed operation of your amplifier’s functions from an external switching source. The switching is
accomplished by connecting shorting the jack’s Tip to its Ring or ground.
BIAS SWITCH: The PumPkin G-100MT Head was designed with versatility in mind. So to add to the already awesome array of on-board features, it is essential that this
Heads be able to adapt their power output sections to use the other classic pentode power tubes, the British style EL34. The nature of their sound is usually brighter
in the extremely high frequencies. However, aficionados of the EL34 sound know that nothing has the lushness of harmonics or spread like a power amp using EL34’s. In
truth EL34’s do focus in on a region of upper harmonics that 6L6’s reproduce, but not really enhance, in the same way the EL34’s do. This characteristic is
sometimes preferred for sounds that range from a soft clip that would be used for chording or soloing, to an all out high gain crunch or lead sound. If you need a
variety of sounds and rely on a clean chording sound much of the time, you will likely prefer the stock compliment of 6L6’s. 6L6 is a more balanced sounding tube that
produces plenty of harmonic lushness, while at the same time delivering the rich lows that are crucial to both a warm clean sound and huge, tight high gain crunch
Make sure that the Bias Switch is set correctly to match the tube type that in use. Failure to do this will result in the failure that could possibly burn resistors in
the Bias supply.
TUBE TRACKING /DIODE: This patented switchable feature allows you to select between two different types of rectifiers for different sounds and feel.
The RECTIFIER SELECT switches that allow you to match the Rectifier style to the power output and preamp selections you have made to further enhance the performance of
the footswitchable sounds. The two choices each have their sonic benefits and stylistic leanings. They create nuance and flavor that will put the Channels in iconic
territory right away. By setting the Channels with different Rectifier choices-when appropriate-you will also increase their differences and showcase the amplifiers
DIODE: Hi Power calls up the silicone diode rectifiers which offer more punch, a tighter attack with added brightness and substantially more headroom. This would be
the preferred position for loud clean playing or tight rhythmic playing with a high front end GAIN setting. When you want the low end to track tight.
TUBE TRACKING: Normally. This position takes a power section walk down memory lane, paying tribute to those vintage gems of yesteryear. This switch calls up the proper
amount of tube rectification number of tubes for a given output power setting determined by the Front Panel POWER SELECT switch found in each of the three Channels.
In the 50 WATT setting one 5U4 is brought on line producing the most clippable power mode. In the 100 WATT selection, two 5U4 are activated and a higher output
vintage inspired power voice is revealed. This setting is great for sweet, bouncy clean work, thick hazy crunch rhythm and soulful liquid lead sounds.
POWER-SPONGY & BOLD: The two different power selections are equally important when looking for a particular sound. SPONGY works like a built in Variac, reducing
all the internal voltages for a true vintage feeling and that extraordinary brown sound. Power is reduced somewhat too, making it easier to achieve an overdriven
Using in this power setting will also extend tube life and overall reliability, while still producing enough to work many of your gigs.
POWER SELECT switch in the BOLD position, maximum power, clean headroom and volume are obtained.
FUSE: This is the A.C’s Alternating Current main fuse and provides protection from outside A.C. fluctuations as well as power tube failure damage.