Budda MN-100 User manual
Budda Amplifiers & Cabinets are designed and built in the U.S.A.
MN™-100 Guitar Amplifier
Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufcient
magnitude to constitute a risk of electric shock to persons.
Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying
the product.
CAUTION: Risk of electrical shock — DO NOT OPEN!
CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer servicing to qualied service
personnel.
WARNING: To prevent electrical shock or re hazard, this apparatus should not be exposed to rain or moisture‚ and objects lled with
liquids‚ such as vases‚ should not be placed on this apparatus. Before using this apparatus‚ read the operating guide for further warnings.
SPANISHENGLISH FINNISH
FRENCH SWEDISH
DEUTSCH
Tarkoitettu kiinnittämään käyttäjän huomio sellaiseen eristämättömään vaaralliseen jännitteeseen tuotteen kotelossa, joka saattaa olla
riittävän suuri aiheuttaakseen sähköiskuvaaran.
Tarkoitettu kiinnittämään käyttäjän huomio tärkeisiin käyttö- ja huolto-ohjeisiin tuotteen mukana seuraavassa ohjeistuksessa.
VAROITUS: Sähköiskun vaara — ÄLÄ AVAA!
VAROITUS: Sähköiskuvaaran vuoksi älä poista kantta. Ei sisällä käyttäjän huollettavissa olevia osia. Huoltaminen tulee jättää pätevän
huoltohenkilöstön tehtäväksi.
VAARA: Sähköiskun tai tulipalon vaaran estämiseksi tätä laitetta ei saa altistaa sateelle tai kosteudelle, eikä sen päälle saa asettaa
nesteellä täytettyjä esineitä, kuten maljakoita. Ennen laitteen käyttöä lue muut varoitukset käyttöohjeesta.
Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur la présence d’une tension dangereuse pouvant être d’amplitude
sufsante pour constituer un risque de choc électrique.
Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur qu’il ou qu’elle trouvera d’importantes instructions concernant l’utilisation
et l’entretien de l’appareil dans le paragraphe signalé.
ATTENTION: Risques de choc électrique — NE PAS OUVRIR!
ATTENTION: An de réduire le risque de choc électrique, ne pas enlever le couvercle. Il ne se trouve à l’intérieur aucune pièce pouvant
être reparée par l’utilisateur. Conez I’entretien et la réparation de l’appareil à un réparateur Peavey agréé.
AVIS: Dans le but de reduire les risques d’incendie ou de decharge electrique, cet appareil ne doit pas etre expose a la pluie ou a l’humidite
et aucun objet rempli de liquide, tel qu’un vase, ne doit etre pose sur celui-ci. Avant d’utiliser de cet appareil, lisez attentivement le guide
fonctionnant pour avertissements supplémentaires.
Är avsedd att varna användaren för förekomsten av oisolerad ”farlig spänning” inom produktens hölje som kan vara av tillräcklig nivå för att
personer ska riskera elektrisk stöt.
Är avsedd att uppmärksamma användaren på förekomsten av viktiga handhavande- och underhållsinstruktioner (service) i den litteratur
som medföljer produkten.
OBSERVERA: Risk för elektrisk stöt – ÖPPNA INTE!
OBSERVERA: För att minska risken för elektrisk stöt, avlägsna inte höljet. Inga delar inuti kan underhållas av användaren. Låt kvalicerad
servicepersonal sköta servicen.
VARNING: För att förebygga elektrisk stöt eller brandrisk bör apparaten inte utsättas för regn eller fukt, och föremål fyllda med vätskor,
såsom vaser, bör inte placeras på denna apparat. Läs bruksanvisningen för ytterligare varningar innan denna apparat används.
Dieses Symbol soll den Anwender vor unisolierten gefährlichen Spannungen innerhalb des Gehäuses warnen, die von Ausreichender
Stärke sind, um einen elektrischen Schlag verursachen zu können.
Dieses Symbol soll den Benutzer auf wichtige Instruktionen in der Bedienungsanleitung aufmerksam machen, die Handhabung und
Wartung des Produkts betreffen.
VORSICHT: Risiko — Elektrischer Schlag! Nicht öffnen!
VORSICHT: Um das Risiko eines elektrischen Schlages zu vermeiden, nicht die Abdeckung enfernen. Es benden sich keine Teile darin,
die vom Anwender repariert werden könnten. Reparaturen nur von qualiziertem Fachpersonal durchführen lassen.
WARNUNG: Um elektrischen Schlag oder Brandgefahr zu verhindern, sollte dieser Apparat nicht Regen oder Feuchtigkeit ausgesetzt
werden und Gegenstände mit Flüssigkeiten gefuellt, wie Vasen, nicht auf diesen Apparat gesetzt werden. Bevor dieser Apparat verwendet
wird, lesen Sie bitte den Funktionsführer für weitere Warnungen.
Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin aislamiento dentro de la caja del producto
y que puede tener una magnitud suciente como para constituir riesgo de descarga eléctrica.
Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la operación y mantenimiento en la
información que viene con el producto.
PRECAUCION: Riesgo de descarga eléctrica ¡NO ABRIR!
PRECAUCION: Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles dentro. Deje todo mantenimiento
en manos del personal técnico cualicado.
ADVERTENCIA: Para prevenir choque electrico o riesgo de incendios, este aparato no se debe exponer a la lluvia o a la humedad. Los
objetos llenos de liquidos, como los oreros, no se deben colocar encima de este aparato. Antes de usar este aparato, lea la guia de
funcionamiento para otras advertencias.
ENGLISH
IMPORTANT SAFETY INSTRUCTIONS
WARNING: When using electrical products, basic cautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including amplifiers) that
produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than
the other. A grounding type plug has two blades and a third grounding plug. The wide blade or third prong is provided for your
safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point they exit
from the apparatus.
11. Only use attachments/accessories provided by the manufacturer.
12. Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is
used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such
as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has
been exposed to rain or moisture, does not operate normally, or has been dropped.
15. Never break off the ground pin. Write for our free booklet “Shock Hazard and Grounding.” Connect only to a power supply of the
type marked on the unit adjacent to the power supply cord.
16. If this product is to be mounted in an equipment rack, rear support should be provided.
17. Note for UK only: If the colors of the wires in the mains lead of this unit do not correspond with the terminals in your plug‚
proceed as follows: a) The wire that is colored green and yellow must be connected to the terminal that is marked by the letter
E‚ the earth symbol‚ colored green or colored green and yellow. b) The wire that is colored blue must be connected to the
terminal that is marked with the letter N or the color black. c) The wire that is colored brown must be connected to the terminal
that is marked with the letter L or the color red.
18. This electrical apparatus should not be exposed to dripping or splashing and care should be taken not to place objects
containing liquids, such as vases, upon the apparatus.
19. The on/off switch in this unit does not break both sides of the primary mains. Hazardous energy can be present inside the
chassis when the on/off switch is in the off position. The mains plug or appliance coupler is used as the disconnect device, the
disconnect device shall remain readily operable.
20. Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in susceptibility to
noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a sufficient
time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the following permissible
noise level exposures:
Duration Per Day In Hours Sound Level dBA, Slow Response
8 90
6 92
4 95
3 97
2 100
1 1⁄2 102
1 105
1⁄2 110
1⁄4 or less 115
According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Earplugs or protectors to
the ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss, if
exposure is in excess of the limits as set forth above. To ensure against potentially dangerous exposure to high sound pressure levels, it is
recommended that all persons exposed to equipment capable of producing high sound pressure levels such as this amplification system be
protected by hearing protectors while this unit is in operation.
SAVE THESE INSTRUCTIONS!
WARNING: Changes or modifications to this unit not expressly approved by the party responsible for compliance could void
the user’s authority to operate the equipment.
This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.
Congratulations on purchasing this Budda guitar amplifier. After initially creating a reputation for
producing boutique tone machines, we have now raised the bar for modern multi-channel tube guitar
amplifiers by producing possibly the most sophisticated tube guitar amp available.
By not compromising on the construction or quality of any parts, we can also ensure that for all its
features, the most important thing - tone - is not compromised.
And what an array of different tones there are! With three completely independent channels, a tube-
driven preamp boost, real spring reverb as well as the patent pending ‘PowerPan’ tube to solid state
rectification control, this amp is a tone chaser’s dream. Not only that, but with the flexibility of the effects
loops as well as footswitch and MIDI control, this amp will also prove itself to be up to the tasks of
modern guitarists who need their amp head to be the centerpiece of a larger system.
Whichever your requirements - authentic tone or modern flexibility - this amp will deliver.
MN™100 GUITAR AMPLIFIER
15
independent channels.
the power amp.
™control allows panning between
solid state and tube rectification.
controls and Channel or Global options.
control per channel.
boost level.
footcontroller.
FRONT PANEL FUNCTIONS: WHAT THEY DO AND HOW TO USE THEM
(1) High Gain
(2) Medium Gain
Use ¼” jacks for connecting to your guitar, or to the output of the last effects pedal if any are used before
the amp.
is high impedance and high sensitivity. This will be the most common input to use. This puts the full
level of your guitar into the channels, therefore allowing the highest gain.
is medium impedance and medium sensitivity. This can be used if less gain is required if using
an active guitar (battery powered) or if the guitar signal has already been boosted by an external device.
It features an attenuator that reduces the input signal by ~10dB.
Preamp Channels
There are three completely independent all-tube preamp channels. Keeping them completely
independent means that we did not have to compromise the tone on any channel for the sake of another.
Although initially the array of the numerous controls may seem intimidating, these are actually arranged
identically for each channel. Therefore you will soon get used to which control to go to for adjusting a
particular part of the sound on that channel.
Apart from separate eq, reverb, presence and resonance controls, each channel also features an ‘Over-
Boost’ control. The Over-Boost circuit is a footswitchable tube-driven stomp box style gain boost applied
before each preamp stage.
QUICK GUIDE
Please at least read this section before using your new amplifier. We then recommend reading the rest of the manual
so you can get the most out of this very sophisticated unit.
Before applying power:
1) When setting up, ensure that the amplifier speaker output is connected to your speaker enclosure with a good
quality speaker cable (do not use a normal shielded instrument cable) and that the Impedance switch on the rear
panel is set to the correct setting. The impedance of your enclosure will be marked on the back: 4, 8 or 16 Ohm. If
you are using two enclosures of equal impedance rating connected together or connected separately back to the
amplifier, then set the impedance switch to the setting that is half the individual value . Therefore, if using two 8 Ohm
enclosures, then set the switch to 4 Ohm.
2) Before connecting the supplied IEC line cord make sure the Power and Standby switches are in their down
(off) position.
3) Connect the footcontroller with the supplied 8 pin DIN cable to FOOT/IN on the rear of the amp, and connect
your guitar to the HIGH Input with a good quality shielded instrument cable.
16
26 25 22 21
4) Before switching on, set the Master Volume to the minimum setting. The first time the amp is used, we
recommend setting all the other controls to their mid setting.
5) Now flip the Power switch to the up (on) position. The power status lamp should be lit. Wait at least one minute
for the tubes to warm up. Failure to do this can damage the tubes and reduce their life. You can use this time to
adjust the controls as mentioned above.
6) After at least one minute you can flip the Standby switch to the up (on) position. You will notice that the amp
defaults to Preset 1. Gradually turn up the Master Volume to the required playing level. Now you can adjust the rest
of the controls to taste, change channels and operate the other functions on the front panel and footcontroller.
7) During short periods of not playing the amplifier can be switched to Standby so that it isn’t producing any output,
but is warmed up for immediate use when needed. If longer than 30 minutes or so it’s probably best to switch off
completely.
8) At the end of a playing session it’s good practice to turn the Master Volume to minimum then flip the Standby
switch to the down (off) position before switching the Power switch to the down (off) position. The rest of the
controls can be left as set. Finally we recommend not moving the amplifier for a few minutes to allow the tubes time
to cool down.
Channel 1
This is the ‘clean’ channel. Depending on the specific setting of the controls, it can produce sparkly clean
sounds with plenty of headroom, through to warmer clean tones with a bit of edge from the tubes when
driven harder.
(3) Channel Select:
Press this switch to select Channel 1, the corresponding LED will be lit either green or red.
Green is the normal setting; red is when Over-Boost is also on for this channel. Pressing this switch again
will alternate between with or without Over-Boost.
If Over-Boost is selected for this channel then this is remembered when you change to another channel.
Therefore you don’t need to switch it on each time you return to this channel.
Switching of both the channel and Over-Boost can also be done on the footcontroller.
(4) Over-Boost:
If Over-Boost is selected on this channel then this control becomes active and sets the amount of pre
gain/drive for this channel. At the minimum setting there will be little difference between the normal
and Over-Boost sounds, but, as the control is increased, the tube driven stomp box style overdrive will
increase and be blended with the straight sound. Blending the two sounds helps to keep the tone well
defined as it retains the attack of the original notes. 17
1 & 2612 51116 15
MN™100 GUITAR AMPLIFIER
FRONT PANEL FUNCTIONS: WHAT THEY DO AND HOW TO USE THEM
(5) Gain
This control sets how much signal is sent through the Channel 1 preamp. Low to medium settings will
produce clean sounds. As the control is turned further clockwise the tone will get warmer and eventually
start to add a small amount of overdrive.
(6) Treble
This passive control sets the level of the high frequencies for Channel 1.
This will seem more powerful when Over-Boost is switched on due to more high frequencies being
present in the distortion.
(7) Mid
This passive control sets the level of the mid range frequencies for Channel 1.
Again it will be more powerful when Over-Boost is switched on.
(8) Bass
This passive control sets the level of the low frequencies for Channel 1.
(9) Volume
This sets the overall level of Channel 1 and is used to balance the sound with the other channels after the
Gain has been set.
(10) Reverb
This sets the level of the spring reverb effect on Channel 1.
This is also switchable using the footcontroller.
(11) Presence
This is used to fine tune the high frequency range of the speaker enclosure while on Channel 1, by
varying the damping factor of the tube power stage at high frequencies.
(12) Resonance
This is used to fine tune the low frequency range of the speaker enclosure while on Channel 1, by varying
the damping factor of the tube power stage at low frequencies.
18
26 25 22 21
Channel 2
This is the ‘crunch’ channel. Depending on the specific setting of the controls it can produce lightly
overdriven tones that clean up nicely when the guitar volume is turned down, through to quite heavily
overdriven tones at high Gain settings, especially with the Over-Boost switched on.
(13) Channel Select
Works the same as on Channel 1 but for Channel 2, including switching on Over-Boost.
Can also be switched on the footcontroller.
(14) Over-Boost
Works the same as on Channel 1 but for Channel 2.
(15) Gain
Works the same as on Channel 1 but for Channel 2, however, as more gain is available, it will have a more
radical effect to your tone, producing more overdrive the further clockwise it is turned.
(16) Treble
This passive control sets the level of the high frequencies for Channel 2.
(17) Mid
This passive control sets the level of the mid range frequencies for Channel 2.
(18) Bass
This passive control sets the level of the low frequencies for Channel 2.
(19) Volume
Works the same as on Channel 1 but for Channel 2.
(20) Reverb
Works the same as on Channel 1 but for Channel 2.
(21) Presence
Works the same as on Channel 1 but for Channel 2.
(22) Resonance
Works the same as on Channel 1 but for Channel 2.
19
1 & 2612 51116 15
MN™100 GUITAR AMPLIFIER
26 25 22 21
20
FRONT PANEL FUNCTIONS: WHAT THEY DO AND HOW TO USE THEM
Channel 3
This is the ‘high gain’ channel. Depending on the specific setting of the controls, it can produce warm
overdriven tones, seriously heavy thrash tones and anything in-between.
(23) Channel Select
Works the same as on Channel 1 but for Channel 3, including switching on Over-Boost. Can also be
switched on the footcontroller.
(24) Over-Boost
If Over-Boost is selected then this control becomes active. On Channel 3 this acts like a tube-driven,
mid-focused, clean boost before the main preamp stage. As the signal then goes into a high gain
preamp, this will help to overdrive this channel further, giving even more saturation and sustain that’s
great for certain ‘shredding’ guitar techniques such as tapping, legato, and sweep picking. Maximum
boost is ~20dB.
(25) Gain
Works the same as on Channel 1 but for Channel 3 however, as more gain is available, it will have a more
radical effect to your tone, producing more overdrive the further clockwise it is turned.
(26) Treble
This passive control sets the level of the high frequencies for Channel 3.
(27) Mid
This passive control sets the level of the mid range frequencies for Channel 3.
(28) Bass
This passive control sets the level of the low frequencies for Channel 3.
(29) Volume
Works the same as on Channel 1 but for Channel 3.
(30) Reverb
Works the same as on Channel 1 but for Channel 3.
(31) Presence
Works the same as on Channel 1 but for Channel 3.
(32) Resonance
Works the same as on Channel 1 but for Channel 3.
MASTER SECTION
(33) Boost
This sets a user definable volume boost that can be applied to any of the three channels and can be
turned on and off using the footcontroller. This is extremely useful when you need a boost in volume for
solos, as you don’t have to dedicate a particular channel for that use.
The control has been calibrated so that the mid point setting gives a +6dB boost and on full gives +10dB.
(34) Volume
This sets the overall level of the amp. Once the desired balance between the three channels has been
set using their own Volume controls, the entire level of the unit can be increased or decreased by
adjusting this control. A good policy to avoid unwanted and possibly damaging loud sounds is to turn
this control to minimum before turning the unit on. However it can be left set to the required stage
volume and Standby switched to “Off” during breaks, therefore ensuring the correct volume level
when returning to the stage.
(35) Power Switch
This two-way toggle switch applies mains power to the unit. Down is off, up is on.
Before switching on, check that the Standby is in the “Off” position.
(36) Power Status Lamp
This indicator illuminates when mains power is being applied to the amp.
(37) Standby Switch
This two-way toggle switch allows the amp to be placed in Standby mode, where the amp can warm up
or remain warmed up, before switching up to the fully active mode. Down is Standby, up is fully on.
Important: Always have this set to Standby when first switching on the Power switch. Then allow the
amp to warm up for at least one minute before switching out of Standby.
Also, at the end of use, try to switch this off at least a few seconds before turning the Power switch off.
This prevents any unwanted noise.
1 & 2612 51116 15
21
MN™100 GUITAR AMPLIFIER
REAR PANEL
(38) MIDI In/Footswitch
This 8-pin DIN connector is provided for the connection of the remote footcontroller. Preferably this
should be connected before the amp is powered up. See the FOOTCONTROLLER section of this manual
for a more detailed explanation of operation.
This can also be used as a MIDI IN connection, using a standard 5-pin MIDI cable, if the amp is going to
be controlled by a separate MIDI controller other than the supplied footcontroller. See the MIDI section of
this manual for a more detailed explanation of the MIDI features.
(39) MIDI Out
This 5-pin DIN connector is provided to send MIDI messages, including Program Change and Continuous
Controller messages, to external MIDI devices. It is useful for linking two amps and keeping their
functions synchronized, and for sending your custom preset data to another amp or MIDI backup device.
It’s also useful to control presets on effect units you may have in the effects loops. See the MIDI section
of this manual for a more detailed explanation of the MIDI features.
Effects Loop 1
This is the dedicated effects loop for Channel 1. It will only be available for use when Channel 1 is
selected. It can be switched on and off using the footcontroller.
(40) Level
This control sets the level of Channel 1 signal being sent to external effects and/or signal processors
from the Send jack (41) underneath. The control is calibrated so that, with most effects, the mid point
setting will produce basically the same level when switching the loop on or off. However, it will give
approximately a +/-10dB variation in either direction if required to achieve the desired balance with the
loop on or off.
(41) Send
This ¼” mono (TS) jack is to connect to the input of an external effect or signal processor.
It will only send signal if Channel 1 and Effects Loop 1 are selected.
Use shielded cable with ¼” mono (TS) phone plugs for all effects loop connections.
(42) Return
This ¼” mono (TS) jack is to connect to the output of an external effect or signal processor.
(43) Mix
The precise function of this control is dependant on the setting of the Global switch (49).
If Global is set to Series then this control sets the mix between the normal (dry) sound of Channel 1 and
the sound of the effect being used in Effects Loop 1. Fully counter-clockwise will be just the normal dry
sound (no effects); turning clockwise will increase the amount of the effect heard until fully clockwise
where only the sound from the effect/processor is heard.
MIDI
In/Foot
Out
Level
Mix Level Mix
Level
Impedance
Slave
Out
Mix
Send Return
Effects Loop 1 Effects Loop 2 Effects Loop 3
Master
Channel
Parallel
4 8
Ohms
16
Series
Full
Half Tube
T2AH/
HT FUSE FUSE
250V
Solid
State
Send Return
Global
Send
Power Amp
In
Pre-Amp
Out
Return
Power
Level
Power
Pan
Level
Speaker Outputs
Speaker Outputs
100W RMS/40V RMS
Total Minimum Speaker Impedance 4
(outputs paralleled)
Designed and
Made In U.S.A.
Built Under U.S.
Patent No. 5,197,102 and
Other Patents Pending
Budda
MN 100
“By Amp Fanatics”
Rectifier
Type
TM
FUSE
FUSE
FUSE
FUSE
52
51
22
To use as a series loop, turn this control fully clockwise. To use it as a normal parallel loop set it at or near
the mid point to give the required balance between dry and effect.
If Global is set to Parallel, the normal (dry) signal bypasses the effects loops and is always present. In this
mode the Mix control sets the level of the effect being used in Effects Loop 1 that is blended with the dry
signal. Turning the Mix control clockwise increases the level of the effect.
Effects Loop 2
Depending on the setting of the Master / Channel switch (44) this can either be the dedicated effects loop
for Channel 2 or an effects loop for all three channels.
It can be switched on and off using the footcontroller.
(44) Master / Channel
When this switch is set to Channel, Effects Loop 2 will be dedicated for use on Channel 2 only. Effects
Loop 2 will then only be available for use when Channel 2 is selected, and this will work the same way as
Effects Loops 1 and 3 work with Channels 1 and 3.
This setting can be used if different effects and/or signal processors are to be used for each channel.
Setting this switch to Master will enable Effects Loop 2 to be used as a master effects loop on all three
channels. For fairly simple set-ups, with few effects or one multi-processor, this will be the most usable
setting.
However, as this is now a Master effects loop, the signal is routed so that if any effects are used in Effects
Loop 1 or 3, they can still be used on Channels 1 and 3 respectively and will be placed in series before
Effects Loop 2.
In this mode, the footcontroller can still be used to turn the individual Effects Loops on and off, with
Effects Loop 2 available on all three channels and Loops 1 and 3 still dedicated to Channels 1 and 3.
(45) Level
This control sets the level of signal being sent to external effects and/or signal processors from the Send
jack (46). It is calibrated the same as Level (40) above.
If Channel mode is selected, this will be the level of Channel 2.
If Master mode is selected, it will be the level of whichever channel is on, as well as the level of any
effects that are being used in Effects Loop 1 or 3.
(46) Send
Similar to Send (41) above but for Effects Loop 2.
It will only send signal if this loop is turned on either with Channel 2 or in Master mode.
MIDI
In/Foot
Out
Level
Mix Level Mix
Level
Impedance
Slave
Out
Mix
Send Return
Effects Loop 1 Effects Loop 2 Effects Loop 3
Master
Channel
Parallel
4 8
Ohms
16
Series
Full
Half Tube
T2AH/
HT FUSE FUSE
250V
Solid
State
Send Return
Global
Send
Power Amp
In
Pre-Amp
Out
Return
Power
Level
Power
Pan
Level
Speaker Outputs
Speaker Outputs
100W RMS/40V RMS
Total Minimum Speaker Impedance 4
(outputs paralleled)
Designed and
Made In U.S.A.
Built Under U.S.
Patent No. 5,197,102 and
Other Patents Pending
Budda
MN 100
“By Amp Fanatics”
Rectifier
Type
TM
FUSE
FUSE
FUSE
FUSE
6256 55 61
23
MN™100 GUITAR AMPLIFIER
(47) Return
Similar to Return (42) above but for Effects Loop 2.
(48) Mix
Similar to Mix (43) above but for Effects Loop 2.
If Channel mode is selected, this will control the mix of the effect on Channel 2.
If Master mode is selected it will control the mix of the effect on the overall sound, regardless of the
channel selected.
(49) Global – Parallel/Series
This determines the routing of the signal around the effects loops.
In Parallel setting, the normal (dry) signal (from whichever channel is being used) is effectively ‘hard
wired’ to go directly around the effects loops unaltered. Therefore, any effects that are applied are always
in parallel with the dry signal, which ensures tonal integrity.
In Series mode, the direct signal path is turned off and the whole signal is passed to the effects loop
circuitry. Therefore, the user has complete control over the mix of dry and effects signals for each
channel by using the controls as described above. Due to the design and very high quality of the parts
used, the effects loop circuitry will be sonically transparent.
used. If they are off, the dry signal always bypasses the effects loop circuitry.
Effects Loop 3
This is the dedicated effects loop for Channel 3. It will only be available for use when Channel 3 is
selected. It can be switched on and off using the footcontroller.
(50) Level
This control sets the level of Channel 3 signal being sent to external effects and/or signal processors from
the Send jack (51). It is calibrated the same as Level (40) above.
(51) Send
Similar to Send (41) above but for Effects Loop 3.
It will only send signal if Channel 3 and Effects Loop 3 are selected.
(52) Return
Similar to Return (42) above but for Effects Loop 3.
24
MIDI
In/Foot
Out
Level
Mix Level Mix
Level
Impedance
Slave
Out
Mix
Send Return
Effects Loop 1 Effects Loop 2 Effects Loop 3
Master
Channel
Parallel
4 8
Ohms
16
Series
Full
Half Tube
T2AH/
HT FUSE FUSE
250V
Solid
State
Send Return
Global
Send
Power Amp
In
Pre-Amp
Out
Return
Power
Level
Power
Pan
Level
Speaker Outputs
Speaker Outputs
100W RMS/40V RMS
Total Minimum Speaker Impedance 4
(outputs paralleled)
Designed and
Made In U.S.A.
Built Under U.S.
Patent No. 5,197,102 and
Other Patents Pending
Budda
MN 100
“By Amp Fanatics”
Rectifier
Type
TM
FUSE
FUSE
FUSE
FUSE
52
51
(53) Mix
Similar to Mix (43) above but for Effects Loop 3.
NOTE: Effects Loop Return Circuitry
An important feature of the return circuitry is that it includes specially designed gate circuits that
This means that any delay (echo) or reverb tails are allowed to fade out naturally rather than being
any noise that may be coming from an external device.
(54) Power Amp In / PreAmp Out
This ¼” jack facilitates a simple way to link together two MN-100 amps if required. This is a passive,
bidirectional connection that just requires the use of a standard shielded cable with ¼” mono (TS) phone
plugs. Simply connect from one amp to another and the same signal will be heard from both amps. The
signal is taken from and/or injected after all the controls except the Master Volume.
(55) Impedance
This three-position slide switch allows the selection of speaker enclosure impedance. If one enclosure
is used, simply set this to the impedance rating marked on the back of the cabinet. If two enclosures of
equal impedance are used, the switch should be set to half the individual value. For example, two
16 Ohm enclosures would necessitate an 8 Ohm setting, while two 8 Ohm enclosures would require a 4
Ohm setting. Minimum speaker impedance is 4 Ohms.
(56) Speaker Outputs
These paralleled ¼” mono (TS) jacks are provided for the connection of speaker enclosures. The
Impedance switch (55) should be set to match the load of the speaker cabinet(s), as described above.
Always use good quality speaker cables (not shielded instrument cable) for these connections.
(57) Level
This sets the level of the signal at the Slave output (58). If slaving to an effects unit or other device, use
the unit’s sensitivity LED lights as a gauge to set the slave level, thereby using this control to avoid
overloading the input of the effects unit or slave amp.
25
MIDI
In/Foot
Out
Level
Mix Level Mix
Level
Impedance
Slave
Out
Mix
Send Return
Effects Loop 1 Effects Loop 2 Effects Loop 3
Master
Channel
Parallel
4 8
Ohms
16
Series
Full
Half Tube
T2AH/
HT FUSE FUSE
250V
Solid
State
Send Return
Global
Send
Power Amp
In
Pre-Amp
Out
Return
Power
Level
Power
Pan
Level
Speaker Outputs
Speaker Outputs
100W RMS/40V RMS
Total Minimum Speaker Impedance 4
(outputs paralleled)
Designed and
Made In U.S.A.
Built Under U.S.
Patent No. 5,197,102 and
Other Patents Pending
Budda
MN 100
“By Amp Fanatics”
Rectifier
Type
TM
FUSE
FUSE
FUSE
FUSE
6256 55 61
MN™100 GUITAR AMPLIFIER
(58) Slave Out
This ¼” mono (TS) jack is a passively buffered signal that is in parallel with the speaker output. It contains
the full complement of preamp and power amp characteristics of the amp. Use this output to send the
signal to a power amplifier connected to additional speaker cabinets for a louder version of the amp.
(59) Power Level
This switch sets the maximum power level to either Full or Half (setting it to half literally shuts off two of the
four power output tubes). It also switches off one of the two rectifier tubes to more authentically sound like
a vintage 50 watt guitar amp. Therefore, if the rectifier tubes are being used, both the ‘power amplification’
stage and the ‘power supply rectification’ are being halved. The actual maximum power levels will be
dependant on the actual power tubes used and the PowerPan™ setting (more on this below).
When the unit is in HALF-POWER mode, the IMPEDANCE SELECTOR can be more accurately matched
to the cabinet according to the impedance selector markings under this switch. In HALF-POWER mode,
the nominal load that the amp would be optimized for in full-power mode would double in impedance. If
you are using an 8 Ohm cabinet in full-power mode and you switch to half-power mode, maximum “half-
power” would be obtained through the 8 Ohm cabinet on the full-power 16 Ohm setting.
(60) PowerPan™
This is a patent pending feature that enables the user to select Tube rectification, Solid State rectification,
or a blend of anywhere in-between. This allows the user to take advantage of the different compression
effects that happen at transients and high volume, which are caused by the variation in power supply sag
with tube or solid state rectification. It goes further than what has been done before by allowing the user
to blend between the two.
Used in combination with the Power Level switch, the PowerPan feature allows many different power amp
tones at different volume levels.
For example: 4x 6L6GC with 2x 5U4 will produce ~100W at full power with solid state rectification and go
down to about 25W at half power with just tube rectification.
Using 4x EL34 will generally produce slightly more power (maximum ~120W with solid state rectification)
and using 5AR4/GZ34 rectifier tubes will reduce the power supply sag effects, therefore also generally
having slightly more power headroom.
26
MIDI
In/Foot
Out
Level
Mix Level Mix
Level
Impedance
Slave
Out
Mix
Send Return
Effects Loop 1 Effects Loop 2 Effects Loop 3
Master
Channel
Parallel
4 8
Ohms
16
Series
Full
Half Tube
T2AH/
HT FUSE FUSE
250V
Solid
State
Send Return
Global
Send
Power Amp
In
Pre-Amp
Out
Return
Power
Level
Power
Pan
Level
Speaker Outputs
Speaker Outputs
100W RMS/40V RMS
Total Minimum Speaker Impedance 4
(outputs paralleled)
Designed and
Made In U.S.A.
Built Under U.S.
Patent No. 5,197,102 and
Other Patents Pending
Budda
MN 100
“By Amp Fanatics”
Rectifier
Type
TM
FUSE
FUSE
FUSE
FUSE
52
51
(61) HT Fuse
This fuse is for the high voltage supply for the tubes. Sometimes when a tube goes faulty it will result in
this fuse blowing. A fuse is included because without it, collateral damage could occur that could be even
more inconveniencing. The fuse is located within the cap of the fuse holder. This fuse must be replaced
with one of the same type and value to avoid damaging the amplifier and voiding the warranty. If the amp
repeatedly blows the fuse, it should be taken to a qualified service center for repair.
(62) IEC Mains Connector
This is a standard IEC power connector. An AC power cable having the appropriate AC plug and ratings
for the intended operating voltage is included in the carton. The Power Cable should be connected to the
amplifier before connecting to a suitable AC outlet.
U.S. Domestic AC Power Cable
VAC plug with ground pin. If the outlet used does not have a ground pin, a suitable grounding adapter
should be used and the third wire should be properly grounded.
NOTE FOR UK ONLY:
identifying the terminals in your plug, proceed as follows: (1) The wire that is coloured green and
green or green and yellow; (2) The wire that is coloured blue must be connected to the terminal that is
(63) Mains Fuse
This fuse is for the mains supply for the amp. The fuse is located within the cap of the fuse holder. This fuse
must be replaced with one of the same type and value to avoid damaging the amplifier and voiding the
warranty. If the amp repeatedly blows the fuse, it should be taken to a qualified service center for repair.
27
MIDI
In/Foot
Out
Level
Mix Level Mix
Level
Impedance
Slave
Out
Mix
Send Return
Effects Loop 1 Effects Loop 2 Effects Loop 3
Master
Channel
Parallel
4 8
Ohms
16
Series
Full
Half Tube
T2AH/
HT FUSE FUSE
250V
Solid
State
Send Return
Global
Send
Power Amp
In
Pre-Amp
Out
Return
Power
Level
Power
Pan
Level
Speaker Outputs
Speaker Outputs
100W RMS/40V RMS
Total Minimum Speaker Impedance 4
(outputs paralleled)
Designed and
Made In U.S.A.
Built Under U.S.
Patent No. 5,197,102 and
Other Patents Pending
Budda
MN 100
“By Amp Fanatics”
Rectifier
Type
TM
FUSE
FUSE
FUSE
FUSE
6256 55 61
MN™100 GUITAR AMPLIFIER
TOP PANEL
(64 - 70) ECC83 / 12AX7 / 7025 x7
Tubes for Over-Boost, Ch 1, Ch 2 , Ch 2, Ch 3, Ch 3, Phase Splitter respectively.
When replacing please use good quality tubes.
(71 – 74) EL34/6L6 x4 Power Tubes
Apart from EL34 type, other types can be used including 6L6, 6550, KT66, KT88 and 6CA7.
When replacing please use matched quartets of good quality tubes and ensure the biasing is set correctly
as described below.
(75) 5U4 / 5AR4 / GZ34 x2 Rectifier Tubes
Apart from 5U4 type, either or both of these can be replaced with 5AR4 / GZ34 type.
We have found the 5U4 type makes the tonal difference of tube rectification more apparent.
When replacing please use good quality tubes.
been turned off for at least 15 minutes. This should only be carried out by a technically competent
person.
(76) Reverb Connections
These connect to the spring reverb device.
(77) Bias Status
These three LEDs indicate the power tube bias current.
Red is Hot (too high), Green is Normal and Blue is Cold (too low).
These should be observed when checking or adjusting the bias as described below.
It is normal for the red LED to flash on during actual use at medium to high volumes.
(78) Bias Adjust
This hole allows access to the trim control inside. Adjusting this will vary the bias supply. This should
only be adjusted if it is fully understood what this does, otherwise it could damage your tone, or worse,
damage your power tubes.
28
CHECKING AND ADJUSTING THE BIAS IS EXTREMELY EASY TO DO BY FOLLOWING
THIS PROCEDURE:
should be avoided. This procedure should only be carried out by technically competent people and at
29
MN™100 GUITAR AMPLIFIER
FOOTSWITCH
(79) Remote Cable
This eight-pin DIN connector is provided for connecting the footcontroller to the amplifier IN/FOOT (38) via the cable included in
the carton. Preferably connections at the footcontroller and the amplifier should be made before the amp is powered up.
(80) Preset Mode
This switches the footcontroller between NORMAL mode (default, LED off) and PRESET mode (LED red).
Quick Boost Feature: As described below, when in preset mode, the 1-9 switches will recall your 9 custom presets.
When you press the switch of the preset that is already active, it will toggle the status of the Master Boost. This allows a quick
way to recall a preset for a solo and get it boosted very quickly (just hit the switch twice!). Otherwise, you’d have to hit it, then
toggle out of preset mode, then hit the Master Boost switch – tap dance! (Of course, you can save the preset with the boost
active, and then the 2nd press would disable the boost.) To make the Master Boost status visual while in preset mode (red LEDs
for mode/preset) the 9/Master Boost LED will blink green when the boost is enabled. (If on preset 9, the color will toggle between
red and green to show preset number and Master Boost on.)
(81) Effects Loop 1 / Preset # 1
NORMAL mode: This turns on Effects Loop 1 when using Channel 1. If selected, the LED will be lit green even if on a different
channel. Also it can be switched on and off even when using another channel. However, Loop 1 will only actually be on when
using Channel 1.
PRESET mode: This selects Preset 1. If selected, the LED will be lit red.
(82) Effects Loop 2 / Preset # 2
NORMAL mode: This turns on Effects Loop 2 when using Channel 2, and also when using Channels 1 and 3 if Loop 2 is set to
Global (refer to point 44). If selected, the LED will be lit green even if on a different channel. Also it can be switched on and off
even when using another channel.
PRESET mode: This selects Preset 2. If selected, the LED will be red.
(83) Effects Loop 3 / Preset # 3
NORMAL mode: This turns on Effects Loop 3 when using Channel 3. If selected, the LED will be lit green and it can be switched
on and off even when using another channel. However, Loop 3 will only actually be on when using Channel 3.
PRESET mode: This selects Preset 3. If selected, the LED will be red.
30
(84) Reverb / Preset #4
NORMAL mode: This turns the REVERB on and off. The LED will be lit GREEN.
PRESET mode: This selects Preset 4. If selected, the LED will be red.
(85) Over Boost / Preset #5
NORMAL mode: This turns OVER BOOST on and off for the current channel. When switching between channels, this will
remember what the last setting was for each. The LED will be green when OVER BOOST is on.
PRESET mode: This selects Preset 5. If selected, the LED will be red.
(86) Channel Select 1 / Preset #6
NORMAL mode: This selects Channel 1. The LED will be lit GREEN. If pressed a 2nd time, the channel will return to the previous
setting. This allows quick changing between two channels using a single switch.
PRESET mode: This selects Preset 6. If selected, the LED will be red.
(87) Channel Select 2 / Preset #7
NORMAL mode: This selects Channel 2. The LED will be lit GREEN. If pressed a 2nd time, the channel will return to the previous
setting. This allows quick changing between two channels using a single switch.
PRESET mode: This selects Preset 7. If selected, the LED will be red.
(88) Channel Select 3 / Preset #8
NORMAL mode: This selects Channel 3. The LED will be lit GREEN. If pressed a 2nd time, the channel will return to the previous
setting. This allows quick changing between two channels using a single switch.
PRESET mode: This selects Preset 8. If selected, the LED will be red.
(89) Master Boost / Preset #9
NORMAL mode: This turns the Master Boost on and off. The LED will be lit green.
PRESET mode: This selects Preset 9. If selected, the LED will be red.
Using Preset Mode
Each of the 9 presets remembers the current channel, over-boost on/off, reverb on/off, effects loop on/off and master boost
on/off. Additionally, it remembers the over-boost and effects loop status of the two inactive channels. This way you can, for
example, have a clean preset saved without over-boost, and know that when you switch to Channel 2, over-boost will be on.
The amp comes from the factory with 9 default presets that you can modify at will. When the PRESET MODE light is on, you can
use the 9 other footswitches to recall those 9 presets. At any time you can switch to NORMAL mode and make changes to that
sound. This can be during a performance and not permanently stored, or to edit a preset and store to one of the 9 settings.
reverb and master boost will be enabled. This is because there isn’t a way to enable them manually without the footswitch.
Storing Presets
To store the current settings into one of the 9 presets, you start by holding the PRESET MODE switch down for a second or two,
after which the other LEDs will blink (except the one for the current preset which will be on steady – a way to remind you of
which preset you were working with). At this point you can press one of the 9 preset switches to store there, or press PRESET
MODE again to cancel.
You can initiate this from PRESET mode or from NORMAL mode. After the store (or cancel) it will return to the mode you were
in. So you can setup and store 9 presets without ever entering PRESET mode if you wish. It’s typical to set up your sound in
NORMAL mode, then store your creation to one of the presets.
Linking to another amp and/or effects units with the MIDI Out
You can connect the MIDI Out to the MIDI In of another MN-100 to synchronize the two amps. With the footswitch connected to
the first amp, any changes you make with the footswitch (or front panel) will be duplicated on the 2nd amp – if the 2nd amp is on
the same MIDI channel.
You can also link the MIDI from the amp (or from the 2nd amp) to an effects unit to synchronize presets. If the effects unit can
store presets, they can change automatically when you recall presets on the footswitch.
31
MN™100 GUITAR AMPLIFIER
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