Fryette Memphis 30 M30C User manual

MEMPHIS 30/EIGHTEEN COMBO
OWNERS MANUAL
VACUUM TUBE GUITAR AMPLIFIER
MODEL M30C
www.fryette.com

Welcome to the family!
Congratulations and thank you for choosing the FRYETTE MEMPHIS 30 Guitar Amplifier!
You are constantly searching for new sounds and new ways to improve your existing sound. We understand
the constantly evolving nature of artistic creativity and the search for the perfect sound to complement your
ever-widening musical vision. Providing the tools to help you create your own sonic signature is our primary
mission.
The MEMPHIS 30 amplifier represents a new generation of tube amplifier design, offering players effortless
and intuitive control over different types of amplifier behavior and a wide range of highly refined tonal qualities
previously unavailable from a single amplifier. Our exclusive POWER SHIFT technology gives you two
genuine power output ratings, 30 Watts and 18 watts, each utilizing all four power tubes for beautifully rich and
dynamic power tube response and harmonic character.
The unique front panel preamp tube compartment, not only provides easy access to the tubes for servicing and
tone tuning, but also isolates the tubes from interaction with the internal speaker. This makes it possible to offer
unprecedented amounts of gain while minimizing rattling and feedback often associated with high-gain combo
amplifiers.
In 1980, design engineer Steven Fryette began developing advanced channel switching technology to allow
guitarists the ability to make seamless transitions between channels and gain modes. In 1989 Steven
introduced the first true three-channel tube amplifier – The Pittbull Classic. The MEMPHIS 30 builds on this
technology and establishes a new standard for channel switching amplifiers that blends vintage and modern
character with outstanding tonal flexibility.
As with all FRYETTE amplifiers, the MEMPHIS 30 beautifully accentuates the inherent qualities of any
instrument. It breathes and dynamically responds to your playing technique exactly the way a great guitar amp
should. The MEMPHIS 30 is designed to be pedal friendly and ultra-responsive to a wide array of guitar woods
and pick-up types. It also integrates seamlessly with any combination of internal and external speaker
configurations.
Getting familiar with the MEMPHIS 30 amplifier is easy, so don’t be terribly surprised when you find yourself up
and running in no time. First-hand experience and real world application will yield the ultimate satisfaction of
finding your own path to comprehension and self-expression.

IMPORTANT SAFETY INSTRUCTIONS
This symbol warns the user of dangerous voltage levels localized within the enclosure.
This symbol advises the user to read all accompanying literature for safe operation of the unit.
¾Read, retain, and follow all instructions. Heed all warnings.
¾Only connect the power supply cord to an earth grounded AC receptacle in accordance with the voltage
and frequency ratings listed under the AC input on the rear panel of this product.
¾WARNING: To prevent damage, fire or shock hazard, do not expose this unit to rain or moisture.
¾Unplug the power supply cord before cleaning the unit exterior (use a damp cloth only). Wait until the unit
is completely dry before reconnecting it to power.
¾Maintain at least 6 inches (15.25 cm) of unobstructed air space behind the unit to allow for proper
ventilation and cooling of the unit.
¾This product should be located away from heat sources such as radiators, heat registers, or other products
that produce heat.
¾This product may be equipped with a polarized plug (one blade wider than the other). This is a safety
feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete
outlet. Do not defeat the safety purpose of this plug.
¾Protect the power supply cord from being pinched or abraded.
¾The power supply cord of this product should be unplugged from the outlet when left unused for a long
period of time, or during electrical storms.
¾This product should be serviced by qualified service personnel when: the power supply cord or the plug
has been damaged; or objects have fallen, or liquid has been spilled onto the product; or the product has
been exposed to rain; or the product does not appear to operate normally or exhibits a marked change in
performance; or the product has been dropped, or the enclosure damaged.
¾Do not drip nor splash liquids, nor place liquid filled containers on the unit.
¾CAUTION: No user serviceable parts inside, refer servicing to qualified personnel only.
¾FRYETTE® amplifiers and loudspeaker systems are capable of producing very high sound pressure
levels which may cause temporary or permanent hearing damage. Use care when setting and adjusting
volume levels during use.
¾Hazardous voltages may be present within the chassis even with the power switch off and power cord
connected. Therefore, disconnect the power cord from the rear panel power inlet before servicing. The
power inlet must remain readily operable.

FRONT PANEL OVERVIEW
FRONT FASCIA:
A. INPUT HI - High sensitivity input (also has a brighter tone). For normal single-coils and low to
medium output humbuckers.
B. INPUT LO - Low sensitivity input (also has a slightly darker tone). For hot single-coils and
medium to high output humbuckers.
C. TUBE COMPARTMENT – All of the channel and tone shaping tubes are accessible from here. See
tube chart (pg. 12) for details. Set amplifier to STANDBY when replacing or swapping tubes.
D. STANDBY – Turns on high voltage to preamp and power tubes. In standby, the amplifier output is
disabled while power is supplied to the tube filaments only. Use STANDBY instead of switching
the power off during short breaks to extend tube life and avoid the warm-up delay upon returning
to play.
E. PILOT LAMP – Indicates mains AC operation. This is an LED back-lit jewel assembly. It is highly
energy efficient and never needs replacing.
TOP FASCIA:
DRIVE CHANNEL
F. CHANNEL VOICING – Selects channel
pre-gain voicing profile.
G. GAIN – Sets the amount of overdrive and
low mid to high end ratio.
H. VOLUME – Sets the post EQ channel
volume and determines send level to the
EFFECTS LOOP.
I. POWER SHIFT – Selects 30 WATT or 18
WATT power output and assigns that
output preference to the selected channel.
J. BOOST – Activates an additional tube
gain stage and assigns it to footswitch
BOOST function.
K. TREBLE/MIDDLE/BASS – Passive /
Interactive tone controls.
CLEAN CHANNEL
L. CHANNEL VOICING – Selects channel
pre-gain voicing profile.
M. VOLUME – Sets the channel gain and
volume and determines send level to the
EFFECTS LOOP.
N. POWER SHIFT – Selects 30 WATT or 18
WATT power output and assigns that
output preference to the selected channel.
O. BOOST – Activates gain boost (6 dB) and
assigns it to footswitch BOOST function.
P. TREBLE/MIDDLE/BASS – Passive /
Interactive tone controls.
COMMON CHANNEL CONTROLS
Q. REVERB – Sets reverb level for both
channels. Reverb sensitivity is reduced in
DRIVE mode to prevent the reverb sound
from washing out on high gain settings.
R. CHANNEL SELECT – Manually selects
between CLEAN and DRIVE channels.
MUST BE SET TO CLEAN FOR
FOOTSWITCH TO OPERATE.

THE DRIVE CHANNEL
The MEMPHIS DRIVE channel is extremely flexible. It can do everything from pristine clean to fully saturated,
highly detailed super-gain at pretty much any desired volume setting. Something to be aware of is the unique
touch sensitivity. Try just touching the strings lightly and then smack an open E chord. Notice how it holds
together and then opens up on the decay. This effect is present regardless of gain or volume setting and will
help bring out overtones and harmonics you have probably never experienced on an amplifier of this power
class before.
•VOICING SWITCH
SMOOTH - A smooth and balanced voice - perfect for strats or maple top humbucker
equipped guitars. Excellent for medium gain solo work with killer sustain.
CRISP - Exactly what it implies - a crisp spanking upper mid emphasis. Especially good with
a dark mahogany guitar like a Les Paul Jr, or guitars equipped with EMG pickups.
FAT - Like CRISP with added mid emphasis. In low gain modes this adds a bit of punch. On
extreme high-gain settings it adds a fat midrange saturation quality.
•GAIN - Increases the gain amount as you rotate the knob clockwise. As the gain increases, the tonal
balance is shifted from a treble and upper mid emphasis, which produces an up-front sparkling tone,
to a lower mid and bass emphasis, which produces a thick meaty tone.
•POWER SHIFT - Selects full power – 30W, or low power – 18W, and assigns that preference to the
channel. The amplifier will operate at the selected power level on this channel. In 30W mode, voltage
is supplied by a heavily filtered silicon rectifier circuit for tight, punchy response and fast attack. In 18W
mode, the voltage is supplied by a lightly filtered low-voltage silicon rectifier circuit for increased
harmonic overtones, smoother saturation and a softer slower attack. Because the amplifier is self
biasing, the power tubes remain properly biased regardless of power setting.
•BOOST - Activates an additional stage of gain when the front panel switch is set to BOOST. The
BOOST switch also assigns the BOOST function to the footswitch.
•VOLUME - This is the MASTER VOLUME control for the DRIVE channel. It sets the channel volume
and determines channel send level to the EFFECTS LOOP.
•TREBLE/MIDDLE/BASS – Passive, interactive tone controls. Adjusts high, low and mid–frequency
tone character of the LEAD channel.

THE CLEAN CHANNEL
This is probably the most versatile channel on the amplifier and produces not only and amazing array of clean
voicings, but also does a great job of emulating great cranked low power amplifier crunch and solo voicings.
The user-friendly and expressive qualities of this channel should help illustrate why many players swear by the
FRYETTE clean sound. The most important thing to remember about this channel is to USE YOUR GUITAR
VOLUME. This is an extremely dynamic channel. By setting the volume a little louder than needed and
controlling the volume from your guitar you will be rewarded with a huge array of tonal textures and “in-
between” tones that most players struggle to get with multiple amps and boost pedals. CLEAN differs from the
DRIVE channel in amount of available gain, VOICING switch nomenclature and internal tone shaping.
•VOICING SWITCH
BLOOM - A clear and balanced voice with lots of natural bounce that opens up beautifully
after initial string attack. This blooming effect enhances sustain even at the low volume
settings.
BRITE - Exactly what it implies and is a subtle enhancement of BLOOM. In this mode with
BOOST and an SG you’ll be in Live at Leeds territory in no time.
SPANK - The BRITE voicing with added low mid emphasis. This adds a bit of 6L6 flavor.
Great for dark, fat sounding guitars. Also very cool for soloing with an overdrive pedal.
•VOLUME - Sets the channel volume and determines channel send level to the EFFECTS LOOP.
•POWER SHIFT - Selects full power – 30W, or low power – 18W, and assigns that preference to the
channel. The amplifier will operate at the selected power level on this channel. In 30W mode, voltage
is supplied by a heavily filtered silicon rectifier circuit for tight, punchy response and fast attack. In 18W
mode, the voltage is supplied by a lightly filtered low-voltage silicon rectifier circuit for increased
harmonic overtones, smoother saturation and a softer slower attack. Because the amplifier is self
biasing, the power tubes remain properly biased regardless of power setting.
•BOOST – Adds 6dB of preamp gain when set to BOOST. The BOOST switch also assigns the
BOOST function to the footswitch.
•TREBLE/MIDDLE/BASS - Passive and interactive tone controls for fine-tuning the channel to taste.
THE MEMPHIS REVERB
Each player has a different idea about how reverb should respond. Whatever your preference, we believe that
reverb should either sound great or it shouldn’t be in there at all. The Memphis reverb is tube driven and the
custom 3-spring spring unit is specially designed for this amplifier and speaker combination.
At first, you may find the reverb control to be a bit sensitive. The reverb system is designed to produce a clear
ambient sound regardless of playing volume and is optimized for use with the Clean channel. Therefore, a
normal reverb setting at bedroom volume will be around 8 to 9 o’clock, while at gigging volume, you will
probably set it at around 7 o’clock. When you switch to the Drive channel, the reverb level will automatically
decrease by 20 to 30% depending on your playing volume.

UNDERSTANDING VOICING AND GAIN
The Input Sensitivity of an amplifier, commonly referred to as GAIN, determines how much overdrive and
sustain your guitar will produce. Tonal balance, which we refer to as VOICING determines how the amp will
respond to your playing style and sound with a particular guitar. Like all amplifiers, the MEMPHIS 30 has tone
and gain controls, but unlike any other amplifier, the MEMPHIS 30 gives you total control over VOICING and
GAIN. This VOICING/GAIN/VOLUME configuration is the key to dialing in the MEMPHIS 30 sound and
volume to your specific requirements.
Different combinations of VOICING switch and GAIN settings, will have a dramatic effect on the response of
the amplifier and the personality of your instrument. It is easy to get familiar with the action of these controls
and you’ll be amazed with your ability to make any guitar sound mellow, fat, soulful or aggressive.
For example, play for a few minutes with the controls set as follows:
Now set the controls like this:
Notice that the overall amount of overdrive is not significantly more than it was but the tonal balance has shifted
markedly from full and warm to crisp and spanking. Now try the same settings again, only this time set the
voicing switch to FAT. Notice how the same control settings take on an entirely new midrange harmonic
quality. Finally, try the same settings on 18W mode. Notice how the rounder tone along with the spontaneous
distortion quality and touch sensitivity of the power amp stage dramatically affects the overall personality of the
amplifier compared to the 30W mode.
Having done this simple exercise, you will now understand how each channels function operates. As you will
see, by experimenting with combinations of settings you can cover an amazing amount of tonal territory before
you even begin to start thinking about tone control settings or switching channels.

SAMPLE SETTNGS
To fully realize the range and flexibility of this amplifier, one need only remember to keep the guitar volume and
tone controls in mind. Playing off of the guitar controls is practically a lost art. This is probably because amps of
the recent past have been lacking in the things that amps of an earlier era excelled at - a great basic tone and
an unmistakable feel. Many players will sacrifice flexibility and modern conveniences for great tone and feel.
With the MEMPHIS 30 you get both, and although many other manufacturers have made this claim, we
believe that the MEMPHIS 30 truly delivers it. In fact, this was the intent of the design from day one.
Below are some sample settings that will help illustrate the basic categories of sounds the MEMPHIS 30 is
capable of. When experimenting with these, remember to play with your guitar volume, tone and pick-up
selector, and explore the range of sounds available on each setting.
CLEAN CHANNEL SETTINGS
The first two samples were set up with a strat style guitar. The second two were done with humbucker fitted
guitars. Using different guitar set-ups will have a dramatic effect on these settings, as will your guitar control
settings.

DRIVE CHANNEL SETTINGS
The three basic categories of sounds players generally use are clean sounds, medium-gain sounds and hi-
gain sounds. In between those basic sound blocks is a lot of sonic territory that players usually look beyond the
amp to achieve. Multiple guitars, multiple amps and multiple distortion pedals are often used to do the serious
fine tuning. What if each of the amplifiers channels had such an effective range and was so easily dialed in that
a lot of the redundant gear we haul around became unnecessary?
Below are some settings that are arranged in the typical “inside the box” format. To get “outside the box”, start
by getting used to the voicing and gain of these settings and then adjust only the GAIN and VOLUME settings
first. This will give you a pretty good idea of how easy it is to find those little things that you hear in your head
but were never quite able to get without stomp boxes.

REAR PANEL FEATURES AND FUNCTIONS
SPEAKER OUTPUT CONNECTIONS
16 OHM SPEAKER OUTPUT – One 16 ohm output jack is provided for connection to a 16 ohm cabinet. This
is a very cool and simple feature. When using a single 16 ohm 4X12, cabinet, simply connect it to the 16 ohm
jack. No switch selection is necessary.
8/4 OHM SPEAKER OUTPUT – Two parallel wired output jacks are provided for connection to any cabinet or
combination of cabinets that total 4 or 8 ohms impedance. This is a simple way to solve impedance questions.
When using only a single 16 ohm cabinet (typically a 4X12 cabinet), it is connected to the 16 ohm jack and no
switch selection is necessary. When using two 16 ohm cabinets, simply connect them to the two parallel jacks
and set the switch to 8.
A speaker must ALWAYS be plugged into one of these jacks when the amplifier is ON or
damage may occur. Switch the amplifier OFF or to STANDBY while changing speaker
connections or impedance settings.
IMPEDANCE SELECT – When one or both of the two parallel jacks are connected, simply set the two position
8/4 ohm selector switch for connection according to the formula below:
16+ 16= 8,
8+ None = 8
8+ 8= 4
4+ None = 4
LINE OUT - An unbalanced, line-level output suitable for connection to recording equipment and sound
systems. You can connect this jack to the POWER AMP IN jack or a second Memphis for a double
amplifier setup in which you can control both units from the control panel of the primary amplifier.
A speaker or simulated speaker load (dummy load, attenuator, etc) must be connected to
speaker outs when using the line output feature.
This amplifier is designed to operate properly and reliably with a good quality attenuator or
dummy load. However, care must be exercised when using such devices. Regular maintenance and
more frequent power tube replacement is recommended to avoid damage to the tubes, transformers
and other internal components. The warranty does not cover damage caused directly or indirectly by
the use of such devices.