Fryette Sig:X G100SX User manual

OWNERS MANUAL
VACUUM TUBE GUITAR AMPLIFIER
MODEL G100SX
REVISED 1/01/09

X
Welcome to the family!
Congratulations and thank you for choosing the FRYETTE SIG:X Guitar Amplifier!
We know 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 SIG:X 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.
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 SIG:X 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 SIG:X amplifier 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. And as stomp boxes have gained more widespread appeal, you will find the SIG:X to be pedal friendly
and ultra-responsive to the many colors pedal effects produce.
Getting familiar with the SIG:X 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.
…YOUR SIGNATURE HERE
TABLE OF CONTENTS
1) INTRODUCTION
2) IMPORTANT SAFETY INSTRUCTIONS
3) FRONT PANEL OVERVIEW
4) A UNIQUE APPROACH TO TONE AND FEEL – THE LEAD CHANNEL
5) THE RHYTHM CHANNEL
6) THE CLEAN CHANNEL
7) UNDERSTANDING VOICING AND GAIN
8) SAMPLE SETTINGS – CLEAN CHANNEL SETTINGS
9) RHYTHM CHANNEL SETTINGS
10) LEAD CHANNEL SETTINGS
11) REAR PANEL FEATURES AND FUNCTIONS - SPEAKER OUTPUT CONNECTIONS
I. GROUND SWITCH, AC MAINS AND FUSES
12) EFFECTS LOOP CONNECTIONS
13) TUBE FUNCTION AND LOCATION CHART
14) TROUBLESHOOTING GUIDE
I. SPECIFICATIONS
15) WARRANTY

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
A. INPUT – Plug your guitar in here.
B. CHANNEL SWITCH – Manually selects
channels. Set to CLEAN for footswitch
operation.
LEAD & RHYTHM CHANNELS
C. CHANNEL VOICING – Selects channel pre-
gain voicing profile.
D. GAIN I / VOICING – Sets the amount of
overdrive in the second gain stage and low
mid to high end ratio.
E. GAIN II / OVERDRIVE – Sets the amount of
overdrive gain in the third gain stage.
F. BOOST – Activates Gain II (variable boost)
control and assigns it to footswitch BOOST
function.
G. MORE / LESS – Selects between three stages
or four stages of tube preamp gain depending
on the amount of overdrive required. LESS = 3
stages, MORE = 4 stages.
H. POWER SHIFT – Selects 100 WATT or 40
WATT power output and assigns that output
preference to the selected channel.
I. MASTER – Sets the post EQ channel volume
and determines send level to the EFFECTS
LOOP.
J. SCOOP/WOOD – Determines the overall
midrange character of the channel tone
controls.
K. TREBLE/MIDDLE/BASS – Passive /
Interactive tone controls.
L. PRESENCE – High frequency variable
feedback in power amp section.
M. DEPTH – Variable damping. Controls low
frequency interaction between amplifier and
speakers.
CLEAN CHANNEL
N. VOLUME – Sets the channel gain and volume
and determines send level to the EFFECTS
LOOP.
O. TREBLE/MIDDLE/BASS – Passive /
Interactive tone controls.
P. CHANNEL VOICING – Selects channel pre-
gain voicing profile.
Q. BOOST – Activates gain boost (6 dB) and
assigns it to footswitch BOOST function.
R. POWER SHIFT – Selects 100 WATT or 40
WATT power output and assigns that output
preference to the selected channel.
S. FAT/OPEN – Determines the overall midrange
character of the channel tone controls.
T. PRESENCE – High frequency variable
feedback in power amp section.
U. DEPTH – Variable damping. Controls low
frequency interaction between amplifier and
speakers.
STANDBY/MAINS
V. STANDBY – Turns on high voltage to output
section. 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.
W. MAINS – Switches main AC power on or off.
Illuminates when the unit is ON. You can
extend the life of the amplifier tubes by
keeping the STANDBY (V) switch down for
the first 60 seconds that the power is ON.
A
B
D E
C
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F H
I K L N O
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UP
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Q S
V W
J M

A UNIQUE APPROACH TO TONE AND FEEL
THE LEAD CHANNEL
To say that the SIG:X lead channel is extremely versatile is something of an understatement. 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 a channel switching amplifier before.
•VOICING SWITCH
BROWN - A smooth and balanced voice - perfect for strats or maple top humbucker
equipped guitars. Excellent for medium gain solo work with killer sustain.
BRIT - 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.
BLOW - Like BRIT with added low mid emphasis. In low gain modes this adds a bit of punch.
On extreme high-gain settings it adds a decisive growl.
•GAIN I - 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.
•GAIN II - Increases the gain and saturation amount as you rotate the knob clockwise but with no
alteration of the tonal balance. This control is active when the front panel switch is set to BOOST.
•BOOST/NORM - The GAIN II control is only active when the front panel switch is set to BOOST. The
BOOST switch also assigns the BOOST function to the footswitch.
•MORE/LESS - This switch activates or defeats a tube gain stage. This switch can be used in
conjunction with the gain controls to tailor your tone as well as overdrive amount. See pg 7.
•POWER SHIFT - Selects full power – 100W, or low power – 40W, and assigns that preference to the
channel. The amplifier will operate at the selected power level on this channel. In 100W mode, voltage
is supplied by a heavily filtered silicon rectifier circuit for tight, punchy response and fast attack. In 40W
mode, the voltage is supplied by a lightly filtered tube rectifier circuit for increased harmonic overtones,
smoother saturation and a softer slower attack.
•MASTER - This is the MASTER VOLUME control for the channel. It sets the channel volume and
determines channel send level to the EFFECTS LOOP.
•SCOOP/WOOD - Determines the midrange character of the channel. WOOD is exactly what it implies
as it emphasizes the body wood of the guitar. SCOOP is aptly named as well and de-emphasizes the
midrange for a more open tone. Great for mid-heavy pickups or extreme gain settings at low volume.
•TREBLE/MIDDLE/BASS – Passive, interactive tone controls. Adjusts high, low and mid–frequency
tone character of the LEAD channel.
•PRESENCE - Use this to adjust high frequency power amp response to suit your speaker cabinet or
room requirements. This control is shared by both the LEAD and RHYTHM channels, as is the
DEPTH control below it (See: Front Panel Overview).

THE RHYTHM CHANNEL
This is probably the most versatile channel on the amplifier and produces what many consider to be the
signature FRYETTE sound. Much more flexible than your average medium gain channel, it is capable of
producing some brilliant cleans as well as pretty devastating solo settings. The RHYTHM channel differs from
the LEAD channel only in VOICING switch nomenclature and internal tone shaping.
•VOICING SWITCH
VINTAGE - A round and warm voice - perfect for strats, teles or maple top humbucker
equipped guitars. This is a great setting for low to medium gain action. In 40W mode you can
achieve killer old-school EL34 sounds.
LIVE - Exactly what it implies - a lively feel added to the VINTAGE voice. This is a really cool
setting when using RHYTHM for a slightly gritty clean sound. Also great for mid-gain blues
work.
BURN - The LIVE voicing with added low mid emphasis. In low gain modes this adds a bit of
6L6 flavor. On high-gain settings it adds fundamental emphasis for killer rhythms and thick
solos.
•GAIN I - 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.
•GAIN II - Increases the gain and saturation amount as you rotate the knob clockwise but with no
alteration of the tonal balance. This control is active when the front panel switch is set to BOOST.
•BOOST/NORM - The GAIN II control is only active when the front panel switch is set to BOOST. The
BOOST switch also assigns the BOOST function to the footswitch.
•MORE/LESS - This switch activates or defeats a tube gain stage. This switch can be used in
conjunction with the gain controls to tailor your tone as well as overdrive amount. See pg 7.
•POWER SHIFT - Selects full power – 100W, or low power – 40W, and assigns that preference to the
channel. The amplifier will operate at the selected power level on this channel. In 100W mode, voltage
is supplied by a heavily filtered silicon rectifier circuit for tight, punchy response and fast attack. In 40W
mode, the voltage is supplied by a lightly filtered tube rectifier circuit for increased harmonic overtones,
smoother saturation and a softer slower attack.
•MASTER - This is the MASTER VOLUME control for the channel. It sets the channel volume and
determines channel send level to the EFFECTS LOOP.
•SCOOP/WOOD - Determines the midrange character of the channel. WOOD is exactly what it implies
as it emphasizes the body wood of the guitar. SCOOP is aptly named as well and de-emphasizes the
midrange for a more open, scooped out tone.
•TREBLE/MIDDLE/BASS - Passive and interactive tone controls for fine-tuning the channel to taste.
•DEPTH - Use this to adjust power amp low frequency behavior and interaction with the speaker. This
control is shared by both the LEAD and RHYTHM channels, as is the PRESENCE control above it
(See: Front Panel Overview).

THE CLEAN CHANNEL
In the SIG:X, 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 LEAD 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. In 40W mode with a 2X12 open-back cab you may just forget all about your current
favorite combo amp.
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.
•BOOST/NORM – Adds 6dB of preamp gain when set to BOOST. The BOOST switch also assigns
the BOOST function to the footswitch.
•POWER SHIFT - Selects full power – 100W, or low power – 40W, and assign that preference to the
channel. The amplifier will operate at the selected power level on this channel. In 100W mode, voltage
is supplied by a heavily filtered silicon rectifier circuit for tight, punchy response and fast attack. In 40W
mode, the voltage is supplied by a lightly filtered tube rectifier circuit for increased harmonic overtones,
smoother saturation and a softer slower attack.
•FAT/OPEN - Determines the midrange character of the channel. FAT is exactly what it implies as it
emphasizes the body wood of the guitar. OPEN is aptly named as well and de-emphasizes the upper
midrange for a clear balanced tone. Use OPEN with boxy sounding cabs.
•VOLUME - Sets the channel volume and determines channel send level to the EFFECTS LOOP.
•TREBLE/MIDDLE/BASS - Passive and interactive tone controls for fine-tuning the channel to taste.
•PRESENCE - Use this to adjust high frequency power amp response to suit your speaker cabinet or
room requirements.
•DEPTH - Variable damping (Low frequency resonance). Use this to adjust power amp low frequency
behavior and interaction with the speaker.

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 SIG:X has tone and gain
controls, but unlike any other amplifier the SIG:X gives you total control over VOICING and GAIN. This GAIN I /
GAIN II / MASTER VOLUME configuration is the key to dialing in the SIG:X sound and volume to your specific
requirements.
Different combinations of VOICING switch and GAIN I 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 approximately the same as it was but the tonal balance has
shifted markedly from crisp and spanking to full and warm. Now try the same settings again, only this time set
the voicing switch to BRIT, then BLOW. Notice how the same control settings take on an entirely new upper
harmonic quality. Finally, try the same settings on 40W 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 100W 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
If the SIG:X is about anything, it’s about transition. Most multi-channel amps give you a one trick pony on each
channel at best, and multiple channels of one average sound at worst. Marketing and engineering people try to
sell us little blocks of canned “sounds” and most of us fall for it until we run up against their limitations. Guitar
music is a string of spontaneous and often unorthodox impulses. Guitar players attack, coax and finesse music
out of a guitar in ways that seem to defy logic and the laws of physics. It’s all of the things we do “in-between”
that gives guitar music excitement and emotional impact. These in-between or transitional stages that usually
happen in spite of your existing amp settings may not light up the marketing committees radar, but this is
where many players spend the most of their time, and where the SIG:X shines most brightly.
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 SIG:X you get both, and although many other manufacturers have made this claim, we believe that
the SIG:X 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 SIG:X 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 samples on the left were set up with a strat style guitar. The two on the right 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.

RHYTHM CHANNEL SETTINGS
These settings can be used with any type of guitar and although they are named according to their general
style, this in no way limits how they might be applied. The RHYTHM BLUES setting for example would be a fat
lead setup with a dark sounding overdrive pedal. RHYTHM SHRED with the voicing set to BRIT and the mids
turned up would be a good medium crunch sound with the guitar volume backed off a couple of notches, etc.
As with all of these settings examples, your guitar, effects chain and speaker cabinet will be key factors in fine
tuning your favorite tones.