Meésa/Booci, The Sprit Artin Retmokegy MIDI MATRIX OWNER'S MANUAL CONGRATULATIONS! You are now the owner of the MESA/Boogie MIDI Matrix System for guitar! This easy-to-program, easy-to-use switching Matrix is the solution to the frustrating problem of the nightly "footswitch dance." Whether you're touring the world or touring the local clubs in town, the MIDI Matrix has been designed to cover virtually every switching and signal-routing need you're likely to encounter. MIDI is fast becoming the basic format for today's progressive guitarist. MIDI switching allows you to create and store "patches" consisting of com binations of your amplifiers and effects (etc.), arrange the patches in any order you want, and then access them instantly. You'll be glad you've chosen the MESA/Boogie MIDI Matrix as your "control center". We've given you the essential functions and features found’ in sophisticated systens costing ten times as mch. And you'll find the same hand-made quality, bullet-proof construction, and common-sense design that you'd expect from any MESA/Boogie product . The two-rack space Matrix "brain" offers the full 128 program locations which are possible in the MIDI format. An easy-to-read 3-digit display shows the Program Number that is active, while 16 "Program Status" LEDs show the combination of Function Switches, Parallel Amp Loops and Effects Loops that are in operation in each Program. The Function Switches - there are ten ~ can be used to control any footswitchable function, such as amplifier model/channel switching, or effects on/off switching. The Effects Loops = we've given you six of these - can accomodate your favorite floor pedal effects (and your studio rack effects) and are individually, cleanly bypassed whenever they're not needed in a program. The four Parallel Loops are perfect for selecting between up to four different preamps or amp heads = or even for combining them to create new sounds. And the MIDI In/MIDI Thru Jecks allow the Matrix to receive and send MIDI commands to or from any MIDI device. ‘The ABACUS Foot Controller is truly a footswitching wonder. This phantom powered command center features ten individual digit switches (0 thru 9), two sets of increment/decrement switches (for counting up or down by "ones" or "tens") and a large Program Number display, all of which make program selection a snap! MIDI Channels 1 thru 16 are available for MIDI data transmission via the Channel Select buttons ("+1" and "-1"). Andy unlike most foot controllers, the Abacus shows you the MIDI Channel Number on a separate display. This combination of LED displays and the simple, clear layout of the Abacus keeps you in control at all times! The Abacus Links up with the Matrix via a heavy-duty 30 foot cable with 4-pin XLR connectors - no more accidental disconnects on stage! Now that you have an overview of this dynamic system, in the following pages we'll get specific with all of its controls and features, one at a time. Most of the questions you're likely to have are addressed in this manual; please use it as a guide if any problems arise. If a thorough re-reading of the manual doesn't help in solving the problem, you can call us at the factory and we'll gladly assist you. Excited?! You should betREAR PANEL Since most of the "action" on the Matrix occurs at the rear panel, let's start here. We encourage you to go ahead and “patch up" as you read; there's nothing like hands-on experience! The rear panel can be thought of as a switching patch bay, controlled by the Selector Keys on the front panel. Basically, the rear panel consists of 1) the Effects Loop jacks; 2) the Function Switch jacks; 3) the Parallel Loop jacks; and 4) the MIDI jacks. EBEECTS LOOPS SECTION: The row of sixteen black 1/4" jacks that runs along the top part of the rear panel, plus the pair of silver jacks below it (near the center) make up the six Effects Loops. The purpose of the Loops is to allow the automated use of several effects devices in your set-up, such that each device can be pre-programmed to be either connected or individually bypassed in each of your programs. The Effects Loop section has the Capability of handling both "instrument-level" and "line-level” effects simultaneously; handling several different effects formats (mono, stereo out, or full stereo); and allowing effects patching in more than one Jocation similtaneously (before the amp, in the amp's effects loop, between the preamp and the power amp, etc.). Basically, the Effects Loop section consists of the Loop Input, six Send/Return loops, a pair of Loop Split Jacks, and a pair of Loop Outputs. LOOP INPUT: This 1/4" jack is the common input for the six Effects Loops. The signal originating here can be assigned to any or all of the six loops. The Loop Input will accept either a low-level (instrument level) signal, or a line-level signal. LOOPS: The six loops are wired in series, and are individually assignable under programs written by the user. Loops 3 and 6 are “special function" loops: Loop 3 offers controls for adjusting its Send and Return Levels; and Loop 6 offers stereo Returns, so it can handle effects that have stereo outputs. LOOP SPLIT JACKS: The two chrome jacks located below Loops 3 and 4 are the Loop Split In and Loop Split Out jacks. These jacks separate the 1 string between Loops 3 and 4, giving the user two separate groups of three loops. This can be used when you want to have effects patched in two different places in the signal chain; or for creating three Loops that are full stereo loops (that is, each loop having two sends and two returns). LOOP OUTPUTS: The pair of jacks on the extreme upper right-hand corner of the rear panel are the outputs of the Loop section. When Loop 6, the last loop in the chain, is being used in stereo (that is, with both returns in use), the Loop Outputs function as a stereo pair. When Loop 6 is used as a mono loop (only the Left Return in use), the signal will pass only through the Left Loop Output jack.EREECTS LOOP MODES: STANDARD, SPLIT AND STEREO There are three basic ways of setting up and using the Effects Loop section; they are called STANDARD MODE, SPLIT MODE, AND STEREO MODE. In the Standard Mode, the six loops are used in series. Loops 1 thru 5 are mono loops (that is, they have one send and one return each) and would each handle one mono effect unit. Loop 6 has stereo returns and therefore can handle effects that have a mono input and stereo outputs. Since the Loops are operating in series, the signal would pass from the Loop Input through the effects units that are patched into Loops 1 thru 5 (assuming the Loops are programmed to be "ON"), xhen into the stereo effects unit patched into Loop 6 (assuming it is also ON) returning in stereo through the Loop 6 returns, and then out again through the stereo Loop Outputs. (In most cases the Loop 3 Send/Return levels should be set at "10" for "unity gain"; lower settings would be used to "pad down" the send when using 2 low-level or floor-pedal type effect in Loop 3, or to adjust for an effect output that is too "hot" for this portion of your signal chain). If you wish to use Loop 6 28 a mono rather than a stereo loop, connect the output of the effect to the Left Return jack only and simply ignore the Right Return jack; the signal. Will end up in the Left Loop Output only and will not appear in the Right. In Split Mode, the six loops are literally split up into two separate groups of 3 loops each. This is useful when you want to have a group of effects patched into one location in the signal chain, and a second group of effects patched into a different location in the chain. In the Split Mode, the Loop Input and the Loop Split Out function as the input and the output for the first group (Loops 1 thru 3); and the Loop Split In and Loop Ostput(s) become the input and output(s) for the second group (Loops 4 thru 6). You'll notice that each of the two groups contains one of the "special function" loops and therefore offers a particular advantage. The first group includes Loop 3 and its Send/Return Level controls (for effects that are either too sensitive or too hot"). The second group includes Loop 6 with its stereo Return jacks (which can accomodate effects units having stereo outputs.) (This group is well-suited for use between a preamp and a acer oe. evar ates: or Daltind nial shares: eftest pep eitidh di chee ae amp. The third way of using the Loops is called Stereo Mode. The Stereo mde offers three "true stereo" loops - that is, three loops that each have two inputs and two outputs. This would be used to handle effects units that operate in true stereo and have Left/Right inputs and Left/Right outputs. Stereo mode is similar to the Split mode in that the six loops are split into two separate groups of three loops each (via the Loop Split jacks). But in the Stereo Mode, the first group (Loops 1 thru 3) becomes the Left channel Sends and Returns for the effects; and the second group (Loops 4 thru 6) becomes the Right channel Sends and Returns for those same effects. To set up in Stereo Mode, use Loop Input and Loop Split In as the Left and Right inputs “into” the Loop section. Connect the Loop 1 Send to the LeftAnput of the first effect, and the Loop 4 Send to the Right input of the effect. Connect the Left output of the effect to the Loop 1 Return, and the Right output of the effect to the Loop 4 Return. Use Loop Split Out and Loop Output Left as the "Master" left/right outs of the Loop section. You now have one effect patched up in true stereo, using Effects Loop 1 and 4. When Loop 1 and 4 are programmed to "come up", you will have "true stereo." If you repeat this process using Loops 2 and 5 to handle a second stereo effect, and Loops 3 and 6 to handle a third stereo effect, you will have three effects in full stereo. PARALLEL LOOPS: The ten chrome jacks located below the Effects Loops on the right side of the rear panel are the programmable Parallel Loops. The Parallel Loops are primarily intended for switching between several (up to four) different preamps, or amp heads used as preamps. Secondarily, they can also be used as additional effects loops, or for routing the instrument signal to a tuner. When a cable is inserted into the "IN" jack of the Parallel Loop section, its signal can be routed through any of the four loops (or any combination of the four). These Loops ere programmed using the front panel Selector Keys labelled S7, $8, S9 and S10. (ST - S10 also have another funtion, which is controlling four of the ten Function Switches provided on the Matrix - but we'll describe those later.) Many guitarists find that their playing style tends to change when they switch from one amplifier to another, because each amp has a different characteristic "feel", or type of responsiveness. Consequently it has become quite popular to take advantage of this by using more than one amp in live setups. Amp switching is easily accomplished if a player is simply using two conbo-type amps having self-contained speakers; a basic A/B footswitch will do the job. But for the player who has a larger system with several amp heads (or preamps), rack effects, a power amp, and one speaker system, it becomes more complicated. Tyo A/B setups would be required: one to route the instrument signal to the correct amp, and another to send the output of that same amp to the effects/power amp/speckers. But it's nearly impossible to manually operate two footswitches at the same time! And even then, you would only be accomodating two possible amplifiers. The Matrix solves this problem by providing four separate send/return "loops" in parallel with each other, which can accomadate the high-level signals of amplifiers, and which can be individually programmed "in" or "out" of the signal chain as desired. Generally, your instrument would be plugged into txe "IN" jack of the Parallel Loop section; then you would connect each of your amp heads or preamps to one of the Loops (by running a cable from the Loop "Send" to the amp's input, and another cable from the amp's "Direct Out" or "Main Out" to the Return of the same Loop). The "OUI" Jack of the Loop section would be connected to your effects, or to whatever Components are to "follow" the amps/preamps in your signal chain. (In the case of effects, we recommend inserting them into the six Effects Loops provided on your Matrix; then you would connect the output of the ParallelLoop section into the Input of the Effects Loop section.) Once you've patched your amps and preamps into the Loops, all you need to do is write your programs according to which amp/preamp you want in each one. If a program calls for Anp #1, you would program Parallel Loop #1 "ON", and the other Loops "CFF". If the program calls for Amp #2, you would program Loop #2 "ON" and the others "OFF". (Or if you want a combination of amps in a given program, you could activate two or more Loops.) Then as you call up these different program numbers during performance, the Matrix will handle the amp switching so smoothly that your effects, power amp and speakers will "never know the difference"! NOTE: ALWAYS CONNECT A "LOAD" (EITHER A SPEAKER OR A “LOAD RESISTOR") TO THE SPEAKER OUTPUT OF ANY AMPLIFIER USED AS A "PRE-AMP". FAILURE TO DO SO WILL RESULT IN A DAMAGED AMPLIFIER. A "LOAD RESISTOR" OF THE CORRECT VALUE AND POWER RATING WILL FULFILL THIS REQUIREMENT, BUT TONE QUALITY MAY SUFFER AS A RESULT, AN ACTUAL SPEAKER - EVEN A "DUMMY" SPEAKER THAT IS "BURIED" INSIDE A ROAD CASE OR MUFFLED BY A BLANKET ~ IS THE BEST KIND OF LOAD, AND WILL ALLOW THE AMP TO PERFORM AT ITS BEST. EUNCTION SWITCHES The row of black insulated jacks across the bottom of the rear panel are the jacks for the ten Function Switches. This section of the Matrix is extremely useful, as it can control any function that uses a standard grounding-type switch. All MESA/Boogie guitar amps use this method of mode selection, as do mst other channel-switching amps. Now they can be converted to "MIDI-controlled" amps by virtue of the MIDI Matrix! Another application for the,Function Switches is for controlling the on/off switching on older-style analog effects units (such as delays, chorus units, flangers, ete.). On most such units, the "Defeat" mode is triggered by a standard grounding switch, usually accompanied by a 1/W" jack for connecting a footswitch. This jack can be connected directly to any of the Function ‘Switch Jacks on the Matrix, which can then be programmed "ON" (for "defeating" the effect) or "CFF" (for normal effect operation) in any of your programs. To control mode switching or channel switching on your amp or preamp, simply connect an unshielded cable between one of the Matrix's Function Switches - let's say "S1" for now = and your amp's mode/channel footswitch jack. When "SI" is programmed to be "ON" in a particular program, your amp will change modes or channels. If your amp or preamp has several modes with a separate ‘eontrol jack" for each (as do MESA/Boogie Quad Preamps), you'll want to assign a Matrix Function Switeh to each one (and probably to the Reverb and EQ control jacks as well) and connect them as above. With ten Function Switches provided, you should be able to fully control your amps/preamps andstill have switches left over for controlling effects. A quick suggestion: when assigning Function Switches for mode/channel selection, try to meke the Switch number correspond to the mode or channel number in’some way. For example, assign "Si" to control "Rhythm 1" or "Channel One"; use "S2" for "Rhythm 2" or "Channel 2"; etc. While this may seem trivial, you'll probably find during actual usage that any attempt to organize patching will prove very usefull NOTE: It's inportant to remember that Function Switch jacks S7, S8, $9 and $10 are controlled by the sane relays that control the four Parallel Loops. In other words, when "ST" is "ON," tuo different switching actions will occur simltaneously: Function Switch ST will be activated; AND the Parallel Loop labelled S7 will be switched into the signal chain. You'll need to keep this in mind when patching up and writing programs. For example, you may find that you went Funetion Switch S7 "ON" but you don't want Parallel Loop S7 "ON". In that case you would have to re-patch either the "function" (that 1s, use a different Function Switch to control the function in question} or recpateh the axp/presnp (oy putting it into a different Parallel P) + MIDE IN, MIDI THRU The two 5-pin female DIN jacks located at the lower right corner of the Rear Panel are the MIDI IN and MIDI THRU jacks. These jacks can receive and pass on MIDI data to or from any MIDI device that is set to the same MIDI channel number as the Matrix. (If the Matrix is set for MIDI Channel #00" or "Omni Mode", it can handle data received on any channel number.) The Matrix will respond to "Program Change” messages received at these jacks, and therefore will "cooperate" with any MIDI Controller that can send this command. (This includes MIDI keyboards, MIDI synth modules, MIDI foot controllers, etc.) However, because the Abacus Foot Controller was specifically designed for this purpose, we strongly recommend its use as the controller. ‘The MIDI IN jack is used when controlling the Matrix from a MIDI con- troller other than the Abacus. The Matrix will respond to "Program Change" messages received at this jack. (The MIDI IN jack can be used to interface with the Abacus, as an alternative to the "dedicated" li-pin jack provided on ‘the left side of the Rear Panel. However, the 12 volts of "phantom power" required by the Abacus is not supplied at the MIDI IN jack; therefore, an external 12 volt/500 mA power supply will be needed to power the Abeous when it is connected in this manner.) All MIDI information received at the MIDI IN jack will also be passed to the MIDI THRU jack. MIDI THRU is basically used as a MIDI "output" to MIDI devices connected "after" the Matrix in the chain. It can also be used to interface with a second Matrix if more controlling capacity is needed.As you can probably see, the inclusion of these jacks makes the MIDI Matrix flexible enough to use virtually anywhere in a MIDI system; and also allows a range of options in terms of controllers. Now that we've reviewed the Rear Panel of the Matrix in detail, you should have a good understanding of its three sections - Function Switches, Effects Loops and Parallel Loops. Now let's move to the Front Panel, to see how all of these jacks are controlled. ERONT PANEL The Front Panel of the Matrix has five main sections (plus a power switch located in the lower right corner). Moving from left to right, these sections are 1) the Program Entry keys; 2) the 3-digit LED display; 4) the Funetion Switeh/Effects Loop Selectors; and 5) the Program Status LEDs located above the Switch/Loop selectors). PROGRAM ENTRY: These eight keys are used for selecting or changing the Program Number; selecting or changing the MIDI Channel Number; and storing new programs of program changes in memory. From left to right, these keys are: 1. STORE - This key is used to store in memory whatever combination of Function Switches, Effects Loops and Parallel Loops has been activated using the Switch/Loop selectors. When a Switch or Loop is activated via the selectors, the LED Amside the selector key will light. This is how a "patch" is created. Once you have selected the Switches and Loops that are to make up your patch, you can store it in memory as a "program" simply by pressing the "Store" key. When "Store" has been pressed, the "Program Status" LEDs above each of the chosen Switch/Loop selectors should come on. (If not, press "Store" again.) Your patch is now a "program", stored under the Program Number indicated by the Numeric Display. 2. #1, 1, #10, =10 - These four "increment/decrment" keys can be used for changing the Program Number, both during programming and during performance (as an alternative to using similar buttons on the Abacus Foot Controller). All four keys have a "loop-around” feature, such that when the highest number (128) is reached, pressing the "+1" key takes you "back around" to Program #1. (Similarly, hitting the "+10" key while on Program #128 would take you to Program #8). The "loop-around" feature also works in reverse; hitting "=1" while on Program #1 would take you backwards to Program #128. 3. CH# = When this key is pressed, the Program Number display is converted to a MIDI Channel Number display, showing the MIDI ChannelNugber currently in use. 4, Clit ~ Used to change the MIDI Channel Number on the Matrix. On power-up, the MIDI Channel Nunber will always "default" or reset itself to Channel #1 (both on the Matrix and on the Abacus). All MIDI devices in your system, including the Matrix and the Abacus, should be set to the same MIDI Channel Number if they are to "commuriicate" with each other and respond to the Program Numbers being called up on the Abacus (or whatever MIDI controller is being used). (However, there is an exception to this rule - when the MIDI Channel Number on the Matrix is set to "00", the Matrix functions in the "Ouni Mode" and will respond to program changes sent on any MIDI channel by the controller.) This key also features "loop" around" operation. 5. PROG? - Used to convert the Numerical Display back to the Program Number mode if it is currently showing the MIDI Channel Number. PROGRAM NUMBER: This three-digit numeric display has two functions. Its primary function is to display the Program Number that is currently active. Secondarily, when the "CHP" (Channel Number) key is pressed, the display shows the MIDI Channel that the Matrix is currently set to respond to» (Channel "00" indicates "Omi Mode", in which the Matrix will respond to data sent on any MIDI Channel). To return the display to its original status for viewing the Program Number, the "PROG" key is used. On initial power-up, the display will always show the Program Number that was in use when the Matrix was last turned off. FUNCTION SWITCH/EFFECTS LOOP SELECTORS: These LED-equipped keys are used to program (or re-program) the corresponding Function Switch jacks, Parallel Loops and Effects Loops on the rear panel. Pressing one of these keys will activate or turn "ON" the corresponding Switch or Loop, and cause the LED within the key to light. Whatever combination of Switches and Loops has been activated can then be stored in memory as a "program" by pressing the "Store" key. (Switches and Loops whose Keys have not been pressed will be "OFF" or inactive in. the new program.) When the "Store" key has been pressed, the row of Program Status LEDs above the Selector Keys will display the same pattern as the LEDs within the keys, indicating that the pattern is now a "program". Please note that Function Switch Selectors S7, S8, S9 and S10 are dual function keys. That is, they each control a Function Switch and a Parallel Loop at the same time. For example, when S7 is "ON", two actions occur simitaneously; Function Switch S7 is turned "ON" (or "grounded"); and. Parallel Loop S7 will be activated. (The same goes for 38, $9 and'S10). As We mentioned in our discussion of the Function Switches earlier, you will need to keep this in mind when you are assigning and programming these four Switches and Loops.PROGRAM STATUS LEDS: Located just above the Switch/Loop selectors, this row of LEDs shows the content = in‘ terms of Switches and Loops - of whatever Program Nurber is currently active. When a Program Status LED is lit, it means that the corresponding Switch or Loop is "ON" in that program. The difference between these LEDs and the LEDs inside the Selector Keys is that the Program Status LEDs show you what's already in memory, while the Selector Key LEDs show you what you're now (which will only be stored in memory if the "Store" key is pressed). POWER SWITCH: This switch activates the AC power for the Matrix. When the unit is first switched on, the Matrix performs a brief internal test (called "comparison check") while the Program Number display read "00". This lasts for about a second. After this test the Matrix returns to whatever program was in use before "power down". PROGRAMMING Now that we've reviewed both the Rear Panel and Front Panel Functions of the Matrix, let's begin the actual programming of your "ultimate" new sounds. Having the devices you wish to control in their respective places will make it easier and more fun to understand this section of the manual, as you hear these sounds "come up". The procedure for creating or editing a program is as follows: 1) Call up the Program Number (or "memory location") that you wish to use for the new program (or that you wish to change), using the +1 +10, -10 keys. 2) Select the Switches and Loops you want "ON" in the program by pressing the corresponding Selector Keys. The LEDs inside each of the selected keys will Light up. (Any keys not selected at this time will be programmed "OFF" = and any previous "data" in this memory location will be erased - once the "Store" key is pressed). (Remenber that S7 thru S10 each control a Function Switch anda Parallel Loop at the same time.) 3) Press the "Store" key. The Program Status LEDs above the chosen Selector Keys should now be lit, showing the same pattern as the Lis inside the keys. (If this is not the case, press "Store" again.) Once the Program Status LEDs come on, your patch has been written and saved, and is now a “program”. 4) Press each of the chosen Selector Keys again, to release or “neutralize” them. Only the Program Status LEDs above the selected Switches and Loops will remain on, showing the content of the new program. That's it. Easy, wasn't it?! The simplicity of this programming format enables a player to create or edit pi ams in a flash - even at a gig! Let's go through it once more, real fiONE: Select. the Program Nunber TWO: Activate the desired Switches & Loops THREE: Press the "Store" key (check Program Status LEDs to verify) FOUR: Press the selected Switch/Loop keys again to release. Welcome to the world of MIDI! Never again will software-based, auto- sequencing techno-wizards be able to sneer at your dinosaur-age guitar rig. Setting up your new MIDI system on the bandstand, you'll know you're sporting the best of both the analog and digital worlds - warm and enctional tube tone, controlled with digital speed and precision! This brilliant combination puts you back on the leading edge of amplification. This brings us to the end of our instructions. Read and follow then carefully. If questions or problems arise, read and follow again - mre carefully! If you don't find the answer in these pages, please consult the Troubleshooting Guide that follows. If the problem is not addressed there, please call us here at the factory and we'll assist you. Once again, congratulations - and most of all, enjoy! 10MIDI MATRIX ‘TROUBLESHOOTING GUIDE In these pages we'll address some possible questions and problems relative to connecting, operating and troubleshooting the MIDI Matrix. Most problems are easily solved by reviewing the procedures in this manual and making sure you are connecting everything properly. (With all the different patching ‘options available on the Matrix, this is always the first place to check!) Next, go through the troubleshooting procedures we'll describe here. If at that point you still have a problem, feel free to call us at the factory. Ask the receptionist to connect you with a Technical Support Person. Although the MIDI Matrix has been put through rigorous testing, it is still possible to encounter a problem that can't be solved with a troubleshooting guide or a phone call. In that case, you should contact either the nearest MESA/Boogie authorized repair station, or our Service Dept. here in Northern California. For units that are to be repaired here, please call ahead to receive a Return Authorization number. If the unit is still under our one-year warranty, it will be repaired free of charge and shipped back to you free of charge. Units no longer under warranty will be repaired with as little cost 0 you as possible; however, you mst also pay shipping costs in both rections. Now let's look at some of the possible symptoms you may encounter. SUMPTOM #1; No power; unit seems dead: no display Possible Causes: This symptom indicates a problem with the AC voltage or possibly the power supply. An AC voltage problem is usually "user solvable"; a power supply problem is usually not. First, check that the unit is properly connected to an AC receptacle, preferably a grounded one, that delivers the proper voltage (105-125 volts in the U.S.) After checking this, the next place to look would be the line fuse. If the fuse is blown, replace with a fuse of the same rating (be sure it is a "Slo- Blo" type to avoid unnecessary fuse failure). If the replacement fuse also "blows" immediately - stop here. The unit probably has an internal problem that should be referred to a qualified service technician. SXMPTOM 22: "Lockeup" (Program Number wil) not change). Possible Causes: This "lock-up" state can be the result of a few possible causes. First, make sure that the Abacus (or other controller) is "sending" on the same MIDI channel that the Matrix is set to receive on. If not, make the adjustment on either the controller or the Matrix. (Believe it or not, this simple requirement is easily overlooked, especially if your rig is being set up by someone other than yourself. nMany a headache can be spared simply by deciding in advance on a MIDI channel nunber to be used exclusively and then taking it known to the stage crew or whoever handles your setup.) If synchronizing the MIDI channel numbers doesn't help, try shutting off the Matrix using the Power Switch. Wait about five seconds, then turn it back on. This is a way of "clearing" any data that may be "latched" in the system. A third possible cause of "lock-up" would be if the cable connecting the controller with the Matrix becomes partially disconnected. This won't tend to occur when using the Abacus as the controller, as it uses a locking XLR connector. However, with controllers that use the standard non-locking DIN connector, accidental disconnects can cecur quite easily. Check these connections before each use; make certain that they are firm. (Remember that the MIDI In jack on the Matrix is the one used when connecting a controller other than the Abacus.) SYMPTOM #3; Function Switches Will Not Activate Desired Function Possible Cause: Because these switches utilize only a simple relay, there's Tittle here that can malfunction. However, it is possible that the unit you Wish to control has its switch wired in reverse of the wiring in the Matrix. In other words, the "Defeat" jack on an effect you're controlling, for example, may be wired such that the effect is activated when the "tip" connection is grounded (rather than the more common wiring, in which you get "defeat" when the tip is grounded). The solution here would be to simply program that Function Switch "OFF" when you want to "defeat" the effect, and NON" when you want the effect activated. SXMPTOM #4; Loss of memory after Power Down Possible Cause: This symptom indicates a weak or defective Lithium Cell (battery) in the Memory Backup circuit. When this occurs, program infor- mation stored in the Matrix will only remain in memory until the Power Saitch is tumed off = at best. This is because memory storage requires some form of power for its maintenance, which in this case is supplied by the Lithium Cell. If memory loss begins to occur, have the cell checked by a qualified technician as soon as possible. SXMPTOM #5: Ground Hum or Buzz Possible Cause; Ground loops in the setup. Ground loops occur when there is more than one path for ground between two (or more) electronic units. There are three main types of ground loops; each one contributes its own trademark component, of hum or buzz. The three types of ground loops are: 21) Grounds being connected via the ground lugs of the power cords on the units. The rule-of-thumb here is that one and only one unit in a rack should have a connection to the AC power ground; all the other units in the racic should have their grounds 1ifted by using 3eto-2 adaptors on their AC plugs. 2) Ground loops occurring because of two or more audio cables connecting two components. The most common solution is to disconnect the shield from the sleeve connection at one end of some of the interconnecting cables, so that only one cable between each device has an intact ground shield. Some experimentation is required to find which cable is best suited to have the special "clipped ground". We recommend trying the intact-ground cables for the signal path which flows, say, from an Effects Send jack to an effects unit; and trying the clipped-ground method on the cable which connects the effects output back into the Return jack. 3) Ground loops created by the physical contact between the metal chasses of the components and the steel rack rails. It is usually necessary to disconnect the electronic circuit ground wire from the metal chassis ground in most of the units in a rack system. Here again, the rule is that one. ‘in your system - and usually only one = needs its circuit ground connected to its metal chassis ground; all others should be lifted (in other words, disconnected) for quietest operation. (Some devices, such as MESA/Boogie preamps and power amps, provide a rear panel switch which lifts the internal ground. Other devices are constructed such that the input ground and the output ground are permanently separated. In still other cases, the method used to isolate the grounds is unclear.) Here again, sone experimentation is vital to discovering which combination of "lifted" and "grounded" works best in your rack. When these three main sources of ground loops have been eliminated, you should enjoy amplification that is free of annoying hum and buzz. 13