Marshall mg100hdfx1/17/2024 When switched out the amp is designed to feel akin to a classic Marshall, while flicking it on gives a more modern, compressed response. ![]() One omission is that of the once lauded contour control, a feature that enabled you to effortlessly scoop a high-gain tone without it losing any punch or drive.Īs recompense, a switchable damping option is provided that subtly alters the way in which the power section reacts to your playing. As a solid-state, two-channel affair the three-way EQ is shared by the clean (green) and crunch (red) channels, with the latter also possessing an additional overdrive function that adds gain.Ī single volume control is also shared, with an overall master the perfect way to ensure your volume onstage or in a rehearsal is where it needs to be without it being necessary to alter your carefully balanced settings. There's also a tap tempo function for use with the delay and each can be turned off completely with one of three switches.Įlsewhere the configuration is familiar from the more contemporary Marshall amps. The MG100HFX possesses a pair of speaker outs and even the power switch is new: it's a circular in/out affair rather than the more traditional illuminated rocker switch.Ĭhorus, phaser and flanger are chosen via a rotary control, while the delay and reverb have their own level pots. Other features include a mono effects loop, a 3.5mm mini-jack line in intended for use with a CD, mp3 or other audio player, and a line out for headphones/direct hook ups. The patches are kept in the amp's memory, rather than that of the footswitch, and it's also possible to set the amp to manual mode rather than preset, which will strip its functions down to basic channel switching. It truly is just a case of getting a sound you like and storing it. This may seem a very familiar configuration, but remember where in the market these amps are aimed and that there are no pesky amp, cab and mic models to choose, select, tailor and store. In that respect, each new MG of 50 watts or more is genuinely gig-ready in a band context from a practicality standpoint at the very least.Įach amp comes out of the box loaded with a quartet of factory settings, but changing them around or tailoring them to your specific requirements takes no more than a matter of minutes. ![]() While digital modelling amps offer many more presets than this, hands up who actually uses more than four core amp tones at a single gig anyway! The footswitch's LED and status panel show you which effects and features you have for each of the four patches. Even the onboard tuner can be assigned to a patch: neat. Setting and storing a sound is simple thanks to the provision of a store button and Stompware can also recall other specific settings: whether the FX loop is in or out, the damping selection and so on. The key to the system is the Stompware footswitch that's included with all MG amps down to the MG50FX (and is available as an optional extra for use with the smaller amps too). Perhaps the most important, that's relevant across the board, is Marshall's Stompware technology, which enables you to program and store up to four sounds that can be composed from contrasting effects and different amp settings - including gain and EQ levels: four separate sounds, available instantly at your feet. This 100-watt head is kept company at the top of the range by 1 x 12 and 2 x12 combo versions (the MG101FX and MG102FX) and they all offer the same selection of features. Hear the amp in action in the following demo:
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