ORANGE Matamp Lead 200 
Brilliant Mat Mathias designs and craftmanship for ORANGE of London,1969 - 1972 era.
These type of models where used on stage by Jimmy Page. A couple of these and 120watt
and 80watt versions are used in Black Sabbath Videos for both guitar and bass.Rich in tone and burly resonance when playing this 200 watt unit you understand immediate how the greats got "that" tone.
It is rare when you see a band that uses
these units anymore. SLEEP had these type of units in the SLAVE model recovered in GREEN Matamp back in 1995 which Al Cisneros still uses to drive his 4x15 cabinet today in OM. SOOT's bass guitar rig consists the SLAVE 200. Heavy Indy bands that make the choice of
a big amp a newer car or bike. The Lead 200 is an amp well worth walking for.
Twin 2x12 Vertical Cabinets back in the day where used for Guitar, Bass and PA and DJ.
Mat's smooth phenolic knobs with the tear drop marker the smaller knurled phenolic knobs were
high quality Pro Audio. Mat's precise front panel markings in coordinance with the operation
of the pots / knobs ended for Matamp when he passed away.
These units illustrate how detailed and precise Mat Mathias was with his design and assembly.
36 years later, looks quality still, and functions like a quality amp should.
Mat understood the
role amplifiers and speaker cabinet play in a musicians life.
He also understood how the musicians tech and roadie would have to relate to his gear too.
XLR speaker jacks on this one. Both the speaker jacks and IEC cord have been altered, however look like it could be "British", as the two prong accommodates the Bulgin cord. Some the the units where indeed equiped with the XLR. Alot of the 200 watt Lead versions where not built originally as "Leads". The chicken head knob is not original either.
This presence knob was the presence for the SLAVE UNIT, as they had no knobs on the front. The volume on the SLAVE would cascade with the volume of the input amp. The only adjustment on the SLAVE 200 was the presence on the back of the chassis as shown.
Most of the time, Mat would
take a SLAVE 200 Amp and then build his front end EQ panel for the SLAVE
unit.
Then load that in the sleeve.
This is why the chassis are typically a different serial number than the
front panel serial number.
The KT88's in their glory. Mat was
great with is layout.
If the valves are set right, and you follow the basic rules of "tube amps", the KT88's last and last and last. 5 years of high volume and flogging is common life for the KT's in these units. When a guitar player discovers the bite and howl of the KT88, it usually leaves you
thinking about it in lust. Even when going back to the finest EL34 models, you will have a
thoughts about how great "That KT88" sounds.
Horizontal Transformers from Partridge. Notice the pins sticking up on the
chassis next to the tubes. Those are Mat's bias points. The lug nut with the
screw head shaft in the center is the bias adjustment. Heavy duty, simple
design that partially explains why this amp is still running and awesome.
Mat's amps where much more busy for the eye to look at. Part of the space absorption is the horizontal transformer hole in the chassis. Looking inside Mat's amps is like looking in at a candy store's hard candy section.Mat Mathias made mondo high voltage look like something you want to run your tongue accross. Sweet design and assembly craftmanship .
There is definately a process including talent of engineering and art during assembly.
The chassis lug nuts welded to real metal. August 18th of 1972 Serial No. 367.
The EQ front panel removed from the amp sleeve reveals the front of the chassis and the front chassis shield.
The Front panel was fastened to angle iron that is mounted to the amp sleeve.
The front panel removed shows that it is Serial number 283. This supports the fact that the Slave's where converted into leads.
Guitar players by 1970 where coming to Mat with "loud" in mind as the venues where larger too.
Mat's designs kept getting bigger, and bigger and higher output.
