Engl Artist Edition User Manual

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Artist Edition

Full Tube

Guitar Amplifier

Operator´s Manual

Please, first read this manual carefully!

Input

Clean

Lead

Bass

Middle

Treble

Presence Volume

Master A Master B

ARTIST EDITION

Bright Shape Gain Ch.

Stand By Power

	1		2	3	4	5	6	7	8	9	10	11 12	13	14	15	16
PAGE:	<----------	6 -----------	>	<----------------------------------		7	----------------------------------	>	<	-------------------- 8	---------------------	> <-------------	9 ----

Type Plate

REPLACE FUSE

ONLY WITH SAME TYPE

AND RATING !

CAUTION !

DO NOT OPEN !

Tube

Power Tube

Noise Gate

FX Loop

RISK OF ELECTRIC SHOCK !

S.A.C. Port

Footswitch

DO NOT EXPOSE THIS EQUIPMENT

Amp

POWERAMP OUTPUT

Fuse

Lead Channel

TO RAIN OR MOISTURE !

100 Watts

All-tube Guitar Amp Head

Ritchie Blackmore Signature

TYPE E650

Artist Edition

TYPE E651

Serial Amp

FX Loop-

Master A/B

Clean/Lead

red LED on:

MADE IN GERMANY

Control Port

off/on

Mid Shape

Gain

internal

Off-Lo Hi

Dry Effect

4 OHMS PARALLEL

8 OHMS PARALLEL

16 OHMS

CAUTION:

Noise Gate (Contour)

Low/High

Power Tube

Threshold

Send

Return

Balance

1 x 4 OHMS

1 x 8 OHMS

Connect Custom

Fuse blown

2 x 8 OHMS

2 x 16 OHMS

Footswitch Z-9 Only!

PAGE:

> 10 <

<-----------------

11 -----------------

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12 ------

<-----13 ----->

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Table of Contents

	page:
Introduction	4
Features and Functionality at a Glance	5
Contents	6
Front Panel Features:
Input; Clean (Gain), Bright, Lead (Gain)	6, 7
EQ section: Bass, Middle, Treble, Shape (Contour)	7, 8
Lead Control Features: Lead Presence, Lead Volume	8
Channel selection Clean/Lead, Gain Low/High	8, 9
Power Amp section: Master A/B	9, 10
Stand By, Power	10
Rear Panel Features:
Mains, Mains Fuse	10, 11
S.A.C. Port for Z-9 or Z11-S.A.C., Footswitch Ports	11, 12
Noise Gate: Threshold Level	13
FX Loop: Send, Return, and Balance	14
Poweramp Output 4, 8, 16 Ohms	14
Poweramp Output: Cabinet options	15
Handling and Care	15, 16
Troubleshooting	16, 17
Technical Data	18
Tube Map, Tube Exchange Service	19
Wiring of Principal Connectors	20
Remote Control Options	21
Configuration table for Z-9 settings	22

CAUTION! Please read and heed the following:

You'll find an ancillary pamphlet accompanying this owner's manual entitled Instructions for the Prevention of Fire, Electrical Shock and Injury.

Be sure to read it before you plug in and power up the amp! Note: Technical specifications are subject to change without notice.

Congratulations on your decision to go for the ENGL Artist Edition (E651) or the Ritchie Blackmore Signature (E650-2) amplifier!

Both of these spectacular sound machines were specifically designed and acoustically tuned to precision to meet the demands and needs of professional guitarists. Tailored to an unmistakably unique sound character, each of these amp heads follows the tonal visions and influences of great guitarists and were put into practice by my decades of experience as an amp designer at ENGL. As early as the mid-90s I already engineered the first prototype for Ritchie Blackmore. In the following years, numerous wellknown world class guitarists were asking me for a special version equipped with EL34 power amp tubes, additionally refined with a tonal fine-tuning custom-tailored to the artist's individual sound ideas. Precisely this concept , in turn, lead to the Artist Edition Amp.

And in keeping with the ENGL tradition of engineering excellence, these amps sports a host of hip features: a second master volume (Master A/B), a switchable and adjustable FX Loop and a built-in Noise Gate that helps stifle the annoying hiss often generated when High Gain is engaged in Lead mode at very high gain levels.

But that's not the last word on this ENGL head's innovative features: you also get two different mid sound voicings, via the Shape (Contour - E650-2) feature. We created this voicing feature to extend the range of sounds you have at your disposal by shaping mid-range response to suit different playing styles and applications.

There are few more handy features to rave about: This amp sports our Serial Amp Control Port, or S.A.C. Port for short for connecting remote control units like the ENGL Z-9 Foot Controller or the ENGL Z11-S.A.C. as a MIDI Interface to the amp.

Plug an ENGL Z-9 Custom Foot Controller into to the S.A.C. Port and get hip to some very convenient remote control options. This footboard lets you activate the two channels directly in combination with the Gain Low/High feature and Master A/B switching simply by tapping its four footswitches. And that affords you instant access to four sound variations at two different volume levels each. Moreover you can access further prominent features like Shape (Contour) and FX Loop off/on; the build in Noise Gate is switchable via the Z-9 footswitch too.

In addition, the amp comes with three stereo jacks designed to accept dual footswitches like the ENGL Z-4 or a MIDI switching system (e.g. ENGL Z11-S.A.C.) for selecting the channels and other crucial Amp features.

Old world craftsmanship and highest quality components are part of what makes ENGL amps so special, and the Artist Edition and the Ritchie Blackmore Signature are no exception. On that note, please read and heed the guidelines on handling all-tube amps. The ENGL team is convinced that this amps will delight and inspire you.

Your ENGL Artist Edition (or R.B.S.) Amp puts at your disposal:

1.a logical control feature array, utmost ease of use and remarkably intuitive handling;

2.Top-shelf sound-shaping options and remarkable versatility with two channels, two Gain stages each channel and an additional midrange sound sculpting feature.

3.A broad tonal palette: surgically precise sound-sculpting functions are at your fingertips, and a tap of your foot on the conveniently compact footboard. This gives you very powerful remote control options.

4.Four first-rate fundamental sounds in glorious all-tube tone:

Clean Channel @ Low Gain takes you from clean to a touch of mean at high Gain control settings.

Clean Channel @ High Gain adds some grit to the mill for sweet crunch tones with a touch of preamp overdrive.

Lead Channel @ Low Gain takes you deeper into the saturation zone with plenty of headroom to spare.

Lead Channel @ High Gain offers an immense range of gain potential for creamy, singing lead tone with plenty sustain or for massive powerchords.

5.Even more tone-tweaking power courtesy of diverse sound shaping features: Bright for the Clean channel and Shape (Contour, E650-2) to obtain different accentuation of a specific mid range.

6.An ultra-advanced, tone-generating machine that will give you years of playing pleasure and value to boot.

Features and Functionality at a Glance

-> Two channels and two gain stages: Clean channel and Lead channel; each channel with separate Gain knobs and Lead with additional Lead Volume control. Low Gain and High Gain option each channel.

-> The voicing section specially tuned for each channel: One three-band EQ

in the preamp plus the Presence control pot for Lead in the poweramp section. -> Two sound switching options in the preamp section: Bright for the Clean

channel and the Shape (Contour) button in the EQ section for Clean and Lead. -> Switchable and adjustable FX LOOP. You can control the FX Loop remotely via

a footswitch and use this circuit as a hardware bypass for connected FX.

-> Two power amp Master knobs. You can footswitch these knobs to activate two different power amp volume settings on the fly without twisting a knob.

-> The optional Z-9 Custom Footswitch. It lets you select Clean Low Gain,

Clean High Gain, Lead Low Gain, Lead High Gain directly and control two additional (sound-shaping) features of your choice. Three ¼” stereo jack plugs accept three dual footswitches that let you control remotely channel, Low/High Gain, Shape (Contour), Master A/B, FX Loop, and Noise Gate.

-> A Noise Gate for the Lead Channel. Activate it at the amp or via footswitch to suppress excessive noise when High Gain is engaged in Lead mode

at very high gain settings.

Among the hallmarks of this fine amp are painstaking workmanship and finishing as well as rigorously tested and carefully selected quality components. You'll find guidelines on care and maintenance of tube amps on page 15 and 16. Under the heading Tips from the designer, you'll come across practical tips on the aforementioned features throughout the manual. All critical information concerning the operation of this amp is preceded by "NOTE", "CAUTION", "Read and heed" or some

other eye-catching comment. We're calling your attention to these remarks for reasons of safety or other compelling motives, so please give them due consideration.

Everyone at ENGL is confident that this tube amp's extraordinary versatility and outstanding features are sure to delight you: Simply plug in, play and be inspired by the tone of your great ENGL Amp!

A few words of wisdom from the designer:

Though this amplifier is relatively easy to handle and you're probably raring to give it a go, I recommend that you read the owner's manual thoroughly before you power your new amp up. It is equipped with several safety features that require further explanation to prevent malfunctions.

Contents:

1.ENGL Artist Edition (A.E.) Tube Amp Head type E651

or ENGL Ritchie Blackmore Signature (R.B.S.) Tube Amp Head, type E650-2;

2.mains cord;

3.this manual;

4.a pamphlet entitled Instructions for the Prevention of Fire, Electrical Shock and Injury.

Front Panel Features

On page 2 of the manual, you'll find diagrams of the front and rear panels.

1 Input

¼" unbalanced input jack. Plug your guitar in here using a shielded cord.

A tip from the designer:

Depending on the type of cord and its shielding, you may occasionally encounter interference from sources such as radio stations or powerful magnetic fields. When this occurs, try connecting your guitar to the amp using different cords. What's more, to minimize signal degradation due to high-frequency loss, use the shortest cords feasible (as a rule, the shorter the cord, the less susceptible it is to high-frequency attenuation).

2 Clean

Gain control for the Clean channel. This knob determines the preamp's input sensitivity when the Clean channel is selected and, by extension, the preamp signal's saturation level. It and the activated Master (13, 14) knob determine the Clean channel's volume.

A tip from the designer:

The amount of distortion depends on your guitar's pickups and the Gain (11) setting Low or High. In Clean mode, single-coil pickups may begin saturating the preamp when the Clean Gain knob is set to about the four o'clock position; pickups with very high output levels (humbuckers or active pickups) will evoke mild overdrive at even lower settings. If you want squeaky clean tone (a pure guitar tone without preamp

distortion, that is), simply back off the Clean Gain knob accordingly and set the Gain (11) feature to Low Gain (off position).

If your guitar sports single-coils and you want to add some grit to your tone and bite to your riffs, set the knob somewhere between 12 and 4 o'clock. For higher output pickups such as humbucking or active jobs, dial in settings between 10 and 2 o'clock and activate Gain (11).

CAUTION: Extremely high gain and volume levels can produce powerful feedback. Avoid feedback squeals; they can lead to hearing loss and damage speakers! At higher volumes, back off the Gain and Treble levels in order to prevent unchecked feedback!

3 Bright

This feature boosts the upper end of the high frequency range in the Clean channel (or Clean mode, if you prefer). Its intensity decreases as gain settings increase.

A tip from the designer:

For a crisp or glassy tone, activate the Bright feature. It brightens the sound of humbucking or muddy pickups. Use it to tweak the amp's tone to taste, activating it to boost top-end frequencies or deactivating it to dampen high end response.

4 Lead

Gain control for the Lead channel. This Control knob determines input sensitivity when the Lead channel is active. Use it to dial in the desired amount of preamp saturation level.

A tip from the designer:

You can achieve a moderate preamp saturation or overdrive if you prefer for typical rock riffs or for rhythm work with Lead Gain knob settings prior to the 1 o'clock's position; ideally in the 9 to 1 o'clock range, depending on the output of the guitar pickup, with the sound function Gain (11) deactivated (Low Gain). Activating the Gain function (High Gain) at similar Lead Gain control settings produces a remarkably rich sustain and a singing lead tone, perfectly suited for playing solos and lead guitar for example. I would only recommend very high Gain levels at lower volume to get additional sustain. In other words, you should avoid Lead Gain knob settings beyond the 1 o'clock's position at high output power in order to prevent interaction between guitar and speakers that possibly causes undesirable feedback. Moreover the noise floor rises noticeably at Lead Gain settings beyond the 1 o'clock position. When playing the amp at high volume levels rich sustain is already produced with lower Lead Gain control settings , supported by an increased amplification factor in the poweramp.

5 Bass

Bottom end voicing control of the preamps´s passive EQ.

6 Middle

Mid-range voicing control of the preamps´s passive EQ.

7 Treble

Upper range voicing control of the preamps´s passive EQ.

A tip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that you set all tone controls to the center or 12 o'clock position. For higher-gain, highvolume lead sounds, your best bet is to turn the Treble knob (7) and the Lead Presence knob (9) well down to prevent the pickups and speakers from interacting at high levels and generating feedback (the recommended setting is somewhere in the 10 to 1 o'clock range).

Bear in mind that you also have the Bright (3) button and the Lead Presence (9) control knob at your disposal for shaping the high frequency range.

This means that you can tweak the top end of each of the two channels separately to suit your taste and the given sonic scenario. You will find that grittier tones generally sound better with a touch less treble because preamp saturation makes higher frequencies figure more prominently in the signal.

8 Shape (E651), Contour (E650)

This voicing feature influences specific midrange frequencies in the preamps´s EQ section. The sound-shaping button operates globally, affecting both channels. When activated, frequencies between 300 Hz and 2 KHz are boosted varyingly strong. The LED above the button lights up to indicate Shape (Contour) is activated.

The Shape (Contour) sound feature may also be switched using a Z-9 Custom Footswitch connected to the S.A.C. Port (19) or a footswitch connected to jack (21).The button (8) on the amp's front panel is disengaged when you switch the Shape (Contour) function via footswitch (21). For more details see the chapter 19 and 21 on page 11 and 12 !

Atipfromthedesigner:

The Shape (Contour) button voices specific midrange frequencies that are instrumental in fine-tuning a guitar's sound. The amp's sound will be thicker and much more pronounced in the mid frequency range when it is activated. If you want a less dominant midrange, leave this feature deactivated; that is, don't push this button.

9(Lead)Presence

This power amp voicing knob's setting determines the amount of high-end frequencies and affects the Lead channel only.

10 LeadVolume

Volume control for the Lead channel. Use this knob to dial in the desired balance of levels between the Lead and Clean channels. Because this volume control is located pre effects loop, it also determines the effects send level for the Lead channel.

The red LED above the mode selector button (12) lights up to indicate Lead channel is activated.

11 Gain Low/High

Press this button to increase the gain level (amplification factor) in both channels considerably. The yellow LED above the button lights up to indicate High Gain mode is activated. As soon as you select High Gain via button 11, Master B (14) is activated simultaneously. The Gain button (11) on the amp's front panel is disengaged when you switch the Gain function via footswitch (19, 22). The Gain function may also be

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