Engl E670 Operator's Manual

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Operator´s Manual

Please, first read this manual carefully!

Full Tube

Guitar Amplifier

with MIDI-Control

Special Edition

Tube

Amp

Technology

Tube

Amp

Technology

Table of Contents

page Introduction Features and Functionality at a Glance Contents Front Panel Features:

Rear Panel Features:

Practical Info and Tips Glossary,

Troubleshooting Technical Data, Tube Map, Tube Exchange Service Mains Configuration Wiring of Principal Connectors Remote Control Options Front Panel Diagrams for Noting Settings Front Panel and Rear Panel Layout

Note:

BIAS-Control-Panel

Handling and Care

Tube Driver; Clean and Crunch Channel Control Features Power Amp EQ: Presence A/B, Depth Boost Mega Lo Punch, Reverb, FX Loops Input; Lead I and Lead II Channel Control Features Power Amp section: Master A/B Modern/Classic, Lo/Hi Power, Speaker A/B Noise Gate Write/Copy Stand By, Power

Mains, Mains Fuse MIDI Section and Footswitch Ports

Detailed Specifications and Ratings

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!

Technical specifications are subject to change without notice.

Noise Gate: Mute Depth, Threshold Level FX Loops I, II and Serial: Send, Return, and Balance Balanced Line Out: Level, Overload LED, Line Out Status, XLR Ground, Line Output Frequ. Comp. Power Amp Output B: B1, B2, Impedance Selector Power Amp Output A: A1, A2, Impedance Selector Ground Lift Switch Tube Driver: Level, Contour, Bass, Mid, Treble, Sensitivity Impedance Check System

Checking and Adjusting Bias

CAUTION! Please read and heed the following:

Status-LED: Indications

4 4,5 6

6 - 10 10,11 11,12 12 - 15 15, 16 16, 17 18 19 20

21 21 - 23 23, 24 24, 25

25, 26 26, 27 27, 28 28 29 29 - 31 31 - 33 32, 33 33 - 37 38 39, 40 40, 41 42 43 44, 45 46 47 48 49

Congratulations! SpecialEditionE670 most advanced versatileampheads

sophisticated guitar amp all-tube technology

state-of-the-art microchip circuitry a vast range of great fundamental tones

controlledremotelyviaMIDI

ease of use remarkably intuitive handling excellent sound-shaping options greatest flexibility

a gigging workhorse

studio home recording

finely-tweaked, MIDI controllable sound-shaping functions

wealth of disparate sounds

four basic sounds , , and

switching power amp output on the fly

ultra-advanced tone-generating machine

playing pleasure value to boot

Four basic channels Tube Driver circuit

Modern and Classic sound-shaping buttons Two Gain variants

Three voicing sections

Withthe ,younowownoneofthe

and availabletoday! This marries the unrivalled tone of to the awesome sound-shaping might of control features powered by

. This elegant combination puts at your fingertips

and an all but inexhaustible reservoir of compelling variations allofwhichmaybe . What's more, the amp boastsa host of hip & practical features a bias switch that lets yourun6L6GCorEL34 power amp tubes and

;a quick-check systemfor speaker impedance and cords equipped with1/4 " jack plug; and three different types of FX loops, to mentionjust afew.

1. a logical control feature array, utmost and

;

2. and courtesy of the many

voicing options and special features, and 128 MIDI presets offering a bevy of programming options;

3. that also sports a speaker simulation system, making it

a handy tool for and ;

4. a combination of

providing instant access to a ;

5. the ; with two variable and

switchable Gain levels and two voicing options ( and ) for each basic sound, you actually have 16 fundamental sounds to choose from;

6. the option of . The ability to go from

Hi Power (100 watts) to Lo Power (50 watts) via MIDI while playing is yet another novel sound-sculpting tool that you have at your disposal!

7. an that will give you years of

and .

-> : , , and with separate Gain, Treble

and Volume knobs.

-> for effect devices; it also serves as a separate fifth channel

that can be selected directly (with or without EQ) in reciprocation with the four channels.

-> : Determine the basic voicing of

all four channels, giving you a broader, deeper tonal spectrum to work with.

-> for each of the basic channels: and

let you active directly two different gain settings for every channel.

> : one EQ for and (Main Channel 1),

one for and (Main Channel 2) and another for the . As a special feature, every channel sports a dedicated Treble knob.

This affords you:

Features and Functionality at a Glance

Clean Crunch Lead I Lead II

Modern Classic

Clean Crunch Lead I Lead II

Gain Boost Hi Gain

Clean Crunch

Lead I Lead II Tube Driver

abiasindicatorthatlets technician know

whichconfiguration is currentlyselected

-> tuned to match the tonal requirements of

the given channels: and for and ,

and for the two Lead channels.

-> for very natural-sounding reverb, with separate

knobs for the two Main Channels.

-> and are variable, switchable effect

loops, while in series with two main effect loops. Each effect loop may be activated for each channel as well as for the circuit.

Various sound-shaping buttons

Large spring reverb Three effect loops:

Bright Ultra Bright Clean Crunch

Contour Mid Edge

FX Loop I FX Loop II

Serial FX Loop

Tube Driver

-> , accessible via MIDI.

The amp can also be muted via MIDI controller 7.

-> (50 or 100 watts) with hot

impedance adjustment (that is, on the fly); with separate impedance selector for connected speaker systems.

-> for routing preamp or

power amp signals to mixers or recording gear.

-> and ports serve to integrate the amp into a MIDI system.

-> , accessible via 16 MIDI channels.

-> The

The Serial Amp Control Port accepts the Custom Z-9 Footswitch (optional); use it as a conventional switcher to select channels and two sound-shaping functions directly. Then there's the MIDI In, which accepts the Z-9 for use as a simple MIDI footcontroller or any other MIDI footcontroller. Finally, the amp is equipped with a stereo jack that takes a dual footswitch, allowing you to switch the four channels remotely.

-> for suppressing noise in the ,

and channels.

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 guidelinesoncareandmaintenance of tube amps onpage41.Underthe 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 callingyour attention to these remarks for reasons of safety or other compellingmotives, sopleasegivethem dueconsideration.

Everyone at ENGL is confident that the

and aresure to delightyou:

Though this amp head 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 youpower it up. It is equipped with several safety features that require further explanation to preventmalfunctions.

Variable, MIDI-switchable power amp output

A/B speaker switching

Balanced, frequency-compensated XLR line output

128 MIDI presets

Special Edition offers three different remote interface ports:

Programmable Noise Gate

Special Edition tube amp's extraordinary versatility outstanding features Simply plug in, play and beinspired by thetoneof your ENGLamp!

Afew words ofwisdomfrom the designer:

MIDI In Thru

Crunch Lead I

Lead II

is a separate circuit that can be used

Two each power amp Master and Presence knobs

is a separate circuit that can be used

Two each power amp Master and Presence knobs

Contents:

Front Panel Features

1. ENGL E670 Tube Amp Head;

2. mains cord;

3. this manual;

4. a pamphlet entitled

At the back of the manual, you'll find fold-out diagrams of the front and rear panels. As you're reading the descriptions of the amp's features, you'll gain a better understandingof thetopicofdiscussion ifyouunfoldand refertothemaswego!

Activates the onboard , a circuit similar to a very simple preamp channel. Think of it as an active, tube-driven preamp defeat circuit. Pressing this button (1) activates the . Note that this circuit can be selected in reciprocation with thefourchannels, whereby reciprocationmeansthat you canactivatethe irrespective of the currently active channel and vice versa. The LED above the button lightsuptoindicate the is active. It can alsobeactivatedvia MIDI program changeor CustomZ-9Footswitch.Its controlfeaturesareonthebackoftheamp.

Thisnew featureoffersacouple ofcoolapplicationoptions:

1. Use it as a pre effect device tube preamp stage (two triode stages) to enhance the dynamicrange ofyour instrument'ssignal. Theinternal preampand its , ,

and channels arebypassed,and a practically linearsignalisrouted to the effectsend jacks. This lets you employ the without EQ as a preamp defeat or bypass, for example,if youwanttouse aneffectdevice'spreamp stagetodrivethepoweramp.

2.Use it as an independent fifth preampchannel without tone controls toget asignal with very nearly linear characteristics. When you activate the without EQ, solely the power amp Presence knob and Depth Boost feature influence your the sound, giving you yet another tonal alternative to the Clean channel. Use the rear panel Sensitivity (85) and Level (80) knobs to set gain and volume levels, or the effect loops' send levels, for the activated Tube Driver channel. You can saturate the Tube Driver circuit by dialing in higher gain settings (depending on your guitar's pickup). Thisgives youanotherdefacto Crunchchannelwithtotallydifferenttonalproperties!

that because this circuit takes a direct path from input to the effect loop, you cannot use the amp's preamp control features to shape its signal. The list of disabled features includes (22), (21), the (45) and (42). Power amp functions such as , ,

(20), (43) and (44) remain enabled and have

thesame effectonthe astheywouldonanyotherpreampchannel.

Instructions for the Prevention of Fire,

Electrical Shock and Injury

Tube Driver

TubeDriver

Clean Crunch

LeadI LeadII

Tube Driver

Reverb Mega Depth Punch Noise Gate

Modern/Classic Master A/B Presence A/B

Depth Boost Power Lo/Hi Speaker A/B

TubeDriver

A tip from the designer:

Please note

1 TUBE DRIVER

2 T.D.EQ.(TUBE DRIVER EQUALIZER)

3CLEAN GAIN

4GAIN BOOST

This function activates the onboard , a circuit similar to a very simple preamp channel. It could also be described as an active, tube-driven preamp defeat circuit, in this case with passive tone controls. Pressing the button (2) activates the

with EQ. Note that this circuit can be selected in reciprocation with the fourchannels,wherebyreciprocationmeans that you can activateitirrespectiveofthe currentlyactive channel and viceversa. The LEDabove the buttonlightsup to indicate the Tube Driver plus EQ is active. The Tube Driver with EQ can also be activated via MIDI program change or Custom Z-9 Footswitch. Its voicing knobs are on the back of theamp.

Thisnew featureoffersacouple ofcoolapplicationoptions:

1. Use it as a pre effect device tube preamp stage (two triode stages) to enhance the dynamicrange ofyour instrument'ssignal. Theinternal preampand itsClean, Crunch, LeadI andLeadIIchannels arebypassed. This lets you employ the with EQ as a preamp defeat or bypass, for example, if you want to use an effect device's preamp stage to drive the power amp, andtoshapetheTubeDriversignal totasteusingthepassive three-wayvoicingsection onthe rearpanel.

2. Use it as an independent sixth preamp channel with dedicated tone controls. Becausethis circuitfeatures adifferent design as well as independent voicing options, it gives you yet another tonal alternative to the Clean and Crunch channels. Use the rear panel Sensitivity (85), Treble (84), Mid (83) and Bass (82) knobs as well as the Contourbutton (81)toshapeits signal.

(20), (43) and (44) remain enabled and have

thesame effectonthe astheywouldonanyotherpreampchannel.

Clean channel Gain control. This knob determines the preamp's input sensitivity in Cleanmode; useittoset thedesiredinputlevel.

The amount of distortion depends on your guitar's pickups and the Gain Boost (4) setting.In Clean mode, single-coil pickupsmay begin saturating the preampwhen the knob is set to about the two o'clock position; pickups with very high output levels (humbuckersor active pickups)will evoke mildoverdrive at evenlower settings. Ifyou wantsqueaky cleantone,simplyback offtheGainknob accordingly.

Boosts the input sensitivity of Main Channel 1, and . The red LED above this button lights up to indicate is on. can also be switched via MIDIprogram changecommandortheCustomZ-9Footswitch.

Tube Driver

Reverb Mega Depth Punch Noise Gate

Modern/Classic Master A/B Presence A/B

Depth Boost Power Lo/Hi Speaker A/B

TubeDriver

Clean Crunch

Gain Boost Gain Boost

Atip from thedesigner:

Please note

Atip from thedesigner:

CAUTION:

Atip from thedesigner:

As its name would imply, servesprimarily to up Clean and Crunch channel input levels, extend both channels' gain ranges. In effect, this feature gives you two additional variations on these two channels' basic sounds. For example, you could set theCleanchannelGain knob to the highestsettingatwhich your guitar signal remains distortion-free, just under the preamp clipping threshold. Then when you activate

, you will overdrive the Clean preamp slightly, yielding a grittier tone wellsuitedfor rockriffs. AnotherCleanchannel option is tousethe asavolume booster. To dothis, activate anddial in a Clean Gainknob setting, making sure notto push the preampintoclipping zone. Considerthisyour high-volume cleantone,say for clucking lead lines. Switching off gives you a softer clean tone for chord work. Switchback andforthbetweenthe twoasdesired.

Gain control for the Crunch channel. This knob determines input sensitivity in Crunch mode;use ittodialin thedesiredamountof preampdistortion.

Extremely high gain and volume levels in Crunch mode can produce powerfulfeedback.Avoidfeedbacksqueals; they can leadtohearinglossanddamage speakers! At higher volumes, back off the Gain, Treble and Presence levels in order to preventunchecked feedback!

Single-coil pickups will evoke mildly overdriven sounds at settings somewhere between 11 and 3 o'clock. Try settings between 9 and 1 o'clock for pickups with highoutput humbuckers or active pickups. Bear in mind the Gain Boost function. You can activateitviaan ENGL Custom Z-9Footswitchora preprogrammed MIDI presettoget aneven bigger,beefiercrunchtone onthefly.

This is the preamp voicing section's passive low-frequency EQ for Main Channel I's Cleanand Crunchmodes.

This is the preamp voicing section's passive midrange frequency EQ for Main Channel I's Clean and Crunch modes.

This is the preamp voicing section's passive high-frequency EQ for Main Channel I's Cleanmode.

This is the preamp voicing section's passive high-frequency EQ for Main Channel I's Crunchmode.

To help you get acquainted with the amp's fundamental sounds, I recommend that youset all tone controls toor slightly higher than thecenter or12 o'clock position. For

Gain Boost

GainBoost

Gain Boost

5CRUNCH GAIN

6BASS

7MIDDLE

8TREBLE CLEAN

9TREBLE CRUNCH

higher-gain Crunch sounds, your best bet is to turn the Treble Crunch knob down to prevent the pickups and speakers from generating feedback (a setting in the 10-to -1 o'clockrange isrecommended). The Clean and Crunch channels are equipped with dedicated Treble knobs so 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. Bear in mind that you also have the two Normal Bright (10) andUltraBright(11)buttons,aswell asthetwopowerampPresenceAandPresence B knobs, at your disposal for shaping the high frequency range. I suggest you get into the habit of dialing in lower Treble settings. That way, you can program various MIDI presets with higher Presence settings and activate them, as well as one or both Bright options,remotely andhaveplentyof tonalvariationsatyourfingertips.

This feature boosts the upper end of the high frequency range in Main Channel 1,

and . Its effectiveness decreases as Gain settings increase. The red LED above this button lights up to indicate the Normal Bright function is on. This feature canalso beswitchedviaMIDI programchangeorCustomZ-9Footswitch.

For a crisp or glassy tone, activate the . This setting brightens the sound of humbucking or muddy pickups. Don't let the names confuse you: actuallyaddresses a higher frequency rangethan .Notealso that the Gain knob influences this sound-shaping function's intensity. Furthermore, its tonal impact varies slightly in Modern and Classic modes, particularly when you are driving the preampinto theclippingzone.

Locatedin theClean and Crunch preamp stage of Main Channel 1,this sound-shaping functionboosts slightly lower highfrequencies. Unlike (10),its intensity remains the same irrespective of the Gain knob setting. The LED above the button lightsuptoindicatethe Ultra Bright functionison.Itcanalsobeactivatedremotelyvia MIDIprogram changeorCustomZ-9Footswitch.

Thisvoicingoptionupsthetwangfactorinherentincertaintypesofguitars,andletsyou putasetofsoniccowhornsonthosethatlackit.Feelfreetocontrolthissound-shaping functionremotelyviaMIDI.Butwhicheverwayyouchoosetouseit,Irecommendthat youdon'toverstatetop-endfrequencies.Backoffthe twoTrebleknobstoavoid harsh, cuttingorover-the-topbrightness.InClassicmode,high-frequencypeaksaredampened anywaywhentheampstartsclipping.InModernmode,thetonecanbecomeverygritty andraw,particularlywhenBrightfunctionsareactivated.That'snotnecessarilybad;for some sounds, this effect can be quite compelling. I suggest you literally play it by ear experiment freely and you are sure to discover many interesting and inspiring topdrawertones.BesuretogivetheModern/Classicsound-shapingfunctions,aswellasthe powerampPresenceAandBknobs,agoodworkout.Isuspectyou'llbedelightedbythe arrayoftones,particularlyasyouadddifferentguitarsandpickupstothemix.

Clean Crunch

Normal Bright

UltraBright

NormalBright

Atip from thedesigner:

Atipfromthedesigner:

10NORMAL BRIGHT

11ULTRA BRIGHT

12REVERB

13CLEANVOLUME

14CLEAN

15CRUNCHVOLUME

16CRUNCH

17PRESENCE A

18PRESENCE A/B

Reverb intensity knob. Twist it to adjust the amount of reverb for Main Channel 1

. Activate (22) and twist the Reverb knob clockwise to increase the effect's intensity. The signal remains completely dry when the knob set to the 7 o'clockpositionor (22)isdeactivated.TheredLEDabovethisbuttonlightsupto indicate ison.Inaddition,itcanbeactivatedanddeactivatedviaMIDIprogram changeorCustomZ-9Footswitch.

Determines the Clean channel's level. Use this knob to adjust the Clean channel's volume and dial in the desired balance in comparison with the other channels' levels. Becausethisknobislocated pre effects loop,italsodeterminestheeffectssendlevelin Clean mode. The green LED to the right of the knob lights up to indicate the Clean channelison.

Pushthis buttonto activate the preamp's Clean channel directly (in reciprocation with

, , , and ). The green LED to the right of the Clean Volume knob (13) lights up to indicate the Clean channel is active. The Clean channel may also be activated via MIDI program change, the ENGL Custom Z-9 Footswitch,oradualfootswitch.

Determines the Crunch channel's level. Use this knob to adjust the Crunch channel's volume and dial in the desired balance with the other channels' levels. Because this knob is pre effects loop, it also determines the effects send level in Crunch mode. The yellowLEDtotherightoftheknoblightsuptoindicatetheCrunchchannelison.

Press this button to activate the preamp's Crunch channel directly. (in reciprocation with , , , and ), The yellow LED to the right of the Crunch Volume knob (15) lights up to indicate the Crunch channel is active. The Crunchchannelmay also be activatedviaMIDI program change,theENGL Custom Z-9 Footswitchor adualfootswitch.

Power amp Presence A knob. This knob determines the power amp's high frequency response when is activated. The red LED next to the knob lights up to indicate isactive.

Switches back and forth between and . The LED next to the givenPresencecontrollightsup to indicate it ison;redsignifies ison;green signifies ison. may also be switched via MIDIprogramchange orCustom Z-9Footswitch.

Clean/Crunch Reverb

Reverb

Crunch Lead I Lead II Tube Driver T. D.EQ.

Presence A

PresenceA

Presence A Presence B

PresenceA

PresenceB PresenceA/B

19PRESENCE B

20DEPTH BOOST

21MEGA LO PUNCH

22REVERB

Power amp Presence B knob. This knob determines the power amp's high frequency response when is activated. The green LED next to the knob lights up to indicate isactive.

The two Presence knobs afford you a host of interesting and worthwhile options for shaping sounds: You can dial in different settings on the Presence A and B knobs (for example,set to 10o'clockand to3o'clock)andassignthese two knobs to different preamp channels and sound modes ( & ) in various MIDI presets. Note that simply switching from to while the preamp setting remains the same yields different sonic results, not to mention all the otheroptions.Again,Irecommendthatyouexploreandexperimentfreelytodiscover theuntold combinationsandconfigurationsat yourfingertips.

Push the Depth Boost button to beef up the bottom end by about 6 dB. The red LED above the button lights up to indicate the power amp Depth Boost feature is activated. It can also be activated remotely via MIDI program change or Custom Z-9 Footswitch.

In contrast to the preamp feature (21), is wired into the power amp circuitry (specifically in the feedback circuit). Though they both boost bottom-end frequencies, these two functions have different effects. In combination with the Presence A and B knobs, forms a separate power amp voicing section that you can mix and match with different preamp channel settings and the TubeDriver circuit, adding differenthues to your sonicpalette, and tweakingtonesto suityour taste.

Whenactivated, this functionboosts low-end frequencies inall four preampchannels. The red LED above the button lights up to indicate this function is on. does not influence the Tube Driver circuit. It may also be activated remotely via MIDI programchange orCustomZ-9Footswitch.

effects vary, particularly in Lead channel Modern and Classic operating modes. When is on, it boosts the bottom-end much in the way of the power amp feature , meaning that it audibly increases sound pressure.WhenClassic mode is activated,theeffect depends on theGainknob setting andisnotnearlyaspronounced.At very high Gain settings and depending onthetype of pickup, the signal's low end may become rather muddy. When you configure the amp in Classic mode and dial in a high gain level, I strongly suggest you deactivate MegaLo Punch.

This button activates and deactivates the onboard spring reverb system. The red LED above the button lights up to indicate is active. This button is important when you're programming MIDI patches. Use it to assign the internal reverb signal to the

Presence B

PresenceB

PresenceA PresenceB

Modern Classic

Presence A Presence B

Mega Lo Punch Depth Boost

Depth Boost

Mega Lo Punch

Mega Lo Punch's

Modern

Depth Boost

Reverb

Atip from thedesigner:

desired MIDI preset. Adjust the wet signal for the two Main Channels using the assigned Reverb knob (12, 35). canalso be switched via MIDI program change orCustom Z-9Footswitch.

This button switches to and fro between and . The red LED above the button lights up to indicate is on. You can also select loops via MIDI programchange orCustomZ-9Footswitch.

Both effect loops can be configured in series (that is, 100% processed signal when

is set to ) or in parallel (1% to 99% mix of preamp and effect signal when

is set somewhere between and ), or be bypassed altogether (0 % wet balance when is set to ). You can connect an effect device to each of the effect loops and switch from one effect device to the other using the FX Loop I/II function, or employ just one of the two effect loops (for example, FX II Loop) and use

to activate the effect. In the latter case, serves as a bypass (set its knobto the position). You could also connecta further effect device to the and alternate between it and the effect device connected to

(and , if it is in use), or combine the two. Note that in the signal path,

and arepost andprethe two master knobs.

Press this button to activate and deactivate the .The red LED abovethe button lights up to indicate is activated. You can also switch the

onand offviaMIDIprogram changeorCustomZ-9Footswitch.

The isan auxiliary effects loop. As its name would indicate, itis wiredin series with and . This setup lets you insert two effect devices in series, that is, one after the other, between the Special Edition's preamp and power amp.Anotherneatoptionisto put all effect loops to gooduse.Forinstance,youcould insert three different effect devices into the amp's signal path, with one device connected to each loop. This lets you enable the devices (two of which can then be activatedsimultaneously) bysimplyswitchingloops.

¼"unbalanced inputjack.Plugyour guitarinhereusing ashieldedcord. 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).

Reverb

FX Loop I FXLoop II

FX Loop II

Balance wet Balance dry wet

Balance dry

FX Loop I/II FX Loop I

Balance dry

Serial FX Loop FX Loop II FX Loop I FXLoopI FXLoopII SerialFXLoop

Serial FX Loop

Serial FX Loop Serial

FXLoop

Serial FX Loop

FX Loop I FX Loop II

Atip from thedesigner:

23FX LOOP I/II

24SERIAL FX LOOP

25INPUT

26LEAD I GAIN

27HI GAIN

28LEAD II GAIN

29BASS

This knob determines the Lead I channel's input sensitivity and preamp saturation level.

Extremelyhighgain and volume levelsin Lead mode canproducepowerful feedback. Avoid feedback squeals; they can lead to hearing loss and damage speakers! At higher volumes, back off the Gain, Treble and Presence levels in order to preventunchecked feedback!

Thetwo Lead channels'fundamental tones are not worlds apart: boastsslightly less gain and bottom end, but its speedier response makes it a great choice for brisk riffingand lightningleadruns.

Pressing this button ups input sensitivity, thereby increasing the amplification factor and the amount of distortion in both Main Channel 2's Lead I and Lead II modes. The LED above this button lights up to indicate is active. This feature can also be switchedvia MIDIprogramchangeorCustomZ-9Footswitch.

When activated, supercharges the amplification factor, switching from

to and putting both Lead channels into high gear. This doubles the number of basic sounds in Main Channel 2. The Soft Lead setting suffices for highoutput pickups - even for playing leads - so you can leave off if your guitar is shred-approved. settings also work for chugging rhythm riffs or as alternative crunch sounds, so give 'em a try. But by all means, for scorching ultra highgain lead sounds with truckloads of sustain or for power chords with a monster bottom-end,go fortheHeavyLead variantwith activated.

This knob determines the Lead II channel's input sensitivity and preamp saturation level.

The two Lead channels' fundamental tones are not worlds apart: boasts a bit more gain and bottom end than ,and works very well for fat, in-your-face solos and chunky riffs with a big bottom end with plenty of low-frequency punch. Its response is not quite as speedy as , and the low-end can turn muddy at high Gainsettings incombinationwithhigh-testosterone pickups.

This is the preamp voicing section's passive low-frequency EQ for Main Channel 2's LeadI andLeadIImodes.

CAUTION:

Atip from thedesigner:

LeadI

Hi Gain

Hi Gain Soft

Lead Heavy Lead

Hi Gain

Soft Lead

HiGain

Lead II

Lead I

Lead I's

CAUTION:Extremelyhigh gain and volumelevels in Lead modecanproduce powerful feedback. Avoid feedback squeals; they can lead to hearing loss and damage speakers! At higher volumes, back off the Gain, Treble and Presence levels in order to preventunchecked feedback!

30MIDDLE

31TREBLE LEAD I

32TREBLE LEAD II

33CONTOUR ACTIVE

34MID EDGE

This is the preamp voicing section's passive midrange EQ for Main Channel 2's Lead I andLead IImodes.

Thisis thepreampvoicingsection's passivehigh-frequencyEQforLeadImode.

Thisis thepreampvoicingsection's passivehigh-frequencyEQforLeadIImode. To help you get acquainted with the amp's fundamental sounds, I recommend that

you set all tone controls to about the center or 12 o'clock position. For higher-gain, high-volumeleadsounds,yourbestbetis to turn the Treble knob downtopreventthe pickupsandspeakersfromgeneratingfeedback(asettinginthe9-to-1o'clockrangeis recommended). The Lead I and Lead II channels are equipped with dedicated Treble knobs so you can tweakthetop end of eachofthese two channels separatelytosuit your taste. Though this passive voicing section's controls range is narrower than that of a comparable active system, its EQ curve is tweaked specifically for its designated purpose, and will give you satisfying results. What's more, in combination with the two sound-shaping buttons and , you have heaps of voicing options for tailoring basic soundsto taste.

shapes midrange frequencies for Main Channel 2's Lead I and Lead II modes. When activated, Contour boosts low mids from 300 to 600 hertz as well as the frequency at 1500 hertz. Note that the Contour setting influences the functionality and range of the Mid knob (30). The LED above the button lights up to indicate

is activated. This feature may also be switched via MIDI program change or theENGL CustomZ-9Footswitch.

Though this voicing section is passive and its control range is therefore somewhat narrower, with and you have two additional tools available for shaping the midrange. And for good reason music is made in the mids, and these frequenciesare critical to dialingin happening leadtones. You canemploy to scoop mids radically and conjure rabid heavy metal tones or boost them to elicit assertivelead sounds.

This sound-shaping tool addresses midrange frequencies by slightly lowering the Mid knob'sfrequencyspectrum.The LED above thebuttonlightsuptoindicate is activated. This feature can also be switched via MIDI program change or the ENGL CustomZ-9 Footswitch.

Like , is a passive voicing feature. Consequently, its effect on the soundscape is rather subtle. Technically speaking, it actually re-voices the Mid knob. Activating smoothes out lead tones' rough edges. Deactivating

Atip from thedesigner:

Contour Mid Edge

Contour

Contour Mid Edge

Contour

MidEdge

Contour Mid Edge

Mid Edge Mid Edge

and thins out the lead tones' midrange, creating a more brittle tone. This brandof toneis better suited for rhythm work becauseit isnot as aggressive or overly assertive.Different combinationsof and yieldfour additionaltonal variants in Main Channel 2, and these variations can be programmed, stored and accessedvia MIDI.

Reverb intensity knob. Twist it to adjust the amount of reverb for Main Channel 2's LeadIand Lead II modes.Activate (22) and twist theReverbknob clockwise to increasethe effect's intensity. The signalremains completely dry when theknob set to the 7 o'clock position or (22) is deactivated. The red LED above this button lights up to indicate is on. In addition, it can be activated and deactivated via MIDIprogram changeorCustomZ-9Footswitch.

Determines the Lead I channel's level. Use this knob to adjust the Lead I channel's volume and dial in the desired balance in comparison with the other channels' levels. Becausethisknobislocated pre effects loop,italsodeterminestheeffectssendlevelin Lead I mode. The red LED to the right of the knob lights up to indicate the Lead I channelis on.

Pushthisbutton to activatethepreamp's Lead Ichanneldirectly (in reciprocation with

, , , and ).TheredLEDto the right of theLeadI Volumeknob(36)lightsupto indicate Lead I channel is active.Itmayalsobeactivated viaMIDI programchange,theENGL CustomZ-9Footswitch,oradualfootswitch.

Determines the Lead II channel's level. Use this knob to adjust the Lead II channel's volume and dial in the desired balance in comparison with the other channels' levels. Becausethisknobislocated pre effects loop,italsodeterminestheeffectssendlevelin Lead II mode. The red LED to the right of the knob lights up to indicate the Lead II channelis on.

Pushthisbutton to activatethepreamp'sLeadIIchanneldirectly(in reciprocationwith

, , , and ).The red LED to theright of theLead I Volume knob (38) lights up to indicate the Lead II channel is active. It may also be activated via MIDI program change, the ENGL Custom Z-9 Footswitch, or a dual footswitch.

Master A volume knob. Located post effect loops, it controls power amp output. The red LED to the right of the knob lights up to indicate is enabled and determiningthe master level. Youcan also setthe master level to0 via MIDIcontroller

7.To learnhowtodo this,seesection55 inthe chapter.

Contour

MidEdge Contour

Reverb

Clean Crunch Lead II Tube Driver T.D.EQ.

Clean Crunch LeadI Tube Driver T.D.EQ.

Master A

RearPanel Features

35REVERB

36LEAD I VOLUME

37LEAD I

38LEAD II VOLUME

39LEAD II

40MASTER A

41MASTER A/B

42MASTER B

43MODERN/CLASSIC

Switches back and forth between the Master A and Master B knobs. The LEDs next to the knobs light up to indicate which Master knob is active the red LED for , the green LED for . can also be switched via MIDI program changeor theENGLCustomZ-9 Footswitch.

Master B volume knob. Located post effect loops, it controls power amp output. The green LED to the right of the knob lights up to indicate is enabled and determiningthe master level. Youcan also setthe master level to0 via MIDIcontroller

7.To learnhowtodo this,seesection55 inthe chapter. Remote control via (MIDI) footswitch is a nifty little utility: You can dial in different

levels for and and assign these settings to any channel and mode thattheamp hastooffer.Thisgivesyou arangeofvariationsthatyou canprogramfor differentplaying styles and musical genres to greatdramatic effect.You can use Main Channel 1 Clean & Crunch modes for rhythm or cleaner lead lines and the Main Channel 2's overdriven preamp stage for power chords and soloing, and go from soft toloudatthe touch ofabutton.Youcanalsobroadenthevolume and tonal rangesby working your guitars' volume knob. If your arsenal includes MIDI gear - for instance, theENGL Z-15 MIDIFootcontroller- you canuse the amp'smaster volume mutecircuit toswiftlyand conveniently setthepower amp's level to0 during short breaksorwhen switchingaxes.

This sound-shaping feature voices the basic tonal character of the four Clean, Crunch, LeadI and LeadII channels, the choices beinga more contemporarysound or vintageapproved tone. The LED above the button lights up to indicate is activated.

and can also be activated via MIDI program change or the ENGL

CustomZ-9 Footswitch. Whensetto ,theamp'sresponse is a touch less dynamic, with fewer midrange

frequencies in the mix. This voicing is particularly prominent when the preamp stage ( , ) is overdriven, making therightchoiceforheavierstyles.Classic mode is the way to go for vintage tube tone. If you want your lead lines to pack a mightier punch, I recommend that you activate in Lead/Modern mode, or generally opt for Classic mode. When in Classic mode and at higher Gain settings, deactivate for a morefocused,tighterlowend. Though the difference inthetwo voicingsismoresubtlein theCleanchannel,youwill noticethat elicits amore dynamic response;this is attributableto the ECC83 triode stage.The result isa slightly smoother, less edgy tone. Here's a hip configuration for you: Set up your rig so that the preamp is right at the cusp of clipping that is, the point where the clean signal begins to break up and transition to a dirtier tone and turn up the Treble knob. In Classic mode, higher frequencies are dampened - an effect known assoftclippingyieldinga more homogenous, balanced tone.Youcanachievethiskind of tone by dialing in higher Gain knob settings for the Clean channel knobs or

Master A

Master B MASTER A/B

Master B

RearPanel Features

Master A Master B

Classic

Modern Classic

Modern

Crunch Lead Modern

Contour

MegaLoPunch

Classic

Classic/Modern

Atip from thedesigner:

activating . The Crunch channel also puts out mild, rock-approved grind: Activate anddial in lower gain levels by setting somewhere inthe 9- 1o'clockrange.

Switches the power amp's output level from low (Low Power: 50 watts) to high (High Power: 100 watts) and back. In the former, the power amp operates with two power tubes; in the latter, with all four tubes.The LED above the button lights up to indicate HighPowerison. Low and HighPowercanalso be activated viaMIDIprogramchange orthe ENGLCustomZ-9Footswitch.

The ability to vary the power amp's output comes in very handy, particularly at gigs: LowPowermodeis great when you wantpowerampdistortion to spice upyourtone. Thepowerampsaturatesmuchsoonerathalftheoutputpowerandyou don'thaveto dial in ridiculous levels to get it to break up. Besides, 50 watts is more than enough sonic muscle for many venues. If massive clean headroom is your thing, go for the Hi Powersetting. It'salso thebetter choiceif you'rerunning theLead channelin Modern mode at higher volumes. That way, you can exploit the power amp's greater dynamic range.Notethatwhenpushedtotheirlimits,powerampstendtooverstatemidrange frequencies; you can avoid this by opting for greater headroom afforded by Hi Power mode.Best ofall, you can switch from Low to High Poweron thefly, going from 50 to 100 watts while you're playing! In combination with the two Master knobs and the various preamp channels, this feature harbors a tremendous amount of soundshapingpower.

Only the two exterior V1 and V4 power tubes operate in Low Power mode. If you frequently run the amp in this mode, these two tubes are of course subjected to greater wear. In this case, you may find that the two external tubes require sooner replacement. Thisamp isequippedwitha microcontroller-driven,powertubemonitoringsystem. In the event that an active power tube fails when the amp is in Low Power mode, the appropriate interior tube is automatically activated, switching from V1 to V2 or V4 to V3in ordertomaintainthe 50-wattoutputlevel.

This feature is very useful if you want to make the most of the vast range of sounds offered by the amp. It lets you match specific cabs to specific amp sounds. Alongside theamp itself, thespeakers and even the cabinet'shousing (say E412vs.

E410) play a pivotal role in shaping sounds, so you can configure rigs to

best match the sound you have in mind. For instance, the aforementioned E410 is a

Gain Boost

Crunch CrunchGain

Atip from thedesigner:

Notealso:

Atip from thedesigner:

Switchesfromspeaker output A to Bback.

The LED above the button lights up to indicate is activated. can also be controlled via MIDI program change or the ENGL CustomZ-9 Footswitch.

Speaker B

Speaker A/B

44 LO POW./HI POW.

45 SPEAKER A/B

Aspeakermust be connected to the

, orthe ,B jackbeforeyoucanactivatethe

respective output.

Power

AmpOutputA1 A2 PowerAmpOutputB1 2

aclosed-back

an open-back

great choice for clean or edgy rock riffs, while the E412 (Vintage) smokes for heavy rockshredding, wailingleadsandchunky metalrhythmworkinLeadmode.

We endowed this baby with an electronic surveillance system to monitor

, , and . If a plug is not inserted into one of these ports, the monitoring system automatically shuts the power amp down to ensure it is not operated without a connected load. The red Status LED above the Write button (47) willflashbriefly inadistinctivepatternto alertyouthatthishastaken place.Ifyouplug a cord into either or , the speaker switching option is disabled and that output is selected automatically. If you use a MIDI preset whose programming does not match the currently selected speaker output, the monitoring system automatically switches to the currently selected output. For example, if you programmed for Preset 1, but have connected a speaker to

,the ampwillautomaticallyselect .

Press this button to activate an onboard and suppress excess noise in the Crunch channel or the two Lead channels. Control the Noise Gate using the two Level Threshold(59)andMuteDepth(58) knobs on the backoftheamp.TheLEDabovethe button lights up to indicate the is activated. This feature can also be switchedvia MIDIprogramchangeortheENGLCustomZ-9Footswitch.

: The may open up inadvertently whenthe isactivated, ahigh-gainLeadchannelisselected,andthe volume exceeds the Threshold knob setting. At very high volume and gain settings, this may generate instant feedback, particularly if your guitar is facing the speakers. Rather than musical and controlled, this is the shrill, unpleasant and potentially harmful variety of feedback squealing that sends your audience and fellow musicians packing. Thoughtheampisnotmoresusceptibletofeedbackwhenthe isactivated, the fact that it suppresses extraneous noise means you can't hear those telltale signs that feedback is swelling and consequently can't take measures to suppress it.For this reason, make an extra effort to be careful when the is activated: Before you approach the amp and speaker cabinet with your guitarin hand, turn the guitar's volume knob to the far left position (to 0 so that no signal is audible) to prevent the pickupsand speakersfrominteracting!

Noise is a definite no-no in many situations. For example, studio etiquette demands that you keep a lid on extraneous noise during short breaks. It's in the nature of highgain rigs to generate undesirable peripheral noise in overdriven channels. This is attributable to the physical properties of an amp's constituent components, in particular its active components. That's right; those cherished tubes are the culprits. The Noise Gate is a tool that lets you silence this noise during breaks by way of signal mute circuit. Note that electric guitars pick up interference signals, and these are amplifiedtremendously at high gainlevels in Leadmode. The mostcommonsource of noise is 50 or 60 hertz mains hum, particularly when the guitar is positioned near transformers and power units. Because in worst-case scenarios this humming can attain extremely high levels, the Noise Gate can hardly distinguish between the

Headsup, important note:

IMPORTANT note; please read and heed

Atip from thedesigner:

Power Amp

Output A1 A2 B1 B2

Power Amp Output A B

Speaker B/Output B

OutputA OutputA

Noise Gate

NoiseGate

Noise Gate

46NOISE GATE

musical signal and noise. This makes it hard to find the right Threshold setting. It is entirelypossibleforthis humming andothernoisetorisetoalevel that deactivatesthe

and therefore becomes audible. My advice is to stay as far away from

transformersand powerunitsasspace allows.

Noise Gate

47WRITE/COPY

Press this button to store the modified setting of a programmable feature to a MIDI memory slot (generally called a preset). Here's how to distinguish between and

:withtheformer you're actually programmingorwritinganewMIDIpreset,with thelatter you'remakinganexact duplicateofanexisting preset. Thesystemwill selectaWriteoperationwheneveryou editaMIDIpreset,thatis,when you have modified a programmable feature. You'll know that this is the case because theStatusLEDflashessteadilywhenyouedit one or several programmable features. If you press the button and did not edit a MIDI preset, the system will select . This means that the given preset becomes the source, and its contents are dumped to anotherpreset andstored there.

Thesystemquits modeautonomously ifyou donotselecta newMIDIpresetwithin about30seconds. The preset programming process -- the Write command, that is -- is not carried out as soon as you press the button. Pressing the button merely initiates the process. You must hold it down for about a second until the Status LED flashes three times in rapid succession.Thismechanism is designed to preventinadvertentprogramming. You can cancel the programming process at any time before the Status LED first illuminates by releasing the Write button. Again, the preset will only be programmed successfully if youpress andholdthebutton untiltheStatusLED flashesthreetimes.

: MIDIpreset 1activates whenthe ampis poweredup. Ifyou want to edit and/or store other MIDI presets, you must connect a MIDI foot board or another MIDI send device tothe port (53) and use thisoutboard device to select thedesired MIDI preset onthe amp.

Note that the Status LED also indicates the status of components unrelated to and . Themicrocontroller runs a short system check after you switch the ampon. Shouldit find a defect inthe memory chip (EEPROM), the LED

PresstheWrite/Copycopybuttontoconfirm thatyougotthemessage.Onceyouhave done this, the system will be ready to run, although you may encounter problems whenattempting toselectorstore MIDIpreset.

The Status LED serves a third display function. As described in section 45 on pages 17 and18, itindicatesthatno speakerisconnectedtothepowerampoutputs.

Write

Copy

MIDIIn

Write

Copy

IMPORTANTnote; please readandheed

Moregood-to-know info:

Whenyou pressthis button,the StatusLED lightsup

continuouslytoindicate isactivated.

You'll have to go through a similar routine to copy a preset once you select a target preset:When the Status LEDextinguishes, the copyoperationis underway andcan no longer be cancelled. The LED flashes three times to indicate the preset was copied successfully. You can cancel the copy operation by releasing the key, but only for as longas theLEDlightsup continuously.

willflash in a pattern of

fiveshort bursts.

Furtherindicator functions:PowerTubeMonitor;descriptioninsection48.

Copy

48STAND BY

Moregood-to-know info:

Atip from thedesigner:

49 POWER

Power amp standby switch: Use this switch to silence (0 position) the amp when you take longer break. The amp's tubes stay nice and toasty, and the amp is ready to roll immediatelywhen yourampitback uptofullpower.

Onthe one hand, the amp'ssurveillance system monitors if speaker cords areplugged into , , and (78,76,75,and73).If none oftheseportsis in use, flipping the Standby switch will not activate the power amp. This ensures the ampis notoperatedwithouta connectedload. Inaddition, anelectronic surveillancesystem monitorsthe active power tubes (that is, two or all four tubes depending on setting). The Status LED flashes to alertyouto a defective powertube,blinking in different patternstoidentifythe given tube. Specifically, it lights up briefly at regular intervals - once for V1, twice for V2, thrice for V3, and four times for V4. Because the tube monitoring system only works when the power tubes are up and running, this indicator is not enabled until you activate the power amp by flipping the Standby switch. To reset the power tube monitoringcircuitry, pressthestandbyswitchbriefly.

I suggest you get into the habit of using standby during short breaks. In this mode, currentisnot piped throughthepower tubes, sotheydon't get ashot(due to thelack ofanodedissipation)andaresparedconsiderablewear.Theampisreadytorunwhen youfliptheStandby switchbecausethetubesarealreadywarmand don't requiretime toheatup. For breaksof30minutesandlonger,I recommend thatyouswitchtheamp offin ordertoconserveenergy.

Mains power on/off.

OutputPowerAmpA1 A2 B1 B2

Lo/Hi Power

RearPanelFeatures

Atthe back ofthe manual you'llfind a foldedpage offering diagramsof the frontand rear panels. Please unfold and refer to it as you read through the descriptions of featuresand functions!

Plug the mains cord in here. For European models, use a standard non-heating equipmentconnector cable.

Make sure you use an intact mains line cord with a grounded plug! Before youpowertheamp up, ensure the voltagevalueprintedabove the mains socket isthe sameas thecurrentofthe localpowersupplyor walloutlet. Please also heed the guidelines set forth in the separately included pamphlet,

Therear chambercontainsthemains fuseandthefrontchamberasparefuse.

This 5-pin DIN port patches incoming MIDI data from the (53) to any other connectedMIDI device.

This 5-pin DIN port accepts data sent by a MIDI sender (for example, the ENGL MIDI Z-12, Z-15, or Z-9 foot controllers) or from or routed through another MIDI device. Switch no. 54 lets you activate the amp's power supply if you have an ENGL MIDI foot controllerconnected tothisport.

Before you connect any other MIDI footswitch or effects device, always

makesure thatswitchno.54 issettothe righttoavoiddamaging thedevice.

This selector activates a MIDI In port power supply for connected ENGL MIDI foot boards.Powerisfedto the board via theMIDIcircuit.Whenthe switch is set to theleft position,power is routed to theMIDI In port's pin 1and pin 2 (refer topage 46for pin assignments). If you choose to use another MIDI foot board, be sure to set the switch totheright to avoid damagingit.If the footboardyou are using isdesignedto handle phantom power, consult its operating manual to learn how it is wired (that is, which pins carry its power supply) and what its voltage and current specifications are. If the voltageandcurrentspecifications and wiring match,youmayset the switch to theleft topower thisfootboardvia theMIDIcable.

Note that a MIDI foot board may not draw more than 200 milliamperes of current if you want to power it via this port. You must also check and verify if this MIDI foot board is able to handle 11 volts of alternating current (AC)! If you are in any doubt, be sure to consult a specialist, meaning an amp technician or electronicsengineer whoearnsaliving withascrewdriver!

MainsConnector

CAUTION:

51MAINS FUSE BOX: CAUTION ALWAYSmakesurereplacementfusesareofthesametypeandhavethe

sameratings as theoriginalfuse! To thisend,please refer tothefuse ratings table. 52MIDI THRU

53MIDI IN

CAUTION:

54 POWER SUPPLY FOR THE ENGL MIDI FOOTCONTROLLER

Please read and heed:

Instructionsfor thePreventionofFire, ElectricalShockandInjury

MIDI In

55MIDI CHANNEL &VOL.0

Atip from thedesigner:

Use this set of encoding buttons (1, 2, 3, 4 and 5) to assign theMIDI channel. This tells the amp's MIDI system over which channel it will receive MIDI program change commands. Your choices are the standard 16 MIDI channels (numbered from 00 to

15), as well as OMNI mode (whereby all MIDI data is received regardless of the MIDI send channel). The encoding button settings for a specific channel and OMNI mode arelisted inthefollowingtable. Encoding button number 6 lets you program the amp so that it is muted when it receives a MIDI controller 7 command. When this command has a value of 0 (and less than and equal to 5), the amp's master volume is muted. At values greater than or equal to 5, the amp is back on line at the volume level determined by the currently activeMaster knob. Setting the encoding button to ON activates Master Volume Mute. Setting the encoding button to OFF deactivates Master Volume Mute.

MIDI channel assignment using the encoding buttons:

MIDI-channel: S1 S2 S3 S4 S5 S6 OMNI OFF XX XX XX XX XX CH1 ON OFF OFF OFF OFF XX CH2 ON OFF OFF OFF ON XX CH3 ON OFF OFF ON OFF XX CH4 ON OFF OFF ON ON XX CH5 ON OFF ON OFF OFF XX CH6 ON OFF ON OFF ON XX CH7 ON OFF ON ON OFF XX CH8 ON OFF ON ON ON XX CH9 ON ON OFF OFF OFF XX CH10 ON ON OFF OFF ON XX CH11 ON ON OFF ON OFF XX CH12 ON ON OFF ON ON XX CH13 ON ON ON OFF OFF XX CH14 ON ON ON OFF ON XX CH15 ON ON ON ON OFF XX CH16 ON ON ON ON ON XX

As the table indicates, encoding button 1 switches between Poly and OMNI mode. Bear this in mind for practical applications, because this is a fast way to go from a presetPoly channeltoOMNImode andviceversa.

56FOOTSWITCH: SERIAL AMPCONTROLPORT

CAUTION: Atip from thedesigner:

57FOOTSWITCH: CH 1/CH2, SUB I/II

Note also:

58MUTE DEPTH

This serial data input accepts the Custom ENGL Z-9 Footswitch (optional), which lets you control various amp functions remotely. Connect the Z-9 Footswitch to the amp portusinga cordequippedwithstereo¼" jackplugs.ThisMIDI-enabledfootboardisa custom design that switches every amp feature designated as footswitchable in this manual.To learn if a given feature maybe controlled remotely, refer toits description herein.The MIDIInportis disabledwhentheZ-9 Footswitchisconnected.

Connect only the ENGL Z-9 Footswitch to this 6.3 mm (1/4") stereo jack!

Connectingany otherswitchingdevicemay damageitand/ortheamp'scircuitry! TheCustom Z-9Footswitch was designed with the non-MIDI guitarist in mind. It's sure

to delight if you don't or won't use MIDI systems. Based on a rather nifty switching concept, it provides direct access to the four channels, and the As an alternative to switching the two Tube Driver options, you can opt to control any other two switchable amp functions, for example, , , , etc. Another tremendous benefit of this microcontroller-driven foot board is that it connectstotheampviaaneasily obtained,standardstereocord.Butthat'snotthelast of the Z-9's advantages: At some point, you may decide to ramp up or connect to a MIDIsystem. This won't renderthe Z-9 obsoletebecause it also servesas a simpleMIDI foot board with a MIDI OUT (5-pin DIN connector) that selects 10 MIDI patches (or presets, if you prefer). Again, I want to emphasize that you should never connect another foot board to this jack: The Z-9 controls the amp via a proprietary ENGL serial data protocol, and the Serial Amp Control Port was developed exclusively for ENGL amps. No other foot board will work and in fact is likely to damage the foot board or amp'scircuitry!

Use this jack to connect a conventional footswitch with two switching functions (for example,theENGL Z-4) that letyouaccessthe four channels , , and

. One of the two switches activates Main Channel 1 and 2, while the other

activates the selected Main Channel's two subordinate channels, and or

and , as the case may be. The onboard channel switching facility, to includeTubeDriver/T.D.EQswitching,isdisabledwhenyouplug afootswitchintothis jack.

A footswitch may be equipped with LEDs indicating the given switching status. Each of the two switches is provided with 15 milliamperes current, which sufficesto powerastandardLED. The jack's mono terminal selects the Main Channel, while the stereo terminal selects the sub channel (refer to Pin Assignments on page 46).

This knob setting determines to which extent the level drops when the active

mutesthesignal;inotherwords,it sets the residual volume level.Thefurtheryou twist the knob clockwise, the greater the drop in (noise) level when the mutesthe signal.

Tube Driver T.D.EQ.

Master A/B Power Lo/Hi Hi Gain

Clean Crunch Lead I

Lead II

Clean Crunch

Lead I Lead II

Noise

Gate

Noise Gate

59THRESHOLD LEVEL

Atip from thedesigner:

60SERIAL FX LOOPSEND

61SERIAL FX LOOPRETURN

62FX LOOP ISEND

63 FX LOOP I RETURN

64 BALANCE

NOTE:

Use this knob to set a threshold value (that is, the noise level) at which the activatestosuppress the signal. Thefurtheryou twist the knobtothe right, thehigher the signal level at which the kicks in. The can be activated and deactivatedas required for theCrunch channel and thetwo Lead channelsbypushing thefront panelbutton(46).

, and generate different levels of noise, and I tuned the ENGLSpecialEdition's accordingly.However,thereissomeminormatching variance between the three. (Lead channel and activated) stands tobenefitmost from the ,soIsuggest that you tweakitstwo knobs for this mode.

Connect this output to a signal processor's input/return jack using the shortestpossibleshieldedcord equipped with 1/4"plugs.Activateanddeactivateitvia the Serial FX Loop (24) button. In the signal path, the is located post preampand prethetwomain effectloops and .

Connect this Serial FX Loop input to a signal processor's output/send jack using the shortestpossibleshieldedcord equipped with 1/4"plugs.Activateanddeactivateitvia the Serial FX Loop (24) button. In the signal path, the is located post preampand prethetwomain effectloops and .

Connect this FX Loop I output to a signal processor's input/return jack using the shortestpossibleshieldedcord equipped with 1/4"plugs.Activateanddeactivateitvia the FX Loop I/II (23) button, which switches between these two loops. In the signal path, is located post preamp, post and pre the two power ampMaster knobs.

ConnectthisFXLoopIinputtoasignalprocessor'soutput/send jack using the shortest possible shielded cord equipped with 1/4" plugs. Activate and deactivate it via the FX Loop I/II (23) button, which switches between these two loops. In the signal path,

islocatedpost preamp, post andprethe two power ampMaster

knobs.

FX mix control for . When the knob is set to , the amp signal is routed through with no processed signal (0% wet balance) added to the mix. Twist the knob clockwise to blend in the processed signal (parallel/passive, wet balance 1-99%, depending on knob position). When the knob arrives at the Effect position, only the wet signal (that is, the processed signal generated by the connected effect device) is patchedto thepoweramp(serial, 100%wet).

Set this knob to when this loop is not in use!

Noise Gate

Noise Gate Noise Gate

Crunch Soft Lead Heavy Lead

NoiseGate

Heavy Lead Hi Gain

NoiseGate

Serial FX Loop

FXLoop I FXLoopII

Serial FX Loop

FXLoop I FXLoopII

FX Loop I Serial FX Loop

LoopI SerialFX Loop

FX Loop I Dry

Dry

65 FX LOOP II SEND

66 FX LOOP II RETURN

67 BALANCE

NOTE:

Atip from thedesigner:

69OVERLOAD

Connect this FX Loop II output to a signal processor's input/return jack using the shortestpossibleshieldedcord equipped with 1/4"plugs.Activateanddeactivateitvia the FX Loop I/II (23) button, which switches between these two loops. In the signal path, is located post preamp, post and pre the two power ampMaster knobs.

Connect this FX Loop II input to a signal processor's output/send jack using the shortestpossibleshieldedcord equipped with 1/4"plugs.Activateanddeactivateitvia the FX Loop I/II (23) button, which switches between these two loops. In the signal path, is located post preamp, post and pre the two power ampMaster knobs.

Setthis knobto whenthisloopisnotinuse!

This knob determines the level of the frequency-compensated Line Out (72). Use it to adjust the amp's line output signal level to match the input gain of the mixing desk or recorder'sinput.

Thefollowing factorsdetermineLineOut level(72):

1. When button 70 is set to , input level (Gain), the given channels' Volume knobs,and tosomeextent,the tonecontrolsandsound-shaping buttons'settings.

2. When button 70 is set to , all the above as well as the activated Master, Presenceknobs' settingsand Thosearea lotofvariables,soIrecommend youproceedasfollows:Configurebuttons as desired and dial in the desired settings on the front panel. Adjust the levels of connectedFX devicesand signal processors. Finally, use the Levelcontrol to adjust the line level. The Line Out is not overloaded until the Overload LED (69) lights up continuously. You can push the level up to this point to match a mixer desk or recorder's input level requirements. Use the given device's input sensitivity or gain controlto fine-tunethelinelevel.

This LED lights up to tell you the Line Out issaturated. If it illuminates, simply roll back thesignal levelusingtheLevel knob(68).

FX Loop II Serial FX Loop

FX Loop II Dry

Dry

Preamp

Poweramp

DepthBoost.

68 LEVEL

70LINEOUTSTATUS

Thisbutton selectsthesignalsource fortheLineOut signalroutedtotheXLRport(72). Whenset toOFF,theline signalistappedfrom thepreamp. Whensetto ON(pushedin),thelinesignal istappedfromthepoweramp.At leastone speakermust beconnectedforthis option!

The ENGL Special Edition's preamp and power amp supply two different signals. The reason for this is that the Presence control, Depth Boost button, power tubes and outputtransformerallshapethe power amp signal's tone. Youmayhavetoadjustthe voicing controls on your amp, mixer desk or recorder to adjust the line out signal accordingly.

This switch assigns pin 1 of the XLR port (72) to ground (Ground to Pin 1). You'll find that this is a handy option when you want to earth the circuit you have routed to a mixingconsole orrecordingdevice.

You encounter something called a ground loop if your amp is connected to a mixing console or recording gear and pin 1 of both devices' XLR connectors serve as ground terminals (the XLR Ground button on the amp is set to Ground to Pin 1). A ground loop is readily identified by the infernal humming emanatingfrom yourspeakers.Setthis buttonto tosolvetheproblem!

This is a frequency-compensated, balanced XLR line output. Pins 2 and 3 of the XLR jack carry the signal, pin 1 = N.C. or ground depending on the position of the Ground switch(71). Referto page46tolearnmoreaboutthis.

Dial in the desired signal levelfor the balanced Line

Outby adjustingtheLevelknob (68). You can patch signals routed through these outputs directly to the balanced inputs a

mixing console or recording gear. The advantage of a balanced circuit is that it is immune to ground loops, provided of course it is wired correctly. You can also patch the line out signal to an unbalanced input using an adapter. To do this, you'll need a shielded cord equipped with an XLR connector and an RCA connector or ¼" plug that bridgesthe signal (pin 2 or3) and ground circuits. Be sure toset the button to Ground toPin 1.

Thisis B2jack,whichis wired in parallelto .Aspeakermust be connected to this or the B1 jack for the Speaker A/B switching option to be enabled. Thepower ampsignalisrouted tooutputsB2and B1when isactivated. Use (74)toset the impedancefor the speaker connected tothis output or the overall impedance when two cabinets are connected to and

A tip from the designer:

71XLR GROUND

IMPORTANT NOTE:

72LINE OUT BALANCED&FREQU. COMP.

Atip from thedesigner:

73POWERAMP OUTPUT B:OUTPUTB2

GroundLifted

PowerampOutputB's B1

SpeakerA/B

ImpedanceSelector B

Output B2

Thesignalroutedtothisoutput

limits the response of a 4x12"cab.

74 IMPEDANCE SELECTOR B

75 POWERAMP OUTPUT B: OUTPUT B1

76 POWERAMP OUTPUT A: OUTPUT A2

77 IMPEDANCE SELECTOR A

Impedance selector for . Use this rotary selector to set the overall power amp output impedance for the two speaker outs B1 (75) and B2 (73). Your options are 4, 8, and 16 ohms. The selected impedance applies to both the B1 and the B2 outputs! That means if one cabinet is connected to and another to

, their actual overall impedance and the impedance setting selected on the ampmust match! Impedance table for two cabinets connected in parallel: (|| stands for a parallel circuit) 16 ohms || 16 ohms -> 8 ohms overall impedance: OK; the correct selector setting is 8 ohms. 8 ohms || 8 ohms -> 4 ohms overall impedance: OK; the correct selector setting is 4 ohms; 4 ohms || 4 ohms -> 2 ohms overall impedance: definitely not OK; not an option because 2 ohms lies below the 4-ohm minimum; 16 ohms || 8 ohms -> 5.3 ohms overall impedance: not recommended; the closest selector setting would be 8 ohms, but the output power would not be distributed equally to the two cabinets! 16 ohms || 4 ohms -> 3.2 ohms overall impedance, not recommended; the closest selector setting would be 4 ohms, but the output power would not be distributed equally to the two cabinets! 8 ohms || 4 ohms -> 2.6 ohms overall impedance: definitely not OK, not an option because 2.6 ohms lies below the 4-ohm minimum.

Thisis B1jack,whichis wired in parallelto .Aspeakermust be connected to this or the B2 jack - or in parallel mode, to both - for the Speaker A/B switching option to be enabled. The power ampsignal is routed to outputs B1 and B2 when isactivated. Use (74)toset the impedancefor the speaker connected tothis output or the overall impedance when two cabinets are connected to and

This is A2 jack, which is wired in parallel to . A speaker must be connected to this or the A1 jack - or in parallel mode, to both - to switch the amp from Standby to ON. The power amp signal is routed to outputs A2 and A1 when

isdeactivated. Use (77) toset the impedance forthe speaker connectedtothis output or the overall impedance when two cabinets are connected to and

Impedanceselector for .Use this rotaryselector to setthe overall power amp output impedance for the two speaker outs A1 (78) and A2 (76). Your optionsare 4, 8, and 16ohms. The selected impedance appliesto both the A1 andthe

Poweramp Output B

Output B1

Output B2

PowerampOutputB's B2

SpeakerA/B

ImpedanceSelector B

Output B1

Poweramp Output A's A1

SpeakerA/B

ImpedanceSelector A

Output A2

PowerampOutput A

A2 outputs! That means if one cabinet is connected to and another to

This is A1 jack, which is wired in parallel to . A speaker must be connected to this or the A2 jack - or in parallel mode, to both - to switch the amp from Standby to ON. The power amp signal is routed to outputs A1 and A2 when

isdeactivated. Use (77) toset the impedance forthe speaker connectedtothis output or the overall impedance when two cabinets are connected to and

Never operate the power amp without a sufficientload, otherwiseyoumaydamage ordestroyit! An electronic surveillance system constantly monitors if a plug is inserted into the speakeroutputsA1,A2,B1andB2(78,76,75,and73). Ifaplugisnot insertedintoone of these jacks, the power amp is disabled and the Status LED flashes in a distinctive pattern to alert you to this. However, the system cannot check if a speaker is actually connectedto theotherendof thecord.That'syour job. Always check and verify that the amp's output impedance matches the connected cabinets'impedance! Youcanusethe (87)to dothis.

This switch severs the circuit connecting the amp's internal ground to the wall receptacle's ground terminal. You can set the switch to when you haveconnectedasignal processor or powerampandwanttopreventthetwodevices' groundsfrom formingagroundloop thatmanifestsinannoyinghumming.

A ground loop is an extraordinary condition. Under ordinary circumstances, ensure the button is set to to earth the amp to the mains ground,thereby preventingungroundedlinenoise!

Output A1

Output A2

Poweramp Output A's A2

SpeakerA/B

ImpedanceSelector A

Output A1

ImpedanceTest System

Ground Floated

Ground

78 POWERAMP OUTPUT A: OUTPUT A1

IMPORTANT NOTE, please read and heed:

79GROUND LIFT SWITCH

Please note:

80 TUBE DRIVER: LEVEL

81 CONTOUR

Atip from thedesigner:

86CABLE RETURN

This knob determines the Tube Driver circuit's output level as well as the effect loops' send level. It is enabled only when or are activated. Note that unlikea volumeknob,itcannot turnthesignallevel allthewaydown to0.

is an ancillary voicing option that shapes midrange frequencies when isenabled. When activated, slightly boosts low mids from 300 to600 hertz as well as the frequency at 1500 hertz. Note that the setting influences the functionality and range of the Mid knob (83). Again, this sound-shaping feature only works isactivated.

givesyou another optionfor tweaking themidrange spectrum when is activated. This is a passive circuit, so its effect is relatively subtle. Because the

EQis voiced somewhat differently thanthe Main Channel1 tonecontrols, this feature does more than merely offer another sound-sculpting option. Though we're talking about nuances here, it does offer a unique tonal flavor and therefore another distinctivebasic soundtoaddto yourarsenaloftones.

This is the Tube Driver voicing section's passive low-frequency EQ. It works in T.D.EQ. modeonly.

Thisis the TubeDriver voicing section'spassive midrange EQ.It works inT.D.EQ. mode only.

This is the Tube Driver voicing section's passive high-frequency EQ. It works in T.D.EQ. modeonly.

This knob determines the Tube Driver circuit's sensitivity when the amp is in Tube DriverandT.D.EQ.modes.Note that unlike a Gain knob,thiscontroldoesnotturn the inputlevel allthewaydown to0.

In terms of sensitivity, the is comparable to the Clean channel. Dependingonthetype of pickup,youcandialinatouch of tubeoverdriveinthe1-to-3 o'clock zone. This is a nice option to have when the musical situation calls for differently voiced clean channels, one squeaky clean and the other with a touch of tube-drivencrunch.

To check out a cord equipped with 1/4" plugs, connect one end to this jack, the other tothe (87).Itchecks the mono circuitonly (that's the wiresoldered to the tip ofthe plug).

Tube Driver T.D.EQ

Contour T.D.EQ

Contour

T.D.EQ.

Contour T.D.EQ.

Tube

Driver's

Tube Driver's

TestJack

TUBEDRIVER:

82TUBE DRIVER: BASS

83TUBE DRIVER: MID

84TUBE DRIVER: TREBLE

85TUBE DRIVER: SENSITIVITY

Atip from thedesigner:

87TEST JACK

VERY IMPORTANT INFO:

PLEASE NOTE:

88 <4 Z; CABLESHORTCIRCUIT

89 4Z

90 6Z

You'll find that this test circuit is a very convenient utility, as it lets you check speaker, guitar, and signal processor patch cords (only the mono wire is tested!). Due to the higherresistance of longer cables, youmay findthat the 12 Z LED(92) rather than the 8Z LED(91)indicatesthat thecableisO.K.

Connect a speaker cabinet (or daisy-chained cabinets) to this jack for an impedance check using a cord with ¼" plugs. For the cable test, insert one end of the cord to this jack.

Before testing a cable, ensure that its other end is not connectedtoa power amp output,becausethis can damage thetestcircuit.The same applies to cabinets equipped with a thru jack. Ensure that it is not connected to a powerampoutputbeforeyouplugintothetest circuit. Disconnect the cord or cabinet after you have tested it to avoid placing unnecessary strain on the internal power circuit.

During an impedance check, you may find that several LEDs illuminate or flicker at the same time. Possible causes include faulty contacts between the plug and jack. High-level noise can induce voltage in the speakers, which also affects the test circuit. Deviations in speaker impedance values are possible because the circuit measures a speaker's DC resistance, and this merely provides an approximation of the actual speaker resistance. This explains why there may be a discrepancy between the indicated and actual values. When you are sure you know the impedance of a cabinet (or of several cascaded cabinets), set the impedance selector (74, 76) to this value. In practice,theindicated value shouldnotvarybymorethanone LED barfromtheactual value.Usethick,shortcordsfortheimpedance test to minimize flawed measurements dueto highercableresistance.

Thisred LEDflashestoindicate thefollowingresults:

1. During an impedance check, this signifies that the impedance is lower than 4 ohms, andpossibly ashortcircuitin thecord(testit separately!)orcabinet.

2. During a cable check, this signifies a short circuit in the cord's wires or in one of the plugs.

Thisgreen LEDindicatesthefollowing results: During an impedance check, it signifies an (overall) impedance of 4 ohms.

Thisyellow LEDindicatesthefollowing results: During an impedance check, it signifies a relatively unusual (overall) impedance of 6 ohms.Thismay be attributabletospeakertolerance(perhapsyou'redealing withan8ohm system), faulty cables, or a poor contact between plugs and jacks (in this case, it maybea4-ohm system), oraparallelsetupconsistingofthree16-ohmspeakers or one 16-ohmand one8-ohmspeaker.

91 8Z; CABLE O.K.

92 12Z

93 16Z

94 >16 Z; CABLEBREAK

BIASControl Panel

Important note:

95BIAS CHECK V1

96BIAS CHECK V2

97BIAS CHECK V3

Thisgreen LEDindicatesthefollowing results:

1. During an impedance check, it signifies an (overall) impedance of 8 ohms.

2. During the cable check, it signifies the cord is intact.

Thisyellow LEDindicatesthefollowing results: During an impedance check, it signifies a relatively unusual (overall) impedance of 12 ohms.Thismaybe attributable tospeakertolerance(perhapsyou'redealingwitha16ohm system), faulty cables, or a poor contact between plugs and jacks (in this case, it may be an 8-ohm system), or a serial setup consisting of one 4-ohm and one 8-ohm speaker.

Thisgreen LEDindicatesthefollowing results: During an impedance check, it signifies an (overall) impedance of 16 ohms.

Thisred LEDflashestoindicate thefollowingresults:

1. During an impedance check, this signifies an impedance greater than 16 ohms, a break in the connector cable (test the cord separately!), or a break in the cabinet's internalwiring.

2.During acablecheck,it signifiesabreakin thewireorone oftheplugs.

Thisfeature servesto check and adjust the bias (thatis, theidle current) of 6L6GC and EL34 power tubes. The control and indicator panel is on top of the amp chassis and is accessibleonly whentheamp'srear panelisremoved.

The elements on the BIAS Control Panel are not standard control features for use in normal operation. Designed for purposes of convenience and fast, easy power tube replacement, they may be accessed and adjusted by qualified and authorizedspecialists only!

Press this button to check the V1 power tube's bias (idle current). The LED chain comprisingHi BIAS(99),InRange (100),andLoBIAS (101)indicatestheresults.

Press this button to check the V2 power tube's bias (idle current). The LED chain comprising Hi BIAS (99), In Range (100), and Lo BIAS (101) indicates the results. This tube is operative in Hi Power mode (100 watts) only, that is, when function 44 is activated!

Press this button to check the V3 power tube's bias (idle current). The LED chain comprising Hi BIAS (99), In Range (100), and Lo BIAS (101) indicates the results. This

tube is operative in Hi Power mode (100 watts) only, that is, when function 44 is activated!

Press this button to check the V4 power tube's bias (idle current). The LED chain comprisingHi BIAS(99),InRange (100),andLoBIAS (101)indicatestheresults.

When checking a power tube's bias by pressing one of the four buttons, this red LED lightsup toindicatetheidle currentistoohigh. The and serve to adjust the idle current accordingly.

Whencheckingapowertube'sbiasbypressingoneofthefourbuttons,thisgreenLED lightsup toindicatetheidle currentiswithinthe permissiblerange.

Whencheckingapowertube'sbiasbypressingoneofthefourbuttons,thisgreenLED lights up to indicate the idle current is too low. The and serveto adjusttheidlecurrent accordingly.

Thisbutton selects theBIAS range (negative voltage)for 6L6GC orEL34 tube. Referto theTube Maponpage43 tolearnmoreaboutselectorsettings.

This control serves to dial in a coarse adjustment of the negative grid bias for the powertubes, therebydeterminingbias(idle current).

This control serves to dial in a fine adjustment of the negative grid bias for the power tubes,thereby determiningbias(idlecurrent).

In order to check and adjust power tube bias (idle current), the following conditions mustbe given:

1. The power amp must be activated: The Standby button must be set to ON with a speakeroranohmicload(forasignalcheckwhenservicingthe amp)connectedtoone ofthe outputs.Otherwise,thepower ampwillnotactivate.

2.The selected Master knobmay be settothe far left(Master: 0) to preventthe signal frombeing routedtothepower amp.

3.Hi Power(44)mustbe activatedinorderto checkallfourpower tubes.

4. The amp should be switched on at least five minutes before a bias check or adjustmentto allowthepowertubes toheatuptooperatingtemperature.

5. When adjusting bias, the following must be taken into account: The settings of the

98BIAS CHECK V4

99LED BIAS HI

100LED BIAS INRANGE

101LED BIAS LO

102BIAS TUBE TYPESELECT

103BIAS ADJUST

104BIAS FINE ADJ.

Additional information and important notes on checking and adjusting bias. Please readand heed:

BIAS Adjust BIAS Fine Adj.

twoBIAS Adjust and BIAS Fine Adj. potentiometersapply to all four power tubes. Idle currentvariesfrom tubetotube.Selectedtubesets withmatchingidlecurrentmustbe installed to adjust bias properly. The permissible range for every tube is roughly 25 milliamperes(minimum)to 33milliamperes(maximum),whichis equivalentto12to16 wattsanode dissipationpertube. Beforeadjustingbias,thecorrecttubetype (6L6GC or EL34) must first be selected.The selector must be used to do this before the power amp is activated via the Standby switch. The second step is to adjust bias coarsely using the BIAS Adjustcontrol. To this end, the tube's idle current must be checked by pressing the corresponding button. The LEDs light up only when one of the four buttons is pressed. If none of the three LEDs illuminate despite having pressed a button, this tube's bias is well outside the currently adjusted range. The Adjust BIAS control selects the correct range. To this end, the button is pressed and held while the control is slowly rotated clockwise or counterclockwise until the green LED lights up. The BIAS Fine Adj. control serves to fine-tune the setting, if necessary. All four power tubes should operate within the permissible range (as described in point 5 above), otherwise this can result in unbalanced signals (when using unselected tubes with different characteristics), transient distortion (when bias is too low), or anode plate overheating (when bias is toohigh), which shortens tubelife. Because LEDscannot indicate idlecurrent with the accuracy of a measuring device, I recommend that the technician checks bias by measuringthe cathode resistor'svoltage drop orat the individual tubesockets using a tubecheck adapterwhenservicingthe amp.

A great deal of effort went into tuning this tremendously versatile amp head; I devoted particularly painstaking attention to the details: The Clean and Crunch channels are matched so that their Gain ranges overlap somewhat; the same goes for

and . This is intentional, and serves very sensible sound-sculpting purposes. For instance, higher Gain settings (in the 12-to-3 o'clock range, depending on pickups) push the Clean channel into moderate overdrive, and activating Gain Boostpropelsthischannel into the dirtzonethatmuch earlier. This meansyoucanuse thischannelfor ultra cleanchordwork,jazz-stylecompingandclucking chicken-picked lead lines. And courtesy of that typical tube overdrive, it means the same channel is great grittier riffs and leads, with the amount of dirt hinging upon how hard you attackthestrings. If you addtheguitar's volume knob tothesonic equation, you geta vast spectrum of fine tonal distinctions in just this one channel. The same goes for the Crunchchannel:Itsspectrumrangesfromclean(whenGainissetno higherthanabout 10 o'clock, depending on pickup) to fat, wooly, and warm tube overdrive at higher Gain settings. High-output pickups such as humbuckers will even serve up enough oomph for punchy leads. Though these application areas overlap somewhat, the Crunch and Clean channels are voiced differently. Crunch features an additional triode, making it a tad more dynamic and eliciting a slightly different frequency response.Whenusedincombinationwithhigh-outputpickups,Irecommendthat you roll off the bottom-end (and give a wide berth) a touch to forestall low-endmud.

A few words from the designer on your ENGL Special Edition Amp's sounds andsettingsaswellassomepracticaltips:

Lead I Lead II

Mega Lo Punch

Onthe Subject ofSoundsand Settings

Main Channel I ( and ) voicing controls respond differently than those of MainChannel II.Inconsequence,Isuggestthatyoustartbydialinginsettingsbetween 12and3 o'clock, tweakingeachtotasteandcomparingthe differences.Again,Iopted for passive tone controls, which puts each knob's control range at about 10 dB. As you're experimenting with modifying settings, you may notice that when the Crunch or Lead channels are in Classic mode and you are pushing the preamp hard, the EQ seemsslightly lessassertivethanin Modernmode. The Tube Driver circuit is in effect an excellent auxiliary channel: T. D. EQ's dedicated voicing section lets you set up an alternative Clean channel with a totally different tone. For instance, you could dial in lots of high-end for one channel (with the Clean channelbeingpredestinedfor this because its twoBrightsound-shapingbuttons offer tremendous top-end reserves) for crisp, spanky clean sounds, and roll back treble for a darker, throatier tone, say for, jazz comping. For even more variety, you can dial in different power amp Presence settings and mix and match them with the

withand without EQ,thereby multiplying the numberof subtle variations in sound at your disposal. Try this on for size: To get a very midsy tone that colors but does not mask the given pickup's characteristic sound, send the Tube Driver signal directly to the power amp (bypassing its EQ). This yields some very distinctive sonic flavors that depending on personal preference and musical genre, may well ring your bell. What's more, the fundamental tone of the Tube Driver circuit with EQ is not synonymous with the Clean channel's basic sound. The differences between the two aremost prominentinlow-endand midrangefrequencies. All these options harbor vast and musically meaningful sonic potential. I'm confident that the Gain knobs, tone controls and sound-shaping buttons will let you conjure all the sounds you have in mind and that you'll discover a world of tones while you're tweaking. On top of all that, with and , you have two voicing options for every preamp channel: Particularly in the high-gain channels, these give you two very distinctive distorted sounds for each channel. The contrast between the two sonic flavors is not merely a matter of different gain levels. The structures of the saturated signals differ, and each is fine-tuned to work its tonal magic with a specific genre.

packsamighty low-end thumpandboaststruckloadsofgainthat's the wayto goto forheavy-duty,powerchord riffingtypicalofcontemporary styles. Note that you can tighten up and focus Lead channel tones using the two soundshapingbuttons and .Tweakedforafatter,warmer sound, adds a healthy help of mids around the 500-hertz mark. The three parameters (preamptonecontrol), (power amp sound-shaping button) and

(preamp sound-shaping button) put a remarkable array of low-end tweaking options at your fingertips. The two sound-shaping buttons are programmable, providinginstant MIDIaccesstoahostofsonicconfigurations. In addition, I made a point of tuning the two Lead channels to respond slightly differently: response is a bit more aggressive, faster and more precise it all but lunges when you attack strings. , on the other hand, is not quite as testy. Its response is not as rabid, and with an extra sprinkling of low end added to the sonic recipe, it also delivers warmer tone. demands rather precise technique, while the more forgiving is easier to handle. In comparison to the E660 predecessor model, this revamped version gives you two more voicing options for each of the two

Clean Crunch

T.D.EQ's

TubeDriver

Modern Classic

Modern

Contour MidEdge Contour

Bass

DepthBoost MegaLo

Punch

LeadI's

Lead II

Lead I

Lead channels - (moderate Gain level) and (ultra high Gain shred). What's more, you can even tweak each individually using the dedicated Gain, Volume and Treble knob. This brings a bunch of benefits to you, including greater freedom and more precision in sound-shaping. The four Soft Lead variants ( +

, + , + , + )run the gamut of crunch tones from light (with the Gain knob set no higher than 11 o'clock) to heavy crunch (with the Gain knob somewhere between 10 and 1 o'clock), with tonal properties differingquitemarkedly fromCrunchchannelsounds.These modesevenletyoudial in relatively lean clean sounds. So if clean is your thing and your music mandates a range of different clean variants, simply set the Gain knob below the 9 o'clock mark and select (LoGain)toseewhatyoucancomeupwith. Becauseitischockfulloftone-tweaking tools, this amp is suretosurpriseyoutimeand again with new sonic variants. However, there's no need to panic in face of its sophisticatedfunctionality.AtENGL,easeofuseis paramount. We design all our amps so that players can dial in great sounds from the start - without hours spent researchingthe manual and struggling withsettings. Despite being so easyto use, the ENGL Special Edition Amp puts into the hands of the innovative, creative guitarist an all but inexhaustible bonanza of sound-shaping resources. And I am convinced that guitarists with more traditional leanings are equally well-served with this amp's smorgasbordof tastytubetone!

Theadvantageofa thatis installed in and matched to the amp is that it lets you fine-tune its threshold with extreme precision, thereby separating the useful, musicalsignalfromuselessbackgroundnoise.Indeed,this wasdesignedto addressthe signal themost beneficial spotin the signalchain - thepreamp - tomake it more effective. First and foremost, it is designed to suppress ambient noise such as hissingandhummingduring breaks whentheLeadchannelisinHeavyLead mode. For this reason, I tuned its threshold (that's the level at which the gate triggers) range to suit this amp mode, and then adjusted it for (Lead channel, deactivated) and configurations. To get acquainted with how the works, I suggest you start by setting the Threshold knob to the far left ( opens at low signal levels) and slowly twist it clockwise to gradually raise the gate's trigger threshold. When the knob arrives at the far right position, the will not trigger until the signal reaches a very high level. This meansthat the preamp must amplify the guitar signal considerably to open up (or deactivate) the . In practice,your best betforsuppressing loud noisewhen running Leadchannels at high Gainlevels isto setthe Thresholdknob higherthan 12 o'clock. If you're doing the lowgainthinginCrunchorSoftLeadmodes, dial in a lower Threshold knob setting (below 12 o'clock) to prevent the gate from throttling notes (that is, the musically useful sounds)as theydecayparticularlyif youliketowork theguitar'svolumeknob.

Arethreeeffectloopsanexerciseinoverkillorcanthey actually be put to sensible use? Well,signme up for theusefulcamp. This amp's nervecenteroffers such sophisticated sound-forging options that it would defy reason to deprive it of a modest little loop system. The order of the effect loops in the signal chain alone offers manifold

Soft Lead Heavy Lead

Lead I

Modern Lead II Modern Lead I Classic Lead II Classic

SoftLead

NoiseGate

Soft Lead Hi Gain

Crunch Noise Gate

Noise Gate

Afew comments ontheNoise Gate:

Onthe subject ofeffectloops:

configuration possibilities. Case in point: You could insert an outboard preamp into the as an alternative to the onboard preamp, and connect a multieffectorto or .Thenyou could use theexternalpreamp with the

or as a sound expander of sorts and activate the multieffector in the downstream effect loop as required. Another interesting configuration option is to run the Special Edition's internal preamp with or without an effects device. In this variant, serves as a nifty, MIDI-controlled hardware bypass. Another possibility is to connect two effect devices one each to and - and assignthem freelytothepreamp channelsandtheTubeDrivercircuit.

Responding to the wishes of many guitarists, I split the two A and B speaker outputs. Whatthismeansisthatyouhavetwooutsavailableforconnectingdirectlytotheamp twocabinetsthatlackThruports.Inaddition,boththeAand Bspeakercircuitsfeature a dedicated Impedance Selector, which is a huge advantage when you want to connect speakers of different impedance to output A and B. If that seems a tad farfetched, allow cite an instances: You could connect to output A two E412Vs in parallel with 4 ohms overall impedance to satisfy your metal mayhem urges and connect an open-back E410 cabinet to the B output with 8 ohms to do the clean-tocrunchthing. Note that though offers twice the wattage of , it doesn't deliver twice the volume. This is due to physics upping output power doesn't yield a linear increaseinlevel.Beyondthat,"loudness"is relative; a single watt's worth ofoutputcan beperceived as loudby some. Inany case

you will push the power amp to its limits a lot sooner by dialing in high Master settings and feeding it a high-level input signal. When switching from Lo to Hi Power and back, switching noise that's that telltale crackling sound - is a fraction higher than in other switching processes. Not to worry; due to the nature of the circuitry, this is normal.

We endowed the amp with MIDI functionality and programmable settings, which mandatea microprocessor. This afforded methe opportunity to put thatprocessor to evenbetteruseand employittopoweracoupleofreassuring protection systems.One is Power Tube Monitoring, which checks every power tube individually; the other is a speaker output surveillance system designed to prevent the potentially destructive operation of the power amp without a load. For reasons of operating safely, amps require a load such as a speaker cabinet connected to the output. Be aware, though, that as sophisticated as these features may be, they can't relieve you of all responsibility. For example, the system can't detect if a cabinet is connected to the other end of the cord. Please make a habit of checking this before powering the amp up.As arule,alwaysexercise duecautionwhenoperating thisbaby.

The amp ships ex factory with 6L6GC power tubes. As an alternative, the power amp can be loaded with EL34s. The circuitry is optimized for 6L6GC tubes, meaning that

Serial FX Loop

FXLoopI II Tube

Driver T.D.EQ.

FX Loop I

FX Loop I FX Loop II

Hi Power Lo Power

SpeakerA/B and powerswitching:

Electronic safety systems:

A few thoughts on tubes:

whenthe power ampis in 50-wattLo Power

mode

some parameters respond somewhat differently when the amp is equipped with EL34s. For example, the EL34 boosts output power by about 15%. This subjects the amp's components, including tubes, to greater wear and tear. More power spells higher volume, which culminates in more aggressive power amp saturation. Though this may sound tempting, I advise against driving the amp with EL34s over longer periods. Note also that when the amp is equipped with EL 34 tubes, is in Lo Power mode, and is running at extremely high volumes, the electronic Power Tube MonitoringSystem mayshutthepower tubesdown.

Forreasonsof convenienceandhandlingease,we madeprogrammingsoundstoMIDI presets a piece of cake. Because this amp offers so many programmable switching functions, isindeed a handytool. Itlets you copy the settingsof one MIDI preset to another. You'll come to appreciate its utility when you begin programming your own presets. Dumping a stored setup from one MIDI preset to another, and editing and storing changes in the target preset, is so must faster and more convenient than programming from scratch every time. MIDI preset 1 is called up automatically when you switch the amp on. This ensures that when you power up, the settings for programmablesound-shapingfunctionsareimmediatelyenabledintheconfiguration storedinthemostrecentprogrammingsession-withouthavingtofirst connectaMIDI footboard.

1. Select the desired MIDI program (also called a preset or patch) using a MIDI foot boardconnected totheamp's .

2. Set all programmable features as required, configuring , , ,

, , , , , and so forth as you

please.All programmablefunctionsaredesignatedassuchintheirdescriptionsherein.

3.The StatusLEDflashesto indicateyouhaveeditedoneorseveralsettings.

4. Press and hold the Write/Copy button (47) for about one second until the Status LEDextinguishes,andthenflashesthreetimesinrapidsuccession.Thecurrentsettings ofall programmablefunctionsarenow storedintheselectedMIDIpatch.

1.Selectthedesired MIDI preset using aMIDIfootboardconnected to the amp's MIDI In port. This is the preset that you want to copy, which is why in geek-speak it is called the"source."

2.Pressthe Copy/Writebuttonbriefly.Itisessentialthat duringthisroutineyoudonot change the settings of programmable functions in the selected source preset. That StatusLED lightsupcontinuouslyto indicatethatCopyisactivated.

3.Select the target preset viathe MIDI foot board; you have approx.30 seconds to do this.(The ampautomaticallyquitsCopy mode30secondsafter itisactivated.)

4. Press and hold the Write/Copy button (47) until the Status LED extinguishes, and then flashes three times in rapid succession. The current settings of all programmable functionsstoredinthe source MIDIpatch(that'sthepresetyouselected first whenyou activated )havenowbeendumpedtothenewlyselectedtargetpreset.

Programmingsounds (settings, actually)toMIDI presets:

Theprogramming process insteps:

Copying:

Copy

MIDIIn

Hi Gain Countour Lead I

Master A Presence B Mega Lo Punch Power Lo Noise Gate

Copy

HandlingandCare:

Keep the amp safe from hard knocks and shocks. Tubes are fragile and tend to suffer whenexposed tomechanicalstress!

Let the amp cool down before you transport it. Ten 10 minutes or so will do to spare thetubes.

Tubes take some 20 seconds to warm up after you switch the power on, and about two to three minutes before they are able to pump out full power. Make a habit of giving your amp plenty of time to get toasty and of flipping the Standby switch for shortbreaks.

Avoid storing the amp in damp or dusty rooms to spare jacks, switches and potentiometers. If you don't use the amp all the time, I recommend that you drape a covering over it to prevent the intrusion of dust. Even better, keep it in a transport coveror flightcase.

Never use caustic or scouring detergents to clean the amp's housing, front or rear panels.Use a soft, dampcloth or sponge withdiluted soapsuds or astandard brand of mild dishwashing liquid instead. Never use solvents they can corrode the amp's vinyl skinanddissolvethe front and rear panellabels.Keepliquidswell away from the amp, particularlythe interiorofthehousing.

Make sure air can circulate at the front and top of the amp to allow for adequate cooling,which increasescomponentlife.

Never operate the amp without an adequate load (a speaker, cabinet or suitable terminatingresistor).

High ambient temperatures place an additional strain on diverse components; so if at all possible, avoid operating the amp at temperatures far higher than 30°C for longer periods. Running the amp at mains voltages exceeding the nominal mains input voltageover longerperiodscanalso shortencomponentlife.

Replace tubes with selected tubes that satisfy ENGL selection criteria to forestall microphonic properties, undesirable noise and unbalanced power amp signals. Because power tubes' idle current (bias) must checked and possibly adjusted when replacingtubes, thisisajob bestlefttoexperienced andauthorizedspecialists.

Glossary

MIDI-Preset:

MIDIChannel:

MIDI-Volumeand Master VolumeMute:

Inthis manual,MIDIprogramsare calledpresetsandpatches. Though the MIDI standard defines program numbers 000 to 127, almost all MIDI devices and foot boards indicate and control these programs using a 1-to-128 numberingscheme.

MIDI specifications define 16 channels for sending and receiving MIDI data. The encoding buttons on the back of the amp determine the MIDI data receiver channel. MIDIchannels: 1to16,or OMNI(meaningthatall16channelsreceiveMIDIdata).

Thisoptionlets you access theamp'sMaster Volume Mute functionviaa suitable MIDI footboard.ThisfootboardmustliketheENGLZ-15-beabletosend MIDIcontroller07 data. In order to afford access to Master Volume Mute, this function must be enabled usingthe correspondingencodingbuttonon thebackofthe amp.

PowerTube Monitor:

An electronic surveillance system that monitors each power tube's current and shuts thegiven tubedownwhenit detectsavaluethat istoohigh.

1. Memory error (possibly a defect in the EEPROM); Indication: LED flashes in five short bursts; What to do: Press the Write/Copy button (this resets the LED, but does not solve the problem).

2. No speaker connected; Indication: The LED flashes in a distinctive pattern, illuminating briefly at regular intervals; What to do: Connect a speaker.

3. A programmable function's (or functions') setting(s) has (have) been edited; Indication: LED flashes regularly; What to do: If desired, restore this MIDI preset's original configuration (e.g. by selecting it again); the Status LED also extinguishes once the new setting has been stored.

4. Copy process was activated by pressing the Write/Copy button; Indication: LED lights up continuously; What to do: If desired, cancel the Copy operation by changing the setting of a programmable feature; the Status LED also extinguishes once the preset has been copied.

5. Power Tube Monitor: A problem or overload in power tube V1; Indication: LED flashes in 1 short burst, followed by a longer pause, etc.; What to do: Activate and deactivate Standby.

The Status LED above the Write/Copy (47) button indicates the following conditions:

6. Power Tube Monitor: A problem or overload in power tube V2; Indication: LED flashes in 2 short bursts; What to do: Activate and deactivate Standby.

7. Power Tube Monitor: A problem or overload in power tube V3; Indication: LED flashes in 3 short bursts; What to do: Activate and deactivate Standby.

8. Power Tube Monitor: A problem or overload in power tube V4; Indication: LED flashes in 4 short bursts; What to do: Activate and deactivate Standby.

Troubleshooting

Programmable features fail to respond when you change settings:

The amp fails to respond when you try to switch presets via MIDI foot board.

The amp is not providing an output signal / no sound is emanating from the speaker.

-> Powerful static charges, strong radio signals or mains voltage spikes can affect

microcontroller-driven systems, setting them to an undefined status (commonly called a hung chip). In this event, your only choice is to reset the system. Simply switch the amp off and on again.

-> If a reset doesn't solve the problem that is, the chip is still hung there

is a defect in the control system (presumably on the logic board holding the microcontroller). In this case, consult an authorized service center or a professional specialist.

-> Is the MIDI foot board connected to the MIDI IN port (53)?

-> Is the MIDI cord you are using intact and wired properly?

(Refer to page 46 for pin assignments.)

-> Is the amp set to the MIDI channel over which the MIDI foot board is sending

program change commands? You can set the encoding button (55) to OMNI reception to check if the preamp is actually receiving data.

-> Is another foot board (the ENGL Z-9 or a two-way footswitch) connected and

therefore blocking MIDI reception?

-> Is at least one speaker connected to the speaker outputs A1, A2, B1

or B2 (78, 76, 75, 73)?

-> Is the power amp activated (Standby switch to ON)?

-> Are all cords (guitar, effect, and speaker) connected properly and are they

functional? Use the Cable Check System (86, 87) to determine the latter.

-> Unplug connected effectors and see if the preamp works fine without these

peripheral devices.

-> Is the Noise Gate activated in one of the Lead channels and the Threshold (59)

knob set to a high value? Deactivate the Noise Gate (46) for a quick check.

-> Are the active Master knob and the Gain and Volume knobs set to a value

greater than 0? If any of these knobs is set to 0, no signal is routed to the amp's outputs.

-> Did you send via MIDI foot board a MIDI controller 7 command with

a value less than or equal to 5? This activates Master Volume Mute, thereby silencing the amp. You can check this by deactivating the Master Volume Mute by resetting the appropriate encoding button (55) accordingly.

-> You may be looking at a faulty tube or another defect. In this case,

be sure to take the preamp to an authorized, professional service center.

-> Is the Ground Lift switch (79) set to Ground? If you are operating the

amp without other grounded gear (power amp, effect devices) connected, this switch must be set to the Ground position; otherwise, it's goodbye silence, hello humming! In this case, the amp will hum even without a guitar connected.

-> The amp and mains grounds are not connected properly or are altogether

disconnected. Have an experienced specialist check this.

-> Cords connected to the input or effect loops may not be shielded properly.

Replace them to check if this is indeed the case.

-> The amp or speaker cords may be picking up interference from powerful

magnetic fields (for example, of nearby power transformers or electrical motors). Reposition the amp and connector cables.

-> The amp or speaker cords may be picking up radio signals, for example,

from activated mobile telephones or powerful local transmitting stations nearby. Switch off mobile phones while troubleshooting noise problems.

-> If you are feeding the signal to recording equipment or a mixing console via

the amp's and the XLR Ground (71) button is set to Pin 1 to Ground, the problem may be a ground loop that has been formed with the connected device's ground. Set the button to Ground Lifted.

-> The given power tube is defective and must be replaced if the electronic circuit

breaker continues to trip after several attempts to reset the Tube Monitoring System by flipping the Standby switch off and back on again.

-> The amp has been overloaded, perhaps by excessive volume levels,

mains over-voltage, or the wrong output impedance (the impedance setting does not match the connected speaker's impedance).

-> When the amp is loaded with EL 34 tubes, in Lo Power mode, and set to

extremely high volumes, the electronic monitoring system may trip and shut the power tubes down.

The speaker is emitting humming noises:

The electronic power amp protection circuit has tripped:

Line Out

Technical Data

Output power:

Input sensitivity

Output level

Power consumption: Fuses:

Important: Tubes:

Logic control system:

System interfaces:

Dimensions: Weight:

Input: Effect Return:

SEND, level range: Frequ.Comp. Line Out:

external: at 230/240 mains voltage at 100/115/120 mains voltage internal:

V1, V2, V3, V4: V5: V6, V7: V8, V9: Consult Tube Map to view tube array

Processor, software: Memory:

MIDI:

Serial Amp Control:

approx. 100 watts in Hi Power mode, approx. 50 watts in Lo Power mode adjusted

accordingly to 4, 8 and 16 ohms

approx. 390 watts max., equipped

(2 amps slo-blo) (4 amps slo-blo)

2 x 2.5 ATL (2 amps slo-blo)

AT89C52 µC with internal 8K Flash Memory for software source code; Upgradeable with external Programmer; EEPROM 93C66 for data retention;

Asynchronous data protocol according to the MIDI standard;

Proprietary ENGL asynchronous data protocol approx. (l x h x d);

approx.

adjusted accordingly to 4, 8 and 16 ohms;

6L6GC (factory loaded) or EL34, matched sets; ECC83 F.Q., input tube;

Replace tubes with selected sets only!

MIDI program changes 0 - 127; MIDI channels 1 - 16 MIDI controller 7 (main volume), value 0-5 = Master Volume Mute,

Replace these with fuses of the same type and rating only!

from -20 dB, nominal, max. 0 dB from -20 dB nominal, max. 0 dB

from -20 dB to approx. 0 dB max. +6 dB ;

with 6L6GC

power tubes;

2 ATL 4 ATL

max.

ECC83 selected; ECC83 standard;

Mute, value > 5 = default

Master Volume level;

71 x 28 x 29 cm 26 kg

Tube Map:

Output

Transformer

Power

transformer

V 1

50/100W

V 5

Input & T.D. circuit

E670 chassis

as viewed from above Front panel

V 6

2.stage & Lead

driver

V 7

3.stage

& Classic

enhancer

V 8

FX buffer

& P.A.

driver

V 9

phase

shift

converter

V 2

100W

V 3

100W

V 4

50/100W

bulb:

6,3V - 200mA

bulb:

6,3V - 200mA

bulb:

6,3V - 200mA

bulb:

6,3V - 200mA

Reverb

spring

System for BIAS Adjustment

Bias adjustor viewed from

the front of the chassis:

95 96 97 98

99 100 101

102

103 104

EL34 6L6GC

BIAS

CHECK

HIGH

BIAS TUBE

TYPE SELECT

BIAS

ADJUST

BIAS FINE

ADJ.

EL346L6GC

Bias adjustor viewed from

the back of the chassis:

BIAS

CHECK

BIAS

CHECK

BIAS

CHECK

O.K.LOW

Use buttons to ascertain

each tube's bias;

Set bias range using

Bias Tube Select button

Tune using BIAS Adjust

and BIAS Fine Adjust.

Yellow LED: BIAS Lo

(too low)

Green LED: BIAS in Range

(Ok)

Red LED: BIAS Hi

(too high)

page: 31 - 33

Tube replacement report:

1. Replaced on: _ _ _ _ _ _ _ 20 _ _ _ Replaced by: _ _ _ _ _ _ _ _ _ _ _ _ _ _

Replaced tubes: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Reason: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

2. Replaced on: _ _ _ _ _ _ _ 20 _ _ _ Replaced by: _ _ _ _ _ _ _ _ _ _ _ _ _ _

Replaced tubes: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Reason: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

3. Replaced on: _ _ _ _ _ _ _ 20 _ _ _ Replaced by: _ _ _ _ _ _ _ _ _ _ _ _ _ _

Replaced tubes: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Reason: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Mains voltage configuration: 230 or 240 Volts

The device's mains voltage setting can be adjusted to 100 volts, 115 volts, 120 volts, 230 volts and 240 volts inside the device using plug-in connectors. The two illustrations of the voltage configuration board below show the respective configurations for each of the two mains voltages 230 and 240 volts.

IMPORTANT! Read and heed: The device must be opened to set its mains voltage. This may be done by an authorized professional technician only! You will void the warranty by opening the device or damaging it by configuring its voltage incorrectly!

SI2 int.

SI3 int.

Configuration for 240 volt

mains voltage:

Configuration for 230 volt

mains voltage:

SI2 int.

SI3 int.

Mains voltage configuration: 100, 115, 120 Volts

The device's mains voltage setting can be adjusted to 100 volts, 115 volts, 120, 230 or 240 volts inside the device using plug-in connectors. The three illustrations of the voltage configuration board below show the respective configurations for each of the three mains voltages 100, 115 and 120 volts.

Configuration for 100 volt

mains voltage:

SI2 int.

SI3 int.

Configuration for 120 volt

mains voltage:

SI2 int.

SI3 int.

Configuration for 115 volt

mains voltage:

SI2 int.

SI3 int.

Wiring of Principal Connectors

*: AC voltage is routed to pin 1 and 2 only when button 54 is set to ENGL MIDI Footcontroller.

LINE OUT BALANCED (72), XLR male connector

Pin 3:

signal -

Pin 1 - or ground, depending on the position of the switch XLR GROUND (71)

Pin 2: signal +

page: 26

MIDI IN (53), DIN connector

Pin 1 - power supply approx.11 volts AC *

Pin 4 - MIDI-data wire

Pin 5 - MIDI-data wire

Pin 2 -

power supply

approx.11 volts AC *

Pin 3 - N.C.

page: 21

Stereo

1/4" jack

Serial Amp Control Port (56)

+ 5 volts

Data

Ground, GND

Very important: use a stereo plug only! Connect ENGL Custom Z-9 Footswitch only!

page: 23

Stereo

1/4" jack

Dual Footswitch (57)

CH1/CH2

Sub I/II

Ground, GND

Use a stereo

plug only!

page: 23

ON/OFFON/OFF

Amp

Tube

FOOTPEDAL

Z-4

Options for controlling the ENGL Special Edition amp remotely:

01234Down

56789

Power

Supply

7-14 Volts AC 9-20 Volts DC

300 mA

Bank

MIDI

Output

To select

MIDI channel 1-16 press the Up and Down buttons simultaneously until the dot at the right

position of the display flashes.

Now use the Up or Down

buttons to select

the desired MIDI channel.

Amp

Tube

MIDI

Footcontroller

Z-13

Controller 1

Input >>

cn.1 setup mode

at "000" / Store

controller curve

linear positve

controller curve

linear negative

controller curve

log. positive

controller curve

log. negative

switch loop 1

On / Off

switch loop 2

On / Off

switch loop 3

On / Off

switch loop 4

On / Off

cn.2 setup mode

at "129"

Controller 2

Input >

Switch Loop

< 1 & 2

Switch Loop

<< 3 & 4

Switch Loop configuration mode at "000" or "129" +9

Switch Loop 1

Switch Loop 2

Switch Loop 3

Switch Loop 4

3. Two-way footswitch (e.g. ENGL Z-4): Connect two-way footswitches to the amp by plugging a stereo ¼ " cord into jack no. 57. Functions: Ch. 1/2 Ch. 1/2 (Main Channels) and Sub Gain I/II Clean - Crunch and Lead I - Lead II. This means you can't activate sub channels directly, and must first switch to the other Main Channel. As an alternative to a two-way footswitch, you can connect a MIDI switcher (the ENGL Z-11 will do nicely) to this jack (57) to control the two switching functions.

123456

OOTSWITCH

ENDRETURNBALANCE

EVEL

INE OUT

ALANCED

REQ.-COMP.

VERLOAD

DRY EFFECT

REPLACE FUSE

ONLY WITH SAME

TYPE AND RATING !

DRY EFFECT

REAMP

POWER

AMP

ENDRETURNBALANCE

8 z 16 z4 z

6 z 12 z >16 z< 4 z

ERIAL A

ONTROL PORT

CAUTION:

ONNECT

USTOM

OOTSWITCH

Z-9 O

NLY!

FX L

OOP

MPEDANCE TEST

ABLE CHECK SYSTEM

ABLE

HORT CIRCUIT

ABLE

REAK

AUTION:

BEFORE YOU CONNECT SPEAKERS, CABINETS OR CABLES TO THESE JACKS,

ENSURE THEY ARE NOT CONNECTED IN ANY KIND

TO A POWERAMP OUTPUT!

INE OUT

TATUS

ABLE

O.K.

ENDRETURN

ERIAL

FX L

OOP

IDI

HRU

IDI

MIDI FOOT-

CONTROLLER

CH 1 /

CH 2

I / II

0 W All-tube Guitar Amp Head

pecial Edition

- TYPE E670

MADE IN GERMANY

Amp-Design by Horst Langer

OWERAMP OUTPUT

8 O

HMS

4 O

HMS

16 O

HMS

MPEDANCE

ELECTOR

UTPUT

EST

ACK

ABLE

ETURN

FX L

OOP

REBLEMIDBASS

EVEL

HRESHOLD

EVEL

OISE GATE

UBE DRIVER

UTE

EPTH

ENSITIVITY

ONTOUR

GROUND TO

PIN 1

XLR

ROUND

GROUND LIFTED

ABLE

REAK

OWERAMP OUTPUT

8 O

HMS

4 O

HMS

16 O

HMS

MPEDANCE

ELECTOR

UTPUT

DO NOT OPEN !

RISK OF ELECTRIC SHOCK !

DO NOT EXPOSE THIS EQUIPMENT

IN OR MOISTURE !

CAUTION !

MIDI

CHANNEL

OL.0

GROUND LIFT

SWITCH

ROUND

LOATED

ROUND

1./2. 2. 3.

1.2.

Amp

Technology

Tube

Custom

Footswitch

Z-9

Ser.Cnt.:

Channel 1

Ser.Cnt.:

Channel 2

Ser.Cnt.:

Channel 3

Ser.Cnt.:

Channel 4

Ser.Cnt.:

Function 1

Ser.Cnt.:

Function 2

MIDI:

Patch 1/6

MIDI:

Patch 2/7

MIDI:

Patch 3/8

MIDI:

Patch 4/9

MIDI:

Patch 5/10

MIDI:

Bank A/B

Power Supply In

7-14 Volts AC 9-20 Volts DC

approx. 100 mA

MIDI Out

Serial Amp

Control Out

Caution !

Connect To

Amplifier

Only!

Design by

Horst Langer

To assign Amp switching

features to the Function

1 and 2 button, press the

Channel 1 and the

respective Function button

simultaneously until the

LED starts flashing.

Now use the buttons

1 to 4 to select

the desired switching

feature (press 1x or 2x).

Store the selected switching feature by pressing the opposite

Function button

for approx. 1 second.

1. MIDI foot board (for example, the ENGL Z-12 or ENGL Z-15 pictured above): Connect the foot board to the amp using a standard 5-pin DIN cable. All 5 terminals of both connectors must be wired in a 1:1 configuration: MIDI data transmission requires two wires, and the ENGL MIDI foot board uses two more wires for purposes of power supply. This combination affords access to all of the amp's 128 MIDI presets. The Z-15 foot board also lets you control Master Volume Mute via MIDI controller.

2. ENGL Custom Z-9 Footswitch: This special foot board connects to the amp via a ¼” stereo cord plugged into the Serial Amp Port (56) or via a 5-pin DIN cord plugged into the MIDI IN port (53). The former option affords switching access to channels and two special functions (for example, Hi Gain or Lo Hi Power). In the latter setup, the Z-9 serves as a MIDI foot board that accesses the first 10 MIDI presets.

NORMAL

BRIGHT

PRESENCE

A / B

REVERB ACTIVE

GAIN

CONTOUR

ACTIVE

MASTER

A / B

PEAKER

A / B

EGA LO

PUNCH

FX LOOP

I / II

OISE

GATE

CLEAN CRUNCH

LEAD ILEAD II

Tube

Amp

GAIN BOOST

T.D. E.Q.

LTRA

BRIGHT

MID

EDGE

MODERN

CLASSIC

DEPTH BOOST

SERIAL

LOOP

WRITE /

OPY

LO POW.

I POW.

TUBE

DRIVER

ASSMIDDLE

REBLE

RUNCH

EVERB

LEAN

OLUME

RUNCH

OLUME

RESENCE APRESENCE

TANDBYPOWER

ASSMIDDLE

REBLE

EAD

EVERB

LEAD I

VOLUME

LEAD II VOLUME

ASTER

NPUT

LEAN

AIN

LEAD I GAIN

RUNCH

AIN

LEAD II

GAIN

REBLE

LEAN

REBLE

EAD

Special Edition

Noting Settings:

Sound title: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Preset: _ _ _ _ _ _ _ _ _

comment: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

NORMAL

BRIGHT

PRESENCE

A / B

EVERB

ACTIVE

GAIN

CONTOUR

ACTIVE

MASTER

A / B

PEAKER

A / B

EGA LO

PUNCH

FX LOOP

I / II

OISE

GATE

CLEAN CRUNCH

LEAD ILEAD II

Tube

Amp

GAIN BOOST

T.D. E.Q.

LTRA

BRIGHT

MID

EDGE

MODERN

CLASSIC

DEPTH BOOST

SERIAL

LOOP

WRITE /

OPY

LO POW.

I POW.

TUBE

DRIVER

ASSMIDDLE

REBLE

RUNCH

EVERB

LEAN

OLUME

RUNCH

OLUME

RESENCE APRESENCE

TANDBYPOWER

ASSMIDDLE

REBLE

EAD

EVERB

LEAD I

VOLUME

LEAD II VOLUME

ASTER

NPUT

LEAN

AIN

LEAD I GAIN

RUNCH

AIN

LEAD II

GAIN

REBLE

LEAN

REBLE

EAD

Special Edition

NORMAL

BRIGHT

PRESENCE

A / B

REVERB ACTIVE

GAIN

CONTOUR

ACTIVE

MASTER

A / B

PEAKER

A / B

EGA LO

PUNCH

FX LOOP

I / II

OISE

GATE

CLEAN CRUNCH

LEAD ILEAD II

Tube

Amp

GAIN BOOST

T.D. E.Q.

LTRA

BRIGHT

MID

EDGE

MODERN

CLASSIC

DEPTH BOOST

SERIAL

LOOP

WRITE /

COPY

LO POW.

I POW.

TUBE

DRIVER

ASSMIDDLE

REBLE

RUNCH

EVERB

LEAN

OLUME

RUNCH

OLUME

RESENCE APRESENCE

TANDBYPOWER

ASSMIDDLE

REBLE

EAD

EVERB

LEAD I

OLUME

LEAD II V

OLUME

ASTER

NPUT

LEAN

AIN

LEAD I G