ENGL Invader Operator´s Manual

INVADER

4 Channel Full Tube Guitar Amplifier with MIDI-Control

Operator´s Manual

Please, first read this manual carefully!

Tube

Amp

Technology

Table of Contents

	page:
Introduction	4
Features and Functionality at a Glance	5
Contents	6
Front Panel Features:	6
Bright	6
Channel 1: Gain 1, Bass, Middle, Treble, Volume 1, CH 1	6, 7
Channel 2: Gain 2, Bass, Middle, Treble, Volume 2, CH 2	7, 8
Power Amp EQ: Presence A/B, Depth Boost	8
FX Loop I/II, Noise Gate	9
Input, Hi Gain	10
Channel 3: Gain 3, Bass, Middle, Treble, Volume 3, CH 3	10, 11
Channel 4: Gain 4, Bass, Middle, Treble, Volume 4, CH 4	11, 12
Power Amp section: Master A/B	12, 13
Write/Copy, Amp Mute	13, 14
Stand By, Power	14, 15
Rear Panel Features:	16
Mains, Mains Fuse, Ground Lift Switch	16
MIDI Section and Footswitch Ports	16 - 19
Noise Gate: Threshold Level	19
FX Loops I and FX Loop II: Send, Return, and Balance	19, 20
Pre Out, Line Out	20
Power Amp Output, 4, 8, 16 Ohms	20
Poweramp Output: speaker options	21
Practical Info and Tips	21 - 24
Handling and Care	24, 25
Glossary	25
Status-LED: Indications	26
Troubleshooting	27, 28
Technical Data, Detailed Specifications and Ratings	29
Tube Map, Tube Exchange Service	30
Wiring of Principal Connectors	31
Remote Control Options	32
Front Panel Diagrams for Noting Settings	33
Configuration table for Z-9 settings	34

CAUTION! Please read and heed the following:

You'll find an ancillary pamphlet accompanying this owner's manual entitled Instructions for the Prevention of Fire, Electrical Shock and Injury. Be sure to read it before you plug in and power up the amp!

Note: Technical specifications are subject to change without notice.

Congratulations on your choice! With the InVader tube-powered head, you now own an extraordinarily versatile guitar amp. Featuring a state-of-the-art design and packing a powerful punch, it delivers both contemporary and traditional vintage tones in the finest tube flavors and quality!

This sophisticated guitar amp marries the unrivalled tone of all-tube technology to the awesome sound-shaping might of control features powered by state-of-the-art microchip circuitry. This elegant combination puts at your fingertips a vast range of great fundamental tones and an all but inexhaustible reservoir of compelling variations all of which may be controlled remotely via MIDI.

The InVader amp offers four independent channels - tweaked to deliver different tonal spectrums for various styles and playing techniques, for instance, Channel 3 for fast & heavy riffs and an power chords; Channel 4 for punchy lead tone with an assertive midrange kick. All four channels offer Lo Gain / Hi Gain switching, as well as dedicated Gain and Volume knobs and a 3-band EQ for each channel that give you an even greater range of sound-sculpting options. The tonal palette ranges from vintage

clean to classic grind, and from creamy rock lead tone with thick, lush tube overdrive to the kind of aggressive hi-gain lead sound it takes to cut through in contemporary

heavy styles.

What's more, the amp boasts a host of hip & practical features:

A/B Master switching is a powerful option that has proven its merits in countless ENGL amps (it has featured in E920 power amps since the late '80s and in the legendary SAVAGE 120 head since '93!). Your InVader Amp head also sports two

switchable effect loops and a programmable Amp Mute.

As an alternative to operating the amp remotely via a MIDI foot controller such as the ENGL Z-15, you can also plug in an ENGL Z-9 Custom Foot Controller and manipulate key functions directly. What's more, the amp comes with a stereo jack designed to take an ENGL Z-4 dual footswitch or a switching system for selecting the four channels. And the exterior's compelling visuals certainly match the interior's impressive appointments. This amp's elegant and stylish look is sure to turn heads wherever you play.

This affords you:

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

2.excellent sound-shaping options and greatest flexibility courtesy of the many voicing options and special features, and 128 MIDI presets offering a bevy of programming options;

3.fundamental sounds in excellent tube quality: Clean, Crunch, and Lead. Two Gain stages in every channel double the count of instant-access sounds. Remote MIDI Channel and Gain Lo/Hi switching affords access to a wide range of sounds. EQ adapting (that is, automatic frequency response adaptation to suit the selected Gain stage and activated channel) fine-tunes two Gain stages to give you a much wider range of sounds.

4.Separate Gain and Volume knobs in each of the four channels and a 3-band EQ for channels 1, 2, 3 and 4 let you dial in distinct tones with surgical precision.

5.an ultra-advanced tone-generating machine that will give you years of playing pleasure and value to boot.

Features and Functionality at a Glance

-> Four basic channels: Channel 1, Channel 2, Channel 3 and Channel 4 with separate Gain and Volume knobs.

-> Two Gain variants for each of the basic channels: The Hi Gain feature lets you activate directly two different gain settings for every channel.

> Four voicing sections: one EQ for each Channel featuring Bass, Middle and Treble.

-> Bright sound-shaping button for Channel 1 and Channel 2: tuned to match the given channels' tonal characteristics.

-> Two effect loops: FX Loop I and FX Loop II are variable, switchable effect loops. Each effect loop may be activated for each channel.

-> The power amp's A and B Master knobs are accessible via MIDI. MIDI controller 7 accesses Amp Mute, and in addition Amp Mute is MIDI-programmable. These choices come in handy if you wish to use the Pre Output signal to tune your guitar.

-> MIDI In and Thru ports serve to integrate the amp into a MIDI system. -> 128 MIDI presets, accessible via 16 MIDI channels.

-> The InVader amp offers three different remote interface ports:

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.

-> Programmable Noise Gate for suppressing noise in Channel 2, Channel 3 and Channel 4.

Among the hallmarks of this fine amp are painstaking workmanship and finishing as well as rigorously tested and carefully selected quality components. You'll find guidelines on care and maintenance of tube amps on page 24. Under the heading Tips from the designer, you'll come across practical tips on the aforementioned features throughout the manual. All critical information concerning the operation of this amp is preceded by "NOTE", "CAUTION", "Read and heed" or some other eye-catching comment. We're calling your attention to these remarks for reasons of safety or other compelling motives, so please give them due consideration.

Everyone at ENGL is confident that the InVader tube amp's extraordinary versatility and outstanding features are sure to delight you: Simply plug in, play and be inspired

by the tone of your new ENGL amp!

A few words of wisdom from the designer:

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 you power it up. It is equipped with several safety features that require further explanation to prevent malfunctions.

Contents:

1.ENGL InVader Tube Amp Head;

2.mains cord;

3.this manual;

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

Front Panel Features

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 understanding of the topic of discussion if you unfold and refer to them as we go!

1 Bright

This feature boosts the upper end of the high frequency range in Channel 1 and Channel 2. The red LED above this button lights up to indicate the Bright function is on. This feature can also be switched via MIDI program change or Custom Z-9 Footswitch.

A tip from the designer:

For a very crisp or glassy tone, activate the Bright feature. This setting brightens the sound of humbucking or muddy pickups.

I matched Bright to suit the two channels' Gain characteristics, which is why you get different sounds when you activate it. Its effect is strongest in Channel 1's Lo Gain range. As the name would indicate, the amp's gain level is lowest at this setting, so you can activate Bright to conjure sparkling clean sounds with Treble and Presence settings as low as the 12 o'clock position.

This voicing option ups the twang factor inherent in certain types of guitars, and lets you put a set of sonic cow horns on those that lack it.

Bright is not nearly as aggressive in Channel 1's Hi Gain range. I toned it down to prevent saturated sounds from growing too cutting or harsh, and tweaked it to deliver a rich, pleasing overtone spectrum in finest tube-approved quality.

I also matched Bright to Channel 2's tonal structure: Deactivate it for a more pronounced midrange; activate it – particularly in Lo Gain mode – for a sweet, riffapproved sound with a distinctively vintage tone!

The Bright functions in Channels 1 and 2, in combination with the two Gain choices Lo and Hi, give you eight markedly different sounds, all accessible via MIDI!

2 Gain 1

Channel 1 Gain control. This knob determines the preamp's input sensitivity for Channel 1; use it to set the desired input level.

A tip from the designer:

The amount of distortion depends on your guitar's pickups and the Gain (19) setting. In Channel 1, single-coil pickups may begin saturating the preamp when the knob is set to about the two o'clock position; pickups with very high output levels (humbuckers or active pickups) will evoke mild overdrive at even lower settings. If you want squeaky clean tone, simply back off the Gain knob accordingly.

If your guitar sports single-coils and you want to add some grit to your tone and bite to your riffs, set the knob somewhere between 11 and 3 o'clock. For higher output pick-

ups such as humbucking or active jobs, dial in settings between 9 and 1 o'clock and activate Hi Gain.

3 Bass

This is the preamp voicing section's passive low-frequency EQ for Channel 1.

4 Middle

This is the preamp voicing section's passive midrange frequency EQ for Channel 1.

5 Treble

This is the preamp voicing section's passive high-frequency EQ for Channel 1.

A tip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that you set all tone controls to or slightly higher than the center or 12 o'clock position. For higher-gain preamp sounds, your best bet is to turn the Treble knob down to prevent the pickups and speakers from generating feedback (a setting in the 10-to -1 o'clock range is recommended). 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 Bright (1) button, as well as the power amp Presence (14) an Depth Punch (15) knobs, at your disposal for shaping the frequency range. I suggest you get into the habit of dialing in lower Treble settings. That way, you can program various MIDI presets with the Bright option remotely and have plenty of tonal variations at your fingertips.

6 Volume 1

Determines the level for Channel 1. Use this knob to adjust the volume of Channel 1 and dial in the desired balance in comparison with the other channels' levels. Because this knob is located pre effects loop, it also determines the effects send level for Channel 1. The green LED to the right of the knob lights up to indicate Channel 1 is on.

7 CH 1

Push this button to activate preamp Channel 1 directly (in reciprocation with Channel 2, Channel 3, Channel 4). The green LED to the right of the Channel 1 Volume knob (6) lights up to indicate Channel 1 is active. Channel 1 may also be activated via MIDI program change, the ENGL Custom Z-9 Footswitch, or a dual footswitch.

8 Gain 2

Gain control for Channel 2. This knob determines the input sensitivity in Channel 2 mode; use it to dial in the desired amount of preamp distortion.

A tip from the designer:

Single-coil pickups will evoke mildly overdriven sounds at settings somewhere between 9 and 2 o'clock. Try settings between 8 and 12 o'clock for pickups with highoutput humbuckers or active pickups. Bear in mind the Hi Gain function. You can activate it via an ENGL Custom Z-9 Footswitch or a preprogrammed MIDI preset to get an even bigger, beefier crunch tone on the fly.

CAUTION: Extremely high gain and volume levels in Channel 2 can produce 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 prevent unchecked feedback!

9 Bass

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

10 Middle

This is the preamp voicing section's passive midrange frequency EQ for Channel 2.

11 Treble

This is the preamp voicing section's passive high-frequency EQ for Channel 2.

A tip from the designer:

Each channel is equipped with a dedicated EQ so you can tweak its sound separately to suit your taste and the given sonic scenario. Bear in mind that you also have the Bright

(1) button, as well as the two power amp Presence (14) and Depth Punch (15) knobs, at your disposal for shaping the frequency range. 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.

12Volume2

Determines the level for Channel 2. Use this knob to adjust the volume of Channel 2 and dial in the desired balance in comparison with the other channels' levels. Because this knob is located pre effects loop, it also determines the effects send level for Channel 2. TheyellowLEDtotherightoftheknoblightsuptoindicateChannel2 ison.

13 CH 2

Press this button to activate preamp Channel 2 directly (in reciprocation with Chanel 1, Channel 3, Channel 4). The yellow LED to the right of the Channel 2 Volume knob (12) lights up to indicate Channel 2 is active. Channel 2 may also be activated via MIDI program change, the ENGL Custom Z-9 Footswitch, or a dual footswitch.

14 Presence

Power amp Presence knob. This knob determines the power amp's high frequency response.

15 Depth Punch

This control shapes the lo frequency response in the power amp stage and affects all channels.

16 FX LOOP I/II

This button switches to and fro between FX Loop I and FX Loop II. The red LED above the button lights up to indicate FX Loop II is on. You can also select loops via MIDI program change or the ENGL Custom Z-9 Footswitch.

A tip from the designer:

Both effect loops can be configured in series (that is, 100% processed signal when Balance is set to wet) or in parallel (1% to 99% mix of preamp and effect signal when Balance is set somewhere between dry and wet), or be bypassed altogether (0 % wet balance when Balance is set to dry). 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 FX Loop I/II to activate the effect. In the latter case, FX Loop I serves as a bypass (set its Balance knob to the dry position). Note that in the signal path, Master A and Master B controls are post FX Loop Return and pre the power amp.

17 Noise Gate

Press this button to activate an onboard Noise Gate and suppress excess noise in channel 2, 3 or 4. Control the Noise Gate using the Level Threshold (48) knob on the back of the amp. The LED above the button lights up to indicate the Noise Gate is activated. This feature can also be switched via MIDI program change or the ENGL Custom Z-9 Footswitch.

IMPORTANT note; please read and heed: The Noise Gate may open up inadvertently when the Noise Gate is activated, a high-gain channel is selected, and the 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. Though the amp is not more susceptible to feedback when the Noise Gate is activated, 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 Noise Gate is activated: Before you approach the amp and speaker cabinet with your guitar in hand, turn the guitar's volume knob to the far left position (to 0 so that no signal is audible) to prevent the pickups and speakers from interacting!

A tip from the designer:

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 amplified tremendously at high gain levels in Hi Gain mode. The most common source 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 musical signal and noise. This makes it hard to find the right Threshold setting. It is

entirely possible for this humming and other noise to rise to a level that deactivates the Noise Gate and therefore becomes audible. My advice is to stay as far away from transformers and power units as space allows.

18 Input

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

A tip from the designer:

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

19 Hi Gain

Pressing this button ups input sensitivity, thereby increasing the amplification factor and the amount of distortion in all four preamp channels CH1, CH2, CH3 and CH4. The LED above this button lights up to indicate Hi Gain is active. This feature can also be switched via MIDI program change or Custom Z-9 Footswitch.

A tip from the designer:

Obviously, the difference between Lo and High Gain is the latter gives you more preamp juice. But I also tuned frequency response to suit each channel's gain structure, which is a long-winded way of saying the four channels give you eight great sonic choices. Depending on the selected channel and Gain knob setting, the spectrum ranges from pristine clean to ultra saturated lead tone, rich in overtones and gain reserves for screaming solos and crashing power chords. Whatever tones your style, genre and whims may demand, you'll find it between these two extremes. The options are too numerous to mention, so switch back and forth between Lo and High Gain in each of the four channels to get to know their tonal characteristics and make the most of these eight fundamental sounds.

20 Gain 3

Gain control for Channel 3. This knob determines Channel 3's input sensitivity; use it to dial in the desired amount of saturation level.

A tip from the designer:

Depending on Gain knob and Gain option (19) settings, Channel 3's gain ranges from middling to extreme, which translates to big power chords and mean leads. Note that Channel 3's midrange is scooped - that is, not as dominant as Channel 4's - lending Channel 3 a distinctive tone quite unlike the other.

CAUTION: Extremely high gain and volume levels in Channel 3 can produce 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 prevent unchecked feedback!

21 Bass

This is the preamp voicing section's passive low-frequency EQ for Channel 3.

22 Middle

This is the preamp voicing section's passive midrange EQ for Channel 3.

23 Treble

This is the preamp voicing section's passive high-frequency EQ for Channel 3.

A tip from the designer:

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

Each channel is equipped with a dedicated EQ so you can tweak its sound separately to suit your taste and the given sonic scenario. Bear in mind that you also have the two power amp Presence (14) and Depth Punch (15) knobs at your disposal for shaping the frequency range.

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.

24 Volume 3

Determines the level for Channel 3. Use this knob to adjust the volume of Channel 3 and dial in the desired balance in comparison with the other channels' levels. Because this knob is located pre effects loop, it also determines the effects send level in Channnel 3 mode. The red LED to the right of the knob lights up to indicate the

Channel 3 is on.

25 CH 3

Press this button to activate the preamp's Channel 3 directly (in reciprocation with Channel 1 , Channel 2, Channel 4). The red LED to the right of the Channel 3 Volume knob (24) lights up to indicate Channel 3 is active. Channel 3 may also be activated via MIDI program change, the ENGL Custom Z-9 Footswitch, or a dual footswitch.

26 Gain 4

Gain control for Channel 4. This knob determines Channel 4's input sensitivity; use it to dial in the desired amount of saturation level.

A tip from the designer:

Like Channel 3, Channel 4's gain sweeps from middling to extreme. Unlike Channel 3, its midrange is boosted, making this a great choice for leads.

CAUTION: Extremely high gain and volume levels in Channel 4 can produce 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 prevent unchecked feedback!

27 Bass

This is the preamp voicing section's passive low-frequency EQ for Channel 4.

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