Engl Invader II User Manual

Download

DER II

4 Channel Full Tube

Guitar Amplifier

with MIDI-Control

Operator´s Manual

Please, first read this manual carefully!

page: >6< <----------------------- 8 -----------------------> <---------------------------------- 9 -----------------------------------> <---------------------- 10 ---------------------> >11

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

GAIN I

SOUND

Tube

Amp

INPUT

18 19 20 21 2522 23 24 26 27 28 29 30 31 32 33 34 35 38 39

GAIN 2

HIGH GAIN

BASS

MIDDLE

TREBLE

VOLUME I

VOLUME 2

GAIN 3

CH 1

GAIN 4

CH 2

BASS

MIDDLE

TREBLE VOLUME 3

TREBLE

VOLUME 4 MASTER A

PRESENCE

DEPTH PUNCH

DER II

NOISE GATE

S.W.M.

WRITE /

COPY

STAND BY

MASTER B

FX LOOP

I / II

MUTE

MASTER

A/B

CH 3

CH 4

page: 11< <----------------------------12 ----------------------------> <------- 13 -------> <------------------------------------------ 14 ------------------------------------------> > 15 < <--16 --> >18<

INVADER II: Front Panel Layout

page: <------------------ 23 ----------------->

Type Plate

Midi

Midi FootController

CAUTION !

DO NOT OPEN !

RISK OF ELECTRIC SHOCK !

DO NOT EXPOSE THIS EQUIPMENT

TO RAIN OR MOISTURE !

123456

Midi

Channel

Amp Mute

REPLACE FUSE

ONLY WITH SAME TYPE

AND RATING !

Ground Floated

Ground

Ground Lift

Switch

40 4342 44 45 46 47 48 49 50 51 52 53 54 55 60 61 62 63 64 65 6641

page:

<---- 18 ----> <------------------ 19 ------------------> <- 21 -> <--------------- 22 ---------------> <------ 23 ------> <---------------------------- 24 ----------------------------->

HRB 6238

Midi Thru

Footswitch

Serial Amp

Control Port

CAUTION: Connect Custom Footswitch Z-9 Only!

Channel:

Up < > Down

1 < > 3 / 2 < > 4

Noise Gate

min. max.

Threshold

Level

56 57 58 59

Low / High Gain - Volume Ratio Control

FX Loop I

Send Return Balance

Dry Effect

Channel 4Channel 3Channel 2Channel 1

FX Loop II

Send Return Balance

Dry Effect

All-tube

Guitar Head Amp

INVADER-II

TYPE E642-2

optically refined by Edmund Engl

MADE IN GERMANY

Tube

Amp

Signal Outputs

Tuner Poweramp

Pre

Line Out

Output

Poweramp Output

48Or 8And Or-> 816Or 16And

4 Ohms Parallel

1 x 4 Ohms or 2 x 8 Ohms

1 x 8 Ohms or 2 x 16 Ohms

8 Ohms Parallel

Or->

POWER

16 Ohms

INVADER II: Rear Panel Layout

Table of Contents

Introduction Features and Functionality at a Glance Contents

Front Panel Features:

Sound Channel 1: Gain 1,EQ-1: Bass, Middle, Treble, Volume 1, CH 1 Channel 3: Gain 3, EQ-3: Bass, Middle, Treble, Volume 3, CH 3 Power Amp EQ: Presence A/B, Depth Punch FX Loop I/II, Noise Gate Input, High Gain Channel 2: Gain 2, EQ-2: Bass, Middle, Treble, Volume 2, CH 2 Channel 4: Gain 4, EQ-4: Bass, Middle, Treble, Volume 4, CH 4 Power Amp section: Master A/B Write/Copy, Mute, SWM LED Stand By, Details on Amp Mute and the P.T.M. System, Power

page

4 5 6

6 - 8 8, 9 9, 10 10 10, 11 11, 12 12, 13 13, 14 14, 15 15, 16 16 - 18

Rear Panel Features:

Mains, Mains Fuse, MIDI Section and Footswitch Ports Noise Gate: Threshold Level FX Loops I and FX Loop II: Send, Return, and Balance Low / High Gain - Volume Ratio Control CH 1, CH 2, CH 3, CH 4 Pre Out, Line Out Power Amp Output, 4, 8, 16 Ohms Poweramp Output: speaker options

Practical Info and Tips Handling and Care Glossary Status-LED: Indications Troubleshooting Technical Data, Tube Map, Tube Exchange Service Wiring of Principal Connectors Remote Control Options Front Panel Diagrams for Noting Settings Configuration table for Z-9 settings Front Panel and Rear Panel Diagrams

Ground Lift Switch

Detailed Specifications and Ratings

18,19 19 - 22 22 22, 23 23 24 24 24, 25

25 - 28 28, 29 29, 30 30 31, 32 33 34 35 36 37 38 2, 39

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.

Congratulationsonyourchoiceofamp,themightyENGLINVADERII tubepowered head high-performance guitar amp severalinnovativenewideas remarkably efficient features

This marries the unrivalled tone of to the

top-notch guitar amp all-tube technology

awesome sound-shaping might of control features powered by modern microchip circuitry. This elegant combination puts at your fingertips a

fundamental tones

ofwhichmaybe . TheINVADER IIamp offers -tweaked to

tonal spectrums fast & heavy riffs punchy lead tone assertive midrange kick

well as dedicated Gain and Volume knobs and a3-band EQfor eachchannel thatgive you an even greater range of sound-sculpting options. The tonal palette ranges from

vintage clean classic grind creamy rock lead tone thick, lush tube overdrive kind of aggressive hi-gain lead sound

of .

contemporaryheavystyles

Then there's the nifty , a sort of that

extends unprecedented feature

amp's fundamental sound as you see fit and using the

SoundWizardmodule

This amp boasts a lot more hip and practical features:

A/B Master switching

ENGL amps (it has featured in E920 power amps since the late '80s and in the legendary SAVAGE 120 head since '93!). Your also sports

switchableeffectloops programmableAmpMutefunction

Asan alternative to operatingtheamp remotely viaa suchas the ENGL Z-15, you can also plug in an ENGL and manipulate keyfunctionsdirectly.What'smore,theampcomeswithastereojackdesigned to take an ora switching systemforselectingthefourchannels.

ENGLZ-4dualfootswitch

And the certainly match the interior's impressive appointments. This amp's elegant and stylish look is sure to turn heads wherever you play.

, you now own a that incorporates

and .

and a virtually inexhaustible reservoir of compelling variations, all

controlledremotelyviaMIDI

four independent channels deliver different

for various styles and playing techniques, for instance, Channel 4 for

and an power chords; Channel 3 for with an

. All four channels offer Low Gain / High Gain switching, as

to ,and from with

tothe ittakes to cut through thedin

Sound button DIY tone-tuning tool vastly

the amp's application range. This lets you shape the

fine-tune its voicing optional

is a powerful option that has proven its merits in countless

INVADER II head two

anda .

MIDIfoot controller

Z-9 Custom Foot Controller

exterior's compelling visuals

.Withthis

vast range of great

This gives you:

1. a logical control feature array, utmost and

handling

excellent voicing options great flexibility

shaping and other special functions. You can also tweak the amp's fundamental sound to taste using the , and your voicings can be assigned to 128 MIDI presets.

3. fundamental , , and in :

Two gain stages double instantly accessible

sounds

;

and the provided by so many sound

ENGL Sound Wizard module

clean crunch lead sounds excellent tube-driven quality

in every channel the count of

. You can select channels and adjust Gain Low/High and the Sound

ease of use remarkably intuitive

function's setting via MIDI, affording you to a . What's more, the is to match the amp's various operating modes, which of its

spectrum tremendously

Separate Gain Volume 3-band EQ

4. and knobs in each of the four channels and a

channels 1, 2, 3 and 4

for let you dial in distinct tones with surgical precision.

ENGL INVADER II ultra-advanced tone-generating machine

5. - an that's versatile enough to cover a wide range of applications. It can even be with , all of which will give

years of playing pleasure value to boot

you and .

Sound function's voicing automatically adjusted

extended Sound Wizard technology

quick access broad tonal palette

extends the scope tonal

Features and Functionality at a Glance

Four basic channels

-> :,, and with separate Gain and Volume knobs.

Two Gain variants three

-> (and with the optional ) for each of the basic channels: The High Gain function affords you instant access

two gain settings different voicings every channel

to with for .

Four voicing sections

> : one EQ for each Channel featuring

Bass, Middle and Treble.

-> The versatile for Channel 1, 2, 3 and 4:

tuned match tonal characteristics

It is to the given channels' .

Two effect loops:

-> and are variable, switchable effect loops. Each effect loop may be activated for each channel.

-> The power amp's and knobs are . MIDI controller #7 or #28 accesses , and in addition

MIDI-programmable

is . These choices come in handy if you wish to use

Pre Output tune your guitar

the signal to .

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

MIDI In Thru

128 MIDI presets

-> , accessible via 16 MIDI channels.

INVADER II amp offers three different remote interface ports:

-> The The Serial Amp Control Port accepts the Custom Z-9 Footswitch (optional); use it as a conventional switcher to select channels and two more 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 , and .

Channel 4

Sound voicing button

Channel 1 Channel 2 Channel 3 Channel 4

Sound Wizard

FX Loop I FX Loop II

A B Master accessible via MIDI

Amp Mute Amp Mute

Channel 2 Channel 3

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 guidelinesoncare and maintenance oftubeamps on page 28. Undertheheading 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 remarksfor reasons of safety orother compellingmotives, so pleasegivethemdueconsideration.

Everyone at ENGL is confident that the

versatility outstanding features Simply plug in, play and beinspiredbythetoneofyournewENGLamp! SoundWizardmodule perfectadd-on morecreative sculptingyourtone A few words of wisdom from the designer:

Though this amphead is relatively easy to handle and you're probablyraring to give it a go, I recommend thatyou readthe owner'smanual thoroughlybefore youpower it up. It is equipped with several safety features that require further explanation to preventmalfunctions.

and are sureto delight you:

ifyou want togeteven when .

INVADER II tube amp's extraordinary

Andthe is the

Contents:

1. ENGL INVADER II Tube Amp Head;

2. mains cord;

3. this manual;

4. a pamphlet entitled

Electrical Shock and Injury

The Sound Wizard module referred to is not included.

Instructions for the Prevention of Fire,

in this manual

Front Panel Features

Onpage 2 and39ofthemanual,you'll find diagrams ofthefrontandrearpanels.

1Sound

The Sound function takes on a certain type of voicing that is determined by the selected channel and the given gain stage setting. This function's setting - Sound off/ on - affects the amp's overall sound. You can assign many typical voicings individually to the two and settings when using the ENGL Sound Wizard module(optional). The LEDabove the buttonlights up toindicate the Soundfunction is enabled ( ). It may also be switched via MIDI program change or the ENGL CustomZ-9 footswitch. The following list shows how the Sound function works when enabled ( ) in various modes and the ENGL Sound Wizard module is not installed (or the is set to ):

SoundWizard off

CHANNEL 1 & Low Gain Twang SWM CHANNEL 1 & High Gain Low Midrange SWM CHANNEL 2 & Low Gain Bright SWM CHANNEL 2 & High Gain Low Midrange SWM CHANNEL 3 & Low Gain Low End SWM CHANNEL 3 & High Gain Low Midrange High Midrange

combined with switch #4 on the )

Sound off Sound on

Sound on

SWM

: (that's switch #4 on the )

: (that's switch #3 on the )

: (that's switch #5 on the )

: (that's switch #3 on the )

: (that's switch #2 on the )

: & (that's switch #3

SWM

CHANNEL 4 & Low Gain Low End SWM CHANNEL 4 & High Gain Low Midrange High Midrange

combined with switch #4 on the ).

A tip from the designer:

TheSoundfunctiongivesyou so much creative leeway invoicing theamp thatit merits a closer look: In the preceding section, you learned that you can activate a certain voicing such as for Channel 1 in Low Gain mode or for Channel 2 in Low Gain mode. Note that 'Low Gain mode' simply means that isnot activated. Your choice of voicing will of course depend on the selected mode, which in turn is determinedby the currentlyactivechannelandthegivengain stage setting. The Sound button's voicings are automatically adjusted to match the amp's operating modes as determined by the given channel and gain stage. This is very beneficial to your tone. Here's why: Each tonal flavor has certain frequency ranges that can be tweaked to fine-tune that type of tone. As you can imagine, these frequency ranges vary from sound to sound, say from a pristine clean tone to a heavily overdriven lead sound.Avoicing such as would hardly enhance a distorted tone, so it's notmuch use in shaping lead sounds. However, tweaking the low end and various midrange frequencies can certainly change the flavor of crunchy rhythm sounds or singing lead tones. But I don't want to bore you by trying to describe all the Sound voicings' specifics. Besides, tone is very subjective, so here's my recommendation: Plug in your guitar and try out all 16 variations by combining the channel's fundamental sound in LowGainandHighGainmodesand switch the Sound function off andon. Anaudition willtell you alotmorethanwordsever could. Nonetheless, I do want to devote a few more words to an optional feature that extends the tonal capabilities of the Sound function on the INVADER II amp. It caters to demanding players who want to sculpt their sound with the surgical precision of a scalpel rather than beat it into shape with a mallet. Closet hot-rodders and amp modderswill find plentytoloveinthistool. Seeking to give creative guitarists practically unlimited freedom to shape their tone, I started tinkering with the idea of a sound-tuning tool for everyone. Eventually, we cameup with theSound Wizard module. Thisoptional add-on enablesany guitarist to fine-tuneall thefundamental sounds of the INVADERII amp without having totake a soldering iron to its circuitry. Best of all, these modifications can be done without any knowledgeof electronics. Restoring the INVADER II to itsoriginalvoicingisassimpleas flipping a single switch. The unique Sound Wizard module is truly extraordinary becauseitdoeswhat so many guitarists havebeen wantingtodoforsuch a long time -

it fine-tune

letsthem the sound oftheirampstosuittheirtaste.

The Sound Wizard module sits in the amp's rear panel, so all you have to do is replace thepanel. There's noneedtoremovetheamplifier chassis.

A single connector plugs the Sound Wizard module into the amp's circuitry. The ENGL Sound Wizard module provides 96 rockers on 16 DIP switches for fine-tuning your sound. 16 LEDs next to the DIP switches tell you which configuration of rockers is currentlyactive for a givenampmode (Channel, Gain &Sound settings). A slideswitch enables and disables the Sound Wizard module. The module's status is indicated by a separateLED on the module as well as bythe SWM LEDon the amp'sfront panel. You can encode atotal of 64 different settingson theSound Wizard module for eachamp mode. The variationson Channel, Gain & Sound settings giveyou a total of 16modes.

Twang Bright

: (that's switch #2 on the )

: & (that's switch #3

SWM

High Gain

Bright

All this means you have a whole bunch of configurations for fine-tuning your amp. In addition to offering specific voicings such as , and , the Sound Wizard also lets you modify the gain stages in certain modes and activate a special parameter called for each amp setting to balance out different volume levels. You will find a detailed description of the Sound Wizard's tuning capabilities in themanual that comeswiththemodule.

Attenuator

Bright Twang Mid Boost

2 Gain 1

Gaincontrol for Channel1's preamp section.This knob determines thepreamp's input sensitivitywhen Channel 1 is selectedand,byextension,thepreampsignal'ssaturation level.

Atip from the designer:

The amount of distortion depends on your guitar's pickups and the High Gain ( ) 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 (humbuckersor active pickups)will evoke mildoverdrive at evenlower settings. If you wantsqueaky clean tone,simplybackofftheGainknob accordingly. Ifyourguitarsportssingle-coilsandyou want to add some grit to yourtone and biteto your riffs, set the knob somewhere between 12 and 3 o'clock. For higher output pickups such as humbucking or active jobs, dial in settings between 10 and 1 o'clock and activate .

HighGain

3Bass

Thisis the preampvoicingsection'spassivelow-frequencyEQfor .

Channel1

4Middle

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

Channel 1

5Treble

Thisis the preampvoicingsection'spassivehigh-frequencyEQfor .

Atip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that youset all tone controls toor slightly higherthan the centeror 12 o'clock position. For higher-gain preamp sounds, yourbest bet is to turn the Treble knob down to prevent the pickups and speakers from generating feedback (a setting in the 10-to-2 o'clock rangeis recommended). Youwill find thatgrittier tones generally sound better with a touch less treble because preamp saturation makes higher frequencies figure more prominently in the signal. Each channel is equipped with a dedicated EQ so you can tweakitssoundseparately to suit yourtaste andthegivensonic scenario. Bear in mind that you also have the Sound (1) button, as well as the power amp Presence (14) and Depth Punch (15) knobs, at your disposal for shaping the frequency range. You can program various MIDI presets with the Sound option remotely and have plenty of tonalvariations at yourfingertips.

Channel1

6Volume1

Volume control for Channel 1's preamp section. Use this knob to adjust the volume of Channel1'spreampanddialinthedesiredbalancewiththeotherthreechannels'levels. Becausethisknobislocatedpreeffectsloop,italsodeterminesthesendlevelsforboth FXloops when isselected.ThegreenLED to therightoftheknoblights up to indicate ison. Usethe knob (56) on theamp's rear panel to balanceout the relativevolumesofHighGainandLowGainmodes.

Channel1

Channel 1

7CH1

PushthisbuttontoactivatepreampChannel1attheamp.ThegreenLEDtotherightof theChannel1 Volume knob (6)lightsup to indicate isactive. may alsobeactivatedviaMIDIprogramchange,theENGLCustomZ-9Footswitch,oradual footswitch.

Channel1 Channel 1

8Gain3

Gaincontrol for Channel3's preamp section.This knob determines thepreamp's input sensitivitywhen Channel 3 is selectedand,byextension,thepreampsignal'ssaturation level.

Atip from the designer:

Like Channel 4,Channel 3'sgain structures range from to extreme, making it a great choice of channel for fat, creamy lead sound with plenty of sustain. The High Gain (19) and Sound (1) functions let you tune Channel 3's fundamental tone to suit different playing techniques. This channel has plenty of headroom, so I recommend setting the Gain knob to somewhere between 8 and 1 o'clock. This will let you dial in impressive sounds with preamp saturation figuringprominently in the tone. The High Gain function comes in especially handy in conjunction with Gain settings below 12 o'clockbecause you canuseittoshapeand access two distinctlydifferenttones.

CAUTION:

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!

Extremely high gain and volume levels in Channel 3 can produce powerful

vigorous

9Bass

Thisis the preampvoicingsection'spassivelow-frequencyEQfor .

Channel3

10Middle

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

Channel 3

11Treble

Thisis the preampvoicingsection'spassivehigh-frequencyEQfor .

Atip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that you set all tone controls to the center or 12o'clock position. For higher-gain sounds in

Channel 3

speakers from generating feedback (a setting in the 10-to-2 o'clock range is recommended).

your best bet is to turn the Treble knob down to prevent the pickups and

Channel3

Eachchannelisequipped with a dedicated EQ so you can tweak its sound separately to suityour taste and thegiven sonic scenario. Bearin mind that youalsohave the Sound (1) button, as wellas the two power ampPresence (14) and Depth Punch (15) knobs, atyour disposal forshaping the frequencyrange. Though thispassive voicing section's controls range is narrower than that of a comparable active system, its EQ curve is tweakedspecifically for itsdesignatedpurpose,andwillgiveyou satisfying results.

12Volume3

Volume control for Channel 3's preamp section. Use this knob to adjust the volume of Channel3'spreampanddialinthedesiredbalancewiththeotherthreechannels'levels. Becausethisknobislocatedpreeffectsloop,italsodeterminesthesendlevelsforbothFX loopswhen isselected.TheredLEDtotherightoftheknoblightsuptoindicate

Channel 3

volumesofHighGainandLowGainmodes.

Channel3

is on. Use the knob (58)on the amp's rear panel to balance out the relative

13CH3

Pressthis button toactivate preamp at the amp.The red LEDtothe right of theChannel3Volumeknob(12)lightsupto indicate isactive. may alsobeactivatedviaMIDIprogramchange,theENGLCustomZ-9Footswitch,oradual footswitch.

Channel3

Channel3 Channel3

14Presence

Power amp Presence knob. This knob determines the power amp's high frequency responseand affects allchannels.

15DepthPunch

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

16FXLOOPI/II

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 or theENGLCustomZ-9Footswitch.

Atip from the designer:

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

Balance wet Balance dry 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

FX Loop I/II FX Loop I

its knob to the position). Note that in the signal path, and

MasterB FXLoop Return

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 dry

to activate the effect. In the latter case, serves as a bypass (set

Balance dry Master A

controlsare post andprethe power amp.

FX Loop II

FX Loop I FXLoop II

17NoiseGate

Press this button to activate an onboard and suppress excess noise in channel 2, 3 or 4. Control the using the Level Threshold (49) knob on the back of the amp. The LED above the button lights up to indicate the is activated. This feature can also be switched via MIDI program change or the ENGL CustomZ-9 Footswitch.

IMPORTANT note; please read and heed

when the 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 thatsends youraudience andfellow musicians packing. Thoughtheampisnot more susceptible to feedback whenthe isactivated, the fact that it suppresses extraneous noise means you can't hear those telltale signs that feedback isswelling andconsequently can't take measures to suppress it. For this reason, make an extra effort to be careful when the is activated: Before you approach theamp andspeaker 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 pickupsand speakers frominteracting!

Atip 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 particularits active components. That'sright;thosecherishedtubesare the culprits. The 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 High Gain mode. The most common source of noise is 50 or 60 hertz mains hum, particularly when the guitar is positioned neartransformers and powerunits. Because inworst-case scenarios this humming can attain extremely high levels, the can hardly distinguish between the musical signal and noise. This makes it hard to find the right Threshold setting. It is entirelypossibleforthishummingandothernoisetorisetoalevelthatdeactivatesthe

Noise Gate

transformersand power units asspaceallows.

Noise Gate

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

Noise Gate

: The may open up inadvertently

NoiseGate

Noise Gate

18Input

¼"unbalanced input jack.Plugyourguitarinhereusing a shieldedcord.

Atip 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).

19HighGain

Pressingthisbuttonbooststhegainandamountofdistortion inall four channels, ,

CH2 CH3 CH4 HighGain

, and . The LEDabove this buttonlights up to indicate isactive. This feature can also be switched via MIDI program change or the Custom Z-9 footswitch. You can also use the optional Sound Wizard module to modify the two gainstages. See thedescriptionofthe for moreonthis.

Atip from the designer:

Obviously,thedifference between Low and HighGainisthat the latter gives youmore preampjuice. But I also tuned frequencyresponsetosuiteachchannel'sgainstructure, 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 rangesfrom pristineclean ( and )to ultrasaturated lead tone( and ), rich in overtones and gain reserves for screaming solos and crashing power chords. Whatevertonesyourstyle,genreandwhims may demand, you'll find it between these two extremes. The options are too numerous to mention, so switch back and forth between Low and High Gain in each of the four channels and vary the Gain knob settings to get to know their tonal characteristics and make the most of these eight fundamental sounds. The optional Sound Wizard module letsyou select another gain

MediumGain LowGain High Gain

stage, , in additionto and . See the description ofthe

SoundWizard

formore on this.

CH1 CH2 CH3 CH4

SoundWizard

CH1

20Gain2

Gaincontrol for Channel2's preamp section.This knob determines thepreamp's input sensitivitywhen Channel 2 is selectedand,byextension,thepreampsignal'ssaturation level.

Atip from the designer:

Channel 2

sounds with slightly higher gain levels and different flavors than those provided by

Channel 1 High Gain

subtle to in-your-face preamp overdrive. Even in Low Gain mode, you can conjure a slightly dirtier sound at Gain settings around 12 to 2 o'clock, and lower with humbuckingpickups. This isaniceoptiontohave when you're goingforagrittiertone.

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 preventunchecked feedback!

offers moderate to middling gain structures for great alternative clean

. Set it to if you wish to dial in classic rock riffs with anything from

21Bass

Thisis the preampvoicingsection'spassivelow-frequencyEQfor .

Channel2

22Middle

Thisis the preampvoicingsection'spassivemidrangeEQ for .

Channel2

23Treble

Thisis the preampvoicingsection'spassivehigh-frequencyEQfor .

Channel2

Atip 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-volumeleadsounds, your best bet istoturnthe Treble knob down topreventthe pickupsand speakers fromgenerating feedback (asetting in the10-to-1 o'clock range isrecommended). Eachchannelisequipped with a dedicated EQ so you can tweak its sound separately to suityour taste and thegiven sonic scenario.

(1) button, as wellas the two power ampPresence (14) and Depth Punch (15) knobs, atyour disposal forshapingthefrequencyrange.

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 giveyousatisfyingresults.

Bearin mind that youalso have the Sound

24Volume2

Volume control for Channel 2's preamp section. Use this knob to adjust the volume of Channel 2's preamp and dial in the desired balance with the other three channels' levels. Because this knob is located pre effects loop, it also determines the send levels for both FX loops when Channel 2 isselected. The yellow LED to the right of the knob lights up to indicate Channel 2 is on. Use the knob (57) on the amp's rear panel to balanceout the relativevolumesofHighGainandLow Gain modes.

25CH2

Pressthisbutton to activate thepreamp's atthe amp. The LED tothe right of the Channel 2 Volume knob (24) 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 dualfootswitch.

Channel2

yellow

26Gain4

Gaincontrol for Channel4's preamp section.This knob determines thepreamp's input sensitivitywhen Channel 4 is selectedand,byextension,thepreampsignal'ssaturation level.

Atip from the designer:

Depending on Gainknob, Gain option (19) andSound option (1) settings, Channel4's gain ranges from massive to borderline ridiculous, which translates to big power chords and mean leads. Note that Channel 4's midrange is scooped - that is, not as dominant as Channel 3's - lending Channel 4 a distinctive tone quite unlike the other.

hannel 4 has plenty of headroom, so I recommend setting the Gain knob to

somewhere between 8 and 1 o'clock. This will let you dial in impressive sounds with preamp saturation figuring prominently in the tone. The High Gain function comes in especially handy in conjunction with Gain settings below 12 o'clock because you can useit to shapeandaccesstwodistinctlydifferent tones.

CAUTION:

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!

Extremely high gain and volume levels in Channel 4 can produce powerful

27Bass

Thisis the preampvoicingsection'spassivelow-frequencyEQfor .

Channel4

28Middle

Thisis the preampvoicingsection'spassivemidrangeEQ for .

Channel4

29Treble

Thisis the preampvoicingsection'spassivehigh-frequencyEQfor .

Atip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that you set all tone controls to the center or 12 o'clock position. For higher-gain, highvolume lead sounds, your best bet is to turn the Treble knob down to prevent the pickupsandspeakers from generating feedback (asettinginthe 10-to -1 o'clockrange isrecommended). Eachchannelisequipped with a dedicated EQ so you can tweak its sound separately to suityour taste and thegiven sonic scenario. Bearin mind that youalsohave the Sound (1) button, as wellas the two power ampPresence (14) and Depth Punch (15) knobs, atyour disposal forshaping the frequencyrange. Though thispassive voicing section's controls range is narrower than that of a comparable active system, its EQ curve is tweakedspecifically for itsdesignatedpurpose,andwillgiveyou satisfying results.

Channel4

30Volume4

Volume control for Channel 4's preamp section. Use this knob to adjust the volume ofChannel4's preamp and dialinthe desired balance withtheother three channels' levels.Because this knob islocatedpreeffectsloop,italso determines the sendlevels for both FX loops when is selected. The red LED to the right of the knob lights up to indicate is on. Use the knob (59) on the amp's rear panel to balanceouttherelative volumesofHigh GainandLow Gainmodes.

Channel 4

31CH 4

Press this buttonto activatepreamp at the amp. The red LED to the right oftheChannel4Volumeknob(30)lightsuptoindicateChannel4is active.Channel4 mayalso beactivatedviaMIDIprogram change,theENGLCustomZ-9 Footswitch,or adualfootswitch.

Channel 4

32MasterA

MasterAvolumeknob.Locatedposteffectloops,itcontrolspowerampoutput.The red LED to the right of the knob lights up to indicate is enabled and determining the master level. You can also set the master level to 0 ( via MIDIorthe Z-9. To learn howtodothis, see section 36andsection46, page 20 inthe

RearPanelFeatures

chapter.

Master A

Amp Mute)

33MasterB

MasterBvolumeknob.Located post effect loops, it controlspower ampoutput. The green LED to the right of the knob lights up to indicate is enabled and determining the master level. You can also set the master level to 0 ( via

Master B

Amp Mute)

MIDIorthe Z-9. To learn howtodothis, see section 36andsection46, page 20 inthe

RearPanelFeatures

chapter.

34MasterA/B

Switches back and forth between the Master A and Master B knobs. The LEDs next to theknobs light up toindicatewhichMasterknobis active the redLEDfor ,the green LED for . canalso be switched via MIDI program change orthe ENGL .

Atip from the designer:

Here's a nifty option: Use and toset two different power amp levels and access these as you wish in tandem with the preamp's eight channel and Gain combinations. You can easily program combinations of different ,

Channel1 4

can conveniently access these configurations on stage using a MIDI footboard (for example, the ENGL Z-9, Z-12 or Z-15). This gives you many variations of the fundamental sounds for different playing techniques and musical situations. Channel1orChannel2isyourfirstchoiceforcleanandevengrittierrhythmandlead work. Take advantage of the preamp saturation in Channels 3 and 4 for power chordsand leads at diversegain and volume levels.Tryworking your guitar'svolume knobtoextendyourrangeof tonesandmusicalexpression. IfaMIDIcontrol unitand controllercommandsareavailable(forexample,the ENGL MIDI Footcontroller Z-15) you can use the to silence the power amp quickly and conveniently for shortbreaksortoswapguitars.

Master B MASTER A/B

CustomZ-9 Footswitch

Master A B

to andLow or HighGain(19)settingstodifferent MIDI presets.Thenyou

Amp Mute

MasterA

Master A/B

35Write/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

Copy

:withtheformeryou'reactuallyprogrammingorwritinganewMIDIpreset,with thelatter you're makinganexactduplicateofan existing preset. Thesystem will select a Write operation whenever you edit a MIDIpreset,thatis,when you have modified a programmable feature. You'll know that this is the case because theStatusLEDflashessteadilywhenyou edit 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 another preset andstored there. continuouslytoindicate is activated. ifyou do notselectanewMIDIpreset within about 30seconds. 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 downfor about a second until the Status LED flashes three times in rapid succession.This mechanism is designedtoprevent inadvertent programming. Youcan 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 and holdthebuttonuntiltheStatus LED flashes threetimes. You'll have to go through a similar routine to copy a preset once you select a target preset:When the StatusLEDextinguishes, the copyoperation is underwayandcan no longer be cancelled. The LED flashes three times to indicate the preset was copied

Copy

When you pressthis button, the Status LEDlights up

Thesystemquits mode autonomously

Copy

Write

Copy

successfully. You can cancel the copy operation by releasing the key, but only for as longas the LEDlightsupcontinuously.Seepage27 and 28f .

IMPORTANTnote; please read and heed

MIDI preset 1activates when the amp ispowered up.If you want to editand/or store other MIDI presets, you must connecta MIDI foot board or another MIDI send device

MIDIIn

tothe port(44) and use thisoutboard device toselect the desiredMIDI preset onthe amp.

Moregood-to-know info:

Note that the Status LED also indicates the status of components unrelated to

Copy

and .The microcontroller runs a short systemcheck afteryou switch the amp on. Shouldit find a defect inthe memory chip(EEPROM), the LED fiveshort bursts. Pressthe Write/Copy copy button toconfirmthatyougotthemessage. Once you have done this, the system will be ready to run, although you may encounter problems whenattempting to selectorstoreMIDIpreset. Furtherindicator functions: ; description in section The Status LED serves a third display function. As described in section , it indicates thatno speaker isconnectedtothepowerampoutputs.

PowerTube Monitor

ormore details

Write

willflash in a pattern of

38. 38

36Mute

This red LED lights up to show is engaged, that is, the power amp is silenced. Activate this mode via (set it to 0), a previously programmed MIDI preset, a MIDI controller #7 (or #28) command (see chapter 46 to learn more) or by sendingthe appropriate Z-9command to theSerialAmp Control Port(47). Deactivate

Amp Mute 0 Power Amp On

appropriate MIDI command to the MIDI In port (44) or via the respective Z-9 command(setting )send to theSerialAmpControlPort (47).

A very IMPORTANT note; please read and heed:

ensure Standby switch is set to (that is, the power amp is active) if you want this preset to disable and enable the power amp so the speaker renders your sound. If the Standby switch is set to 0 during programming, the amp will be muted when you select this MIDI presets precisely because the function was enabledduring programming. Therefore the poweramp will notboost the signal and thesound will notbeaudibleoverthespeaker.

Note:

programmed MIDI presets, MIDI controller commands or via the Z-9 when is engagedto switch thepowerampoff.Youmust first flip theStandbyswitch.

by setting Standby (38) from to or sending the

F2-4

Amp Mute

You cannot deactivate to activate the amp via appropriate

Amp Mute

Standby

When programming MIDI presets,

Amp Mute

Standby

37SWM

This blue LED lights up when the ENGL type Z-16 Sound Wizard module has been installed in the amp's rear panel and enabled via the slide switch (1/SWM) on this optionaladd-on module.

38StandBy

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

immediately when you ramp it back up to full power. activates as soon as youset the Standby switch tothe0positionandtheMuteLED showsthisstatusby lighting up. You can easily program the Amp Mute function to MIDI presets to mute the amp using a simple MIDI footboard. To do this, set the Standby switch to 0 and startthe programming process withtheWritebutton(35).

IMPORTANT note; please read and heed:

Standbyis set to (that is,the power ampis active) ifyou want this presetto disable

Amp Mute

Standbyswitchisset to 0 during programming, the amp will be muted when you select this MIDI presets precisely because the function was enabled during programming. Therefore the power amp will not boost the signal and the sound will notbe audible overthespeaker.

If you want the power amp to be enabled in a MIDI preset, you must program it withStandby set to !

Donot engage theStandby switch whencopying with the Write/Copy ( )button, as thislaunches a write operation. The control system treats theStandbyswitchmuchlike afunction button. Ifyouuseittoedit the stored settings,theStatusLEDwillflash. To learn more about this, see section and

(Settings)to MIDI presentsinindividualsteps

Note:

Ifthe amp is inStandbymode, deactivating the AmpMute function via theAmpMute Z-9 command will not activate it. The same goes for sending MIDI controller #7 (or #28)commandsandselectingMIDIpresetsprogrammed with deactivated. Youmust first fliptheStandbyswitch.

Moregood-to-know info:

Onthe one hand, the amp'ssurveillance system monitorsif speaker cords are plugged

Poweramp Outputs 4Ohms 8Ohms 16Ohms

into (62,63), (64, 65),and (66).If none of these ports is in use, flipping the Standby switch will not activate the power amp. Thisensures the amp isnot operated without aconnected load.

up and the Standby switch is set to On, the Standby circuit is deactivated internally andthe Status LEDshowsthisbyflashingrapidly.

In addition, an electronic surveillance system monitors the power tubes. The Status LED flashes to alert you to a defective power tube, blinking in different patterns to identifythegiven tube. Specifically, itlightsup briefly at regularintervals-once for V1, twicefor V2, thrice for V3,and four timesfor V4. Because the tubemonitoring system only works when the power tubes are up and running, this indicator is not enabled untilyouactivatethepoweramp

paragraphfor further important Details.

Animportant note on the PowerTubeMonitor(P.T.M.)system:

The electronic power amp monitoring system constantly gauges the current flowing througheach power amp tube. Ifit rises totoo high alevel the systemshuts down the giventube. This can occur when the amp is operated incorrectly (for example, if the impedance is wrong due to an incorrect speaker load; see page 24 and 25 for permissible loads), at extremepower spikes, orwhenatubeisdefective. Reset this electronic monitoring system by flipping the Standby switch off and on

and enable the power amp so the speaker renders your sound. If the

(StandbyswitchsettoOn).Pleasereadthefollowing

When programming MIDI presets, ensure

Amp Mute

Write/Copy Programming sounds

inthe appendix onpage27and28.

Amp Mute

(36)

AmpMute

Ifthe amp is powered

againafter a brief pause.Whenyoupressthestandby switch to turntheamponagain, thesystem again measuresthe current sentto the tube.If it isstill too high,the power amp must bechecked by a service technician, and the tube mayhave tobe replaced if itis defective.

HEADS UP:

Status LED indicates a tube failure. Wait around 30 seconds before you engage the powerampagain after youhaveswitcheditoff!

A tip from the designer:

I suggest you get into the habit of using standby during short breaks. In this mode, currentis not piped throughthe power tubes,sothey don't getashot (due tothelack ofanodedissipation)and are spared considerable wear. Theampisreadytorun when youfliptheStandby switchbecause the tubes are already warm and don't require time toheatup. For breaks of 20 minutes and longer, I recommend that you switch the amp offin order toconserveenergy. There's another function called that is also controlled via the Standby switch.Youcanuseittoconvenientlysilencethepowerampwhenswitchingortuning guitars via a MIDI preset. Allyou have to do is first program the targetMIDI preset by settingtheStandbyswitchto "0" (Power Amp off ). Then the amp will always be muted whenyou select thispreset.TheMuteLED(36) indicates this function'scurrentstatus.

Do not flip the Standby switch off and on in short time intervals if the

Amp Mute

39Power

Mains power on/off.

Please note:

youswitchtheampon.Letthetubes heat up for about 30 seconds beforeyou activate thepower amp. Thisproceduresparesthetubes.

CAUTION:

the amps's chassis can become very hot, therefore avoid touching the rear panel surfaceand the ventilationgrilleonthetop!

ensurethat the StandBy switch (38) is setto Stand By(0 position) before

After an extended period of operation and higher ambient temperatures

Rear Panel Features

Onpage 2 and39ofthemanual,you'll find diagrams ofthefrontandrearpanels.

40 ACPower Inlet, )

MainsConnector(

Plugthe mains cordinhere.

CAUTION:

you power the amp up, ensure the voltage value printed alongside the mains port is thesame as thecurrentofthelocalpower supply or walloutlet. Please also heed the guidelines set forth in the separately included pamphlet,

Instructionsfor the PreventionofFire,ElectricalShockandInjury

Make sure you use an intact mains line cord with a grounded plug! Before

IEC- C14 connector

41MainsFuseBox:

Therear chamber containsthemainsfuseandthefront chamber asparefuse.

CAUTION ALWAYS make sure replacement fuses are of thesame typeand havethe

same ratings as theoriginal fuse! To this end, please referto the fuse ratingsshown onthe type panel.

42GroundLiftSwitch

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 haveconnectedasignalprocessororpowerampandwanttopreventthetwodevices' groundsfrom forming agroundloopthatmanifestsinannoying humming.

Please note:

circumstances, ensure the button is set to to earth the amp to the mains ground,thereby preventing ungrounded linenoise!

A ground loop is an extraordinary condition. Under ordinary

Ground

Ground Floated

43MIDIThru

This 5-pin DIN port patches incoming MIDI data from the (44) to any other connectedMIDI device.

MIDI In

44MIDIIn

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. 45 lets you activate the amp's power supply if youhave anENGL

controller

CAUTION:

makesure that switchno.45issettothe right to avoiddamagingthedevice.

connectedto this port.

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

MIDI foot

45 Power Supply For The ENGL MIDI Footcontroller

This selector activates a MIDI In port power supply for connected ENGL MIDI foot boards.Poweris fed to theboardviathe MIDI circuit. Whentheswitchis set to theleft position,power is routed to theMIDI In port'spin 1 andpin 2 (refer to page r pin assignments). If you choose to use another MIDI foot board, be sure to set the switch tothe right to avoiddamagingit. If thefootboard you are usingis designed to 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 voltageandcurrent specifications andwiringmatch, you may settheswitchto the left topower this footboardviatheMIDIcable.

Please read and heed:

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 who earns alivingwithascrewdriver!

Note that a MIDI foot board may not draw more than 200

35fo

46MIDIChannel, AmpMute

Use this DIP switch to assign the MIDI channel by which the amp's MIDI system will receive program change commands and specific MIDI controller commands assigned tocertain amp functions. 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.

MIDIController,

Thefollowing table shows the specific channel andOMNIsettingsofthesmallswitches labeled1, 2, 3,4and5onthe larger piano-type DIPswitch.

MIDI-channel: 1: 2: 3: 4: 5: 6: OMNI OFFXXXXXXXXXX CH1 ON OFF OFF OFF OFF XX CH2 ON OFF OFF OFF ON XX CH3 ONOFFOFFONOFFXX CH4 ONOFFOFFONONXX 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 ONONOFFOFFOFFXX 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

MIDI controller access permission set with the small switch labeled '6' on the larger piano DIP switch:

Setting the small switch labeled '6' to ON enables the MIDI controller access capability forcertain Amp functions. Settingthesmall switch labeled'6'toOFF disables theMIDIcontroller access capability forcertain Amp functions.

Atip from the designer:

As the table indicates, switches between Poly and OMNI mode.Bear this inmind for practical applications,because this isa fast way togo from apreset Poly channeltoOMNImodeandvice versa.

MIDIController, Amp Mute

The small switch labeled '6' on the larger piano DIP switch determines if the amp accepts MIDI commands so that MIDI controllers #7 or #28 can be used to mute it. Thesecontrollers send

Avalueof0to4deactivatestheAmpMutecommand,therebyunmutingtheampand reactivatingat its currentMASTERvolumesetting.

Note:

You cannot deactivate to activate the amp via an appropriate MIDI controller#7or #28 command when isengaged to switch thepowerampoff. Youmust first fliptheStandbyswitch.

You can control the programmable functions (1), (16), (17), (19) and (34)as well as directlyusing controller

HighGain MasterA/B Amp Mute

the small switch labeled '1'

anAmp Mute commandwhenassigned a valueof 5 or greater.

Amp Mute

Standby

Sound FX Loop I/II Noise Gate

MIDI commands (HEX: Bn). To enable MIDI control, you must set small switch labeled '6'onthe larger pianoDIPswitch (46) to ON.Seepage 20 for detailsonhow to do this. Thefollowing table listsampfunctionsandtheirassignedMIDI controller numbers.

Fuctions INVADER: MIDI Controller: Cntrl value 0 - 4: Cntrl value 5 - 127:

Master A/B High Gain Noise Gate Amp Mute Sound FX Loop I/II

Cntrlvalue: Controller value,0to4:Functionoff or 5 to127:Functionon

controller #14 off on controller #22 off on controller #24 off on

controller #7, #28 off on

controller #29 off on controller #30 off on

47 Footswitch: Serial Amp Control Port

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 portusing a cord equipped with stereo¼"jackplugs.ThisMIDI-enabledfootboardisa custom design that switches every amp feature designated as footswitchable in this manual.To learn if a givenfeature may becontrolled remotely, refer to itsdescription herein. The MIDI In port (44) is disabled when the Z-9 Footswitch is connected. A

configuration table for assigning the ENGL INVADER's sound-shaping and special functionsto the Z-9CustomFootswitch'sbuttonsisprinted on page 38

CAUTION:

anyother switching devicemaydamageitand/ortheamp's circuitry!

Insert and remove the Z-9's cable to and from the S.A.C. Port only when the amp is switchedoff!

Atip from the designer:

TheCustom Z-9Footswitch was designed with thenon-MIDI guitarist in mind. It'ssure to delight if you don't or won't use MIDI systems. Based on a rather nifty switching concept,itprovidesdirect access to the fourchannels.Italsolets you control any other two switchable amp functions, for example, , , , etc. Another tremendous benefit of this microcontroller-driven foot board is that it connectsto the amp viaaneasilyobtained,standardstereocord.But that's not thelast of the Z-9's advantages: At some point, you may decide to ramp up or connect to a MIDIsystem. This won'trender the Z-9 obsoletebecause it alsoservesas 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 boardto this jack: The Z-9 controls the amp viaa proprietary ENGL serial data protocol, and the 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!

Connectonly the ENGL Z-9Footswitchtothis(1/4")stereojack!Connecting

Master A/B FX Loop I/II High Gain

Serial Amp Control Port

48Footswitch:ChannelUp<>Down, 1< >3 / 2< >4

Use this jack to connect a conventional footswitch with two switching functions (for example, the ENGL Z-4) that let you access the four channels , ,

Channel 3 Channel 4 Up Down

und . Read and to mean switching among channels

Channel 1 Channel 2

arrayedat the top and bottom of theamp'sfrontpanel.Onebuttonswitchesbetween the top and bottom channels ( and or and ), while the other activates or and or . The onboard channel switching facility, is disabled when you plug a footswitch into this jack. The MIDI In port (44) and the Z-9 Port (47) are both disabled when a plug is connectedto this jack.

Note also:

status. Each of the two switches is provided with 15 milliamperes current, which sufficestopowerastandardLED. The stereo jack plug's mono contact (tip)controls up and down channel selection ( and ), while the other contact (ring) controls and channel selection. For details on wiring, seePin Assignments onpage35.

A footswitch may be equipped with LEDs indicating the given switching

CH1 < > CH3 CH2 < > CH4

Channel 1 Channel 2 Channel 3 Channel 4

Channel 1 Channel 3 Channel 2 Channel 4

CH1<>CH2 CH3<>CH4

49ThresholdLevel

Use this knob to set a threshold value (that is, the noise level) at which the activatesto suppress the signal.The further you twisttheknob to theright,the higher the signal level at which the kicks in. The can be activated and deactivated as required for , and by pushing the front panelbutton (17).

Atip from the designer:

The Low and High Gain options generate different levels of noise, and I tuned the ENGL INVADER's Noise Gate accordingly. However, there is some minor matching variancebetween thetwo. standsto benefit mostfrom the Noise Gate, soI suggestthat you tweakitstwoknobsforthis mode. S

Noise Gate Noise Gate

Channel 2 Channel 3 Channel 4

HighGain

eepage 26 formoreinformation.

Noise Gate

50FXLoopISend

Connect this FX Loop I output to a signal processor's input/return jack using the shortestpossibleshieldedcordequippedwith1/4"plugs.Activateanddeactivateitvia the FX Loop I/II (16) button, which switches between these two loops. In the signal

FXLoop I

path, is located post preampandprethetwopower amp Masterknobs.

51 FX Loop I Return

ConnectthisFXLoopIinputto a signal processor's output/send jack usingthe shortest possible shielded cord equipped with 1/4" plugs. Activate and deactivate it via the FX Loop I/II (16) button, which switches between these two loops. In the signal path,

LoopI

islocated post preampandprethetwopower amp Master knobs.

52 Balance

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 the poweramp(serial,100%wet).

NOTE:

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

FX Loop I Dry

Dry

53 FX Loop II Send

Connect this FX Loop II output to a signal processor's input/return jack using the shortestpossibleshieldedcordequippedwith1/4"plugs.Activateanddeactivateitvia the FX Loop I/II (16) button, which switches between these two loops. In the signal

FXLoop II

path, islocatedpostpreampandprethe two powerampMasterknobs.

54 FX Loop II Return

Connect this FX Loop II input to a signal processor's output/send jack using the shortestpossibleshieldedcordequippedwith1/4"plugs.Activateanddeactivateitvia the FX Loop I/II (16) button, which switches between these two loops. In the signal

FXLoop II

path, islocatedpostpreampandprethe two powerampMasterknobs.

55 Balance

NOTE:

Setthis knob to when this loopisnotinuse!

Low / High Gain - Volume Ratio Control: Channel 1

This knob adjusts the balance of volume levels between inLow Gain mode

Channel1 Channel1

and inHighGainmode.Itssettingaffects inHigh Gain mode only. The volume level of in Low Gain mode is determined by the Channel 1 Volume knob (6) setting. Use knob 56 to dial in the relative volume to in HighGain mode.

FX Loop II Dry

Dry

Channel 1

57 Low / High Gain - Volume Ratio Control: Channel 2

This knob adjusts the balance of volume levels between inLow Gain mode

Channel2 Channel2

and inHighGainmode.Itssettingaffects inHigh Gain mode only. The volume level of in Low Gain mode is determined by the Channel 2 Volume knob (24) setting. Use knob 57 to dial in the relative volume to in HighGain mode.

Channel 2

58Low/HighGain-Volume Ratio Control: Channel 3

This knob adjusts the balance of volume levels between inLow Gain mode

Channel3 Channel3

and inHighGainmode.Itssettingaffects inHigh Gain mode only. The volume level of in Low Gain mode is determined by the Channel 3 Volume knob (12) setting. Use knob 58 to dial in the relative volume to in HighGain mode.

Channel 3

59 Low / High Gain - Volume Ratio Control: Channel 4

This knob adjusts the balance of volume levels between inLow Gain mode

Channel4 Channel4

and inHighGainmode.Itssettingaffects inHigh Gain mode only. The volume level of in Low Gain mode is determined by the Channel 4

Channel 4

Volume knob (30) setting. Use knob 59 to dial in the relative volume to in HighGain mode.

Channel 4

60PreOut

This is the INVADER's preamp auxiliary out. It delivers a signal with almost the same level and frequency response as the signal patched into the amp's input. A lowimpedance circuit, is great for applications like addressing a guitar tuner. The Pre Out signal is patched out to jack 60 even when is engaged. It can also serve as an effect device send, whereby the amp's preamp (EQ and gain stages) is bypassed.

Pre Out

Amp Mute

61 Line Out

This jack taps into the power amp circuit to retrieve its signal. The frequency response of the Line Out's and the Power Amp Output's signals are identical (Line Out is not frequency-compensated). Use it to do things like drive another linear power amp or frequency compensation filter, say tosimulate a4/12 cabinetand feed this signal to a recordingsystem or PA.

62, 63 Poweramp Output, 4 Ohms Parallel

4 ohms speaker output jacks, internal connected parallel. For diverse cabinet options seethe chapter onpage24and25

abinetoptions

64,65PowerampOutput,8OhmsParallel

8 ohms speaker output jacks, internal connected parallel. For diverse cabinet options seethe chapter onpage24and25

abinetoptions

66PowerampOutput,16Ohms

16 ohms speaker output jack. For diverse cabinet options

options

IMPORTANT NOTE, please read and heed: Never operate the power amp without a sufficientload, otherwise you may damageordestroyit!

An electronic surveillance system constantly monitors if a plug is inserted into the speaker outputs (62, 63), (64, 65) and (66). If a plug is not insertedintoone of these 5 jacks, the power amp is disabled andtheStatusLEDflashes in a distinctive pattern to alert you to this. However, the system cannot check if a speakeris actually connectedtotheotherendof the cord. That'syourjob.

Always check and verify that the amp's output impedance matches the connected cabinets'impedance!

Cabinetoptions

1.One 4-ohm cabinetconnectedtoa4-ohmjack;

2.Two 8-ohm cabinetsconnectedtothe4-ohmjacks;

3.One 8-ohm cabinetconnectedtoan8-ohmjack;

onpage 24 and25

4 ohms 8 ohms 16 ohms

Summary:4 Z, ->connectedto4-ohmoutput. Summary:8Z+8Z,->connectedto4-ohm+4-ohm output. Summary:8 Z, ->connectedto8-ohmoutput.

see the chapter

abinet

4.Two 16-ohm cabinetsconnectedtothe8-ohmjacks; Summary:16 Z +16Z->connectedto 8-ohm + 8-ohmoutput.

5.One 16-ohm cabinetconnectedtothe16-ohmjack; Summary:16 Z ->connectedto16-ohmoutput.

6.An 8-ohm cabinetconnectedtooneofthe 4-ohm jacks incombination witha 16-ohm cabinetconnectedtooneofthe 8-ohm jacks Summary:8Z+16Z->connectedto4-ohm+8-ohm output.

Afew wordsfrom thedesigner on your ENGL INVADER II Amp's sounds and settingsaswellassomepracticaltips:

Onthe Subject of Sounds andSettings

A lot painstaking attention to detail and a great deal of time went into tuning this novel amp head. You'll find that the four channels' gain ranges overlap a bit. There's definitelysome similarity atthe crossover points.Channel 1 andChannel 2 sharesome common ground, as do Channel 3 and Channel 4. This is intentional, and serves some very sensible sound-sculpting purposes. Higher Gain settings in the 12-to-3 o'clock range push Channel 1 into moderate overdrive, depending on how hot your pickups are.ActivatingHigh Gain propels this channelintothe dirt zone that muchearlier.This meansyoucanuse this channel for ultraclean chordworkorforgrittier riffs and leads, with the amount of dirt hinging upon how hard you attack the strings. If you add the guitar's volume knob to the sonic equation, you get a vast spectrum of subtle tonal variations in just this one channel. The same goes for Channel 2: Its spectrum ranges from clean with the Gain knob set to around 1 o'clock or lower, again depending on the pickup, to a touch of vintage-style grit with Gain when set no higher than about 3 o'clock. At higher Gain settings and with High Gain activated, hotter pickups such as humbuckers will even serve up enough oomph for punchy leads. Channel 1 and Channel2 are voiced differently, withChannel 2 elicitinga slightly different frequency response. The four channels' tone controls also respond differently, so Isuggest youperform an initialsound-check by setting the knobsbetween 10 and 2 o'clockand auditioning the results. This amp employs passive EQ. Note that its range is narrower than a comparable active EQ. I opted for passive tone controls simply because they sound sweeterin combination withtubes. Note that High Gain mode affects all preamp channels. This lets you conjure two soundswith markedly different gainstructuresandvoicingsforeach channel. This successor model is not just INVADER "I" reloaded. All four channels' sound structures have been modified somewhat, so let's take a closer look at the four channels'gain ranges:

Channel 1 in Low Gain mode

squeaky-clean tones. It won't start to break up until you dial in relatively high gain levels, which willjust roughen up the edges of thepreamp signal. This channel sounds verywarm with midrangefrequenciesfiguringprominently.

is relatively sedate and great for conjuring sweet,

Channel 1 in High Gain mode

slightlydistorted sounds.

Channel 2 in Low Gain mode

levels and reaches the overdrive zone that much faster. It's also voiced differently so youcan get aslightlydifferentflavorofclean tone than thatofChannel1.

Channel 2 in High Gain mode

knob settings beyond 1 o'clock, you'll get that classic midrange-laden overdrive. Cranking the knob further takes you deeper and deeper into heavy distortion territory,especially in combination withhigherpowerampvolumelevels.

Channel3in Low Gain mode

good bit more than Channel 2 in High Gain mode. Preamp saturation kicks in at Gain knobsettings as lowasaround8o'clock.

Channel3in High Gain mode

Gainmode. It's perfectforblisteringleadswithoodles of sustain.

Channel4 in Low Gainmode

and2,and still a good bit more than Channel 2 in High Gain mode. Its response iscloser tothatofChannel3inLowGainmode.ItstartsclippingatGainknobsettingsaslowas around8 o'clock.

Channel 4 in High Gain mode

Channel 4 in Low Gain mode. This works wonderfully for lead lines that sustain for days. The optional type Z-16 Sound Wizard module lets you configure yet another gain

stagein each channelifyouhappentoneed a little moresonicfirepower Beyond that, I voiced Channels 3 and 4 differently. Channel 4's midrange is scooped, and its hair-trigger response to your string attack is fast and true. Channel 3, in contrast,packs a mightier midrange punch, but is slightlylessresponsivetoyourtouch. Channel 3 demands more precise playing technique, while Channel 4 is easier to handle. All these options harbor vast and musically meaningful sonic potential. I'm confident that the Sound and High Gain controls will let you conjure all the sounds you have in mindand that you'lldiscoveraworldoftones while you're tweaking. Because it is chock-full of tone-tweaking tools, this truly remarkable amp is sure to surprise you time and again as you discover new tonal territory. However, don't be intimidatedby its sophistication.At ENGL, easeof use isparamount. We design allour amps so that players can dial in great sounds from the start - without hours spent researchingthe manual and struggling withsettings. Despite beingso easy touse, the ENGLINVADERIIamp puts a mind-boggling arrayofsound-shapingresources into the hands of the innovative, creative guitarist. And I am convinced that guitarists with moretraditional leanings areequally well-served withthisamp's smorgasbord oftasty tubetone!

elicits moderate preamp clipping to conjure dynamic,

is a bit hotter than Channel 1. It starts clipping at lower

is perfect for dialing in typical vintage tone. At Gain

givesyoufarmore gain than Channels 1and2,andstill a

notchesthegain up another level from Channel 3 in Low

servesupa much biggerhelpingofgain than Channels1

amps up the gain again so it's another step up from

Afew comments on the NoiseGate:

TheadvantageofaNoise Gate that is installedin andmatched tothe ampisthatitlets you fine-tune its threshold with extreme precision, thereby separating the useful, musicalsignalfromuseless background noise. Indeed,this wasdesigned to addressthe signal themost beneficial spotin the signalchain - thepreamp - to makeit

NoiseGate

more effective. First and foremost, it is designed to suppress ambient noise such as hissing and humming during breaks when the Preamp is in High Gain 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 Low Gain ( deactivated) configurations. To get acquainted with how the works,I suggest you start bysettingthe Threshold knob to the far left ( opens at low signal levels) and slowlytwist it clockwiseto gradually raisethe gate's trigger threshold.When the knob arrivesatthefarrightposition,the willnottriggeruntilthesignalreachesa veryhigh level. This meansthatthepreampmustamplifythe guitar signal considerably to open up (or deactivate) the . In practice, your best bet for suppressing loudnoise when running channels2, 3, and 4at high Gain levelsisto set theThreshold knobhigher than 12 o'clock. Ifyou're doing thelow-gain thing in Low Gainmode, dial in a lower Threshold setting (below 12 o'clock) to prevent the gate from throttling notes(that is, the musically useful sounds) as they decay, particularly if you like towork theguitar's volume knob.

Onthe subject of effect loops:

An interesting configuration option is to run the INVADER'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 - andassignthemfreelytothe preamp channels.

LoopI FXLoopII

Electronicsafety systems:

We endowed the amp with MIDI functionality and programmable settings, which mandatea microprocessor. This afforded methe opportunity toput that processor to evenbetteruseandemployittopower a couple of reassuring protection systems. One is , which checks every power tube individually; the other is a

Power Tube Monitoring

speaker output surveillance system designed to prevent the potentially destructive operation of the power amp without a load. For reasons of operating safely, tube 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 a rule,alwaysexerciseduecautionwhen operating this baby.

NoiseGate

Noise Gate

NoiseGate

FX Loop I

High Gain

Programming sounds (settings, actually) to MIDI presets:

Forreasons of convenience and handling ease, we madeprogrammingsoundstoMIDI presets a piece of cake. Because this amp offers many programmable switching functions, is indeeda handy tool. It letsyou copy thesettings of 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-shapingfunctionsareimmediately enabled in the configuration storedin the most recent programmingsession-withouthavingtofirstconnecta MIDI footboard.

Copy

Theprogramming process in steps:

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

boardconnected to theamp's (44).

2.Select the desired preamp channel( , , or )andsetall programmable

features as required, configuring ( or ), ( or

Gain Master A/B AorB) AmpMute Stand By

), (Mastervolumecontrol , via andso forth asyou please. Allprogrammable functions are designated as such in their descriptions herein.Hint: settings ontheSWMcontrolpanelarenot programmable.

3.The Status LEDflashestoindicateyouhave edited one orseveralsettings.

4. Press and hold the Write/Copy button (35) for about one second until the Status LED extinguishes, and then flashes three times in rapid succession. The selected preamp channel and the current settings of all programmable functions are now storedin the selectedMIDIpatch.

Copying:

1.Selectthe desired MIDI presetusinga MIDI foot boardconnectedtothe amp's

(44) port. This is the preset that you want to copy, which is why in geek-speak it is

calledthe "source."

2.Press the Copy/Write button briefly. It is essential that during this routine you do not change the settings of programmable functions in the selected source preset. That StatusLED lights upcontinuouslytoindicatethat is activated.

3.Select the target preset viathe MIDI footboard; you have approx. 30seconds to do this.(The amp automaticallyquitsCopymode30secondsafter it isactivated.)

4. Press and hold the Write/Copy button (35) until the Status LED extinguishes, and then flashes three times in rapid succession. The current settings of all programmable functions and the current preamp channel stored in the source MIDI patch (that's the preset you selected first when you activated ) have now been dumped to the newlyselected target preset.

MIDIIn

CH1 CH2 CH3 CH4

Sound off on High Gain Low Gain High

MIDI

Copy

HandlingandCare:

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

Inorder to spare the power tubes and prolong their lifetime, we recommend to setthe Stand By switch to Stand By (0 ) beforeyou switchthe ampon. After a period of30 seconds youmayactivatethepowerampbyflipping the StandByswitch.

position

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 flight case. Never use caustic or scouring detergents to clean the amp's housing, front or rear panels.Use a soft, dampcloth or spongewithdiluted soapsuds ora standard brand of mild dishwashing liquid instead. Never use solvents they can corrode the amp's vinyl skinanddissolve the front andrearpanel labels. Keep liquids wellawayfrom the amp, particularlythe interior ofthehousing.

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

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

High ambient temperatures place an additionalstrain on diverse components; so if at all possible, avoid operating the amp at temperatures far higher than 30°C (86°F) for longerperiods.Running the amp at mains voltages exceeding the nominal mains input voltageover longer periodscanalsoshortencomponentlife.

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, this isajobbestleftto experienced and authorizedspecialists.

Glossary

MIDIPreset:

Inthis manual, MIDIprogramsarecalledpresetsandpatches. 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.

MIDIChannel:

MIDI specifications define 16 channels for sending and receiving MIDI data. The small switches labeled 1, 2,3, 4 and 5 on the larger piano-type DIP switch 46 on the back of theamp determine theMIDIdatareceivingchannel. MIDIchannels: 1 to16,orOMNI(meaningthatall 16 channelsreceiveMIDIdata).

MIDIControllers:

TheMIDI specification calls for 128 controllers numbered 000 to127.Theamp'sbuilt-in MIDIsystemcan process select MIDI controllerdatatoswitch certain functions off and onas described onpage20and21. If you wish to take advantageof this option, you will need a suitable MIDI foot board such as the ENGL Z-15 that is able to send MIDI controller data with the specific controllernumbers assigned to theamp'sfunctions(seethetable on page 21).Youwill

havetoset small switch labeled'6'on the larger pianoDIPswitch 46 on thebackofthe ampto ON togainaccesstotheamp's functions via MIDIcontrollers.

Power Tube Monitor:

An electronic surveillance system that monitors each power tube's current and shuts thegiven tube downwhenitdetectsavalue that is toohigh.

The Status LED above the Write/Copy (35) button indicates the following conditions:

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 ; information on page 17 and page 18 .

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 ; information on page 17 and page 18 .

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 further information on page .

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 ; information on page 17 and page 18 .

17 and page 18 .

Standby

(Stand By)

Standby

(Stand By)

Standby ;

(Stand By)

Standby

(Stand By)

after a brief pause

further

Troubleshooting

Programmable features fail to respond when you change settings:

-> 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.

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

-> Is the MIDI foot board connected to the MIDI In port (44)?

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

(Refer to page 35 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 DIP switch (46) 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?

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

-> Is at least one speaker connected to the speaker outputs

(62, 63) (64, 65) or (66)?

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

Standby / power amp off => The Mute LED (36) on the front panel indicates the Amp Mute status.

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

functional?

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

peripheral devices.

-> Is the activated in one of the channels , or and

the Threshold (49) knob set to a high value? Deactivate the (17) 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 select a MIDI preset programmed with enabled?

The front panel Mute LED (36) lights up to indicate is active.

-> Did you send via MIDI foot board a MIDI controller #7 (or #28) command

with a value more than or equal to 5? This activates A , thereby silencing the amp. The front panel Mute LED (36) lights up to indicate

Amp Mute

, 8 Ohms 16 Ohms

Noise Gate CH2 CH3 CH4

Amp Mute

is active.

4 Ohms

Noise Gate

Amp Mute

mp Mute

-> 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.

The speaker is emitting loud humming noises:

-> Is the Ground Lift switch (42) 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.

-> Note that feeding the amp's signal via the Out (60) or Line Out (61) jacks to a

tuner or ancillary power amp may create a ground loop. Set the Ground Lift (41) switch to the position.Ground Floated

Issues or problems when switching channels or the Sound (1) and High Gain (19) functions:

-> If the Sound Wizard module is installed and enabled on the amp,

first disable the Sound Wizard and then try switching that function again.

-> If that doesn't fix the problem, try detaching the Sound Wizard module from

the amplifier by unplugging the connection between the two. To do this, first disconnect the amp from the mains power, let it cool down if it was powered up, and remove the rear panel by unfastening the screws and turning the left release lever on the box header to the left and the right lever to the right to release the IDC connector. Replace the rear panel and then try switching that function again.

-> If this fails to rectify the problem, definitely take the amp to an authorized

service center staffed with professionals who earn their living handling screwdrivers and soldering irons.

The electronic power amp protection circuit has tripped:

-> 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 after a brief pause.

-> 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).

Technical Data

Output power: Input sensitivity

Input: Effect Return:

Output level

SEND, level range: Pre Out: Line Out:

approx. watts; adjusted accordingly to 4, 8 and 16 ohms;

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

from -20 dB to approx. 0 dB max.

-17 dB bis ca. + 3 dB max.;

approx.

100

0 dB at nominal power output;

Power consumption: Fuses:

Mains fuse: at 220/230/240 mains voltage at 100/115/120 mains voltage

Important: Tubes:

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

Logic control system:

Processor, software: Memory:

System interfaces:

MIDI:

Serial Amp Control:

approx. 400 watts max.;

2 ATL

(2 amps slo-blo)

4 ATL

(4 amps slo-blo)

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

EL34, matched sets; ECC83 F.Q., input tube;

ECC83 selected; ECC83 standard;

Replace tubes with selected sets only!

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; MIDI program changes 0 - 127; MIDI channels 1 - 16

MIDI controller #7, #14, #22, #24, #28, #29, #30 value 0 - 4 Function deactivated, value >/= 5 Funktion activatedt;

Proprietary ENGL asynchronous data protocol

Dimensions: Weight:

approx. (l x h x d); approx. 27.95 x 11 x 11.4 in; approx. 22,5

71 x 28 x 29 cm

kg, 49.6 lb;

Tube Map, INVADER II amplifier:

Output

Transformer

E642-2 chassis

as viewed

from above

V 5

Input

2.stage

LED

V 1

driver &

3.stage

V 6

Lead

LED

V 2

V 7

FX buffer

& P.A.

driver

LED

V 3

phase

converter

Front panel

LED

V 4

V 8

shift

Power

transformer

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: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Wiring of Principal Connectors

MIDI In (44), DIN connector

Pin 3 - N.C.

Pin 5 - MIDI-data wire

Pin 2 -

power supply

approx.11 volts AC *

Pin 1 - power supply approx.11 volts AC *

Pin 4 - MIDI-data wire

page: 19

*: AC voltage is routed to pin 1 and 2 only when the slide switch 45 is set to ENGL MIDI Footcontroller.

Serial Amp Control Port (47)

Stereo

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

1/4" jack

ring: Data

tip: + 5 volts

sleeve: Ground, GND

page: 21

Dual Footswitch (48)

Stereo

1/4" jack

Use a stereo

plug only!

tip ring

sleeve

ring: CH 1< >3 / 2< >4

tip: Up/Down

sleeve: Ground, GND

page: 21

Stereo

1/4" plug

Options for controlling the ENGL INVADER II amp remotely:

Level

MIDI controller setup mode for

EXP Controller Cn.1:

press "0" in the

first decade (00x)

change settings:

Controller Number:

"Down" or "Up"

Controller curve:

"1", "2", "3", "4"

Controller command

send intervall time:

"5", "6", "7","8"

MIDI controller setup mode for

EXP Controller Cn.2:

press "9" in the last decade (12x)

change settings:

Controller Number:

"Down" or "Up" Controller curve:

"1", "2", "3", "4"

Controller command

"5", "6", "7","8"

Low / High Gain - Volume Ratio Control

FX Loop I

Dry Effect

Send Return Balance

Cn. S. I. 100ms

switch loop 4

Switch Loop setting &

internal EXP Controller:

activate the MIDI Program

direct access mode;

select the desired MPN,

set switch loop status

On or Off with "5", "6", "7", "8"

for the respective Loop.

store the setting with "0".

Send controller value

commands with "1" or "2";

switch between the default

log. positive

controller value and

Cn. initial value

the initial value with "3".

FX Loop II

Send Return Balance

Switch Loop

3 & 4

Switch Loop

1 & 2 >

Channel 4Channel 3Channel 2Channel 1

cn.2 setup mode

End

log. negative confirm MPN

Dry Effect

All-tube

Guitar Head Amp

INVADER-II

TYPE E642-2

optically refined by Edmund Engl

MADE IN GERMANY

Controller 1

Input

Controller 2

< Input

Switch

Loop 1

Loop 2

Switch

Loop 3

Loop 4

MIDI Channel setup mode:

press down & up

simultaneously

until "c" is displayed

in the left digit;

select the

desired MIDI Channel

via "down" or "up"

store the setting with "0"

or quit the mode with "9".

Tube

Amp

Signal Outputs

Tuner Poweramp

Pre

Line Out

Output

Poweramp Output

48Or 8And Or-> 816Or 16And

4 Ohms Parallel

1 x 8 Ohms or 2 x 16 Ohms

1 x 4 Ohms or 2 x 8 Ohms

8 Ohms Parallel

Or->

16 Ohms

Power

MIDI

Supply

Output

7-14 Volts AC 9-20 Volts DC

300 mA

Bank or

MPN

CAUTION !

REPLACE FUSE

ONLY WITH SAME TYPE

AND RATING !

Ground Lift

Switch

HRB 6238

Ground Floated

Ground

Midi

Thru

Midi FootController

Tube

Amp

Technology

MIDI

Footcontroller

Z-15

Cn. S .I. 20ms switch loop 2

linear positve

Cn. value down

until “Cn.1” is displayed;

until "Cn.2" is displayed;

56789

Cn. S. I.10ms

switch loop 1

01234Down

cn.1 setup mode

Write

DO NOT OPEN !

RISK OF ELECTRIC SHOCK !

DO NOT EXPOSE THIS EQUIPMENT

TO RAIN OR MOISTURE !

123456

Midi

Channel

Amp Mute

Connect Custom Footswitch Z-9 Only!

MIDI Program

bank mode:

active after power up;

select Bank 1 - 13 via "Up" & "Down";

select desired

MIDI Pogram Number

(-> MPN)

with "0" to "9".

MIDI Program

direct access mode:

press "0" in the

first decade (00x)

press "9" in the

last decade (12x)

then press "9";

select MPN

with "Down" or "Up"

confirm the selected

MPN with "4".

Footswitch

Serial Amp Control Port CAUTION:

B C

Cn. S. I. 50ms

linear negative

Channel:

Up < > Down

1 < > 3 / 2 < > 4

switch loop 3

Cn. value up

Noise Gate

min. max.

Threshold

until "Cn.1" is displayed;

store the setting with "0".

until "Cn.2." is displayed;

send send intervall time:

store the setting with "0".

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 Amp Mute via MIDI controller #7, see page 20.

A B

Power Supply In

MIDI

Serial Amp

7-14 Volts AC

Out

Ser.Cnt.:

Channel 1

MIDI:

Patch 1/6

Tube

Amp

Technology

Custom

Footswitch

Z-9

Ser.Cnt.:

Channel 2

MIDI:

Patch 2/7

Ser.Cnt.:

Channel 3

MIDI:

Patch 3/8

Ser.Cnt.:

Channel 4

MIDI:

Patch 4/9

Ser.Cnt.:

Function 1

MIDI:

Patch 5/10

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.

9-20 Volts DC

approx. 100 mA

Ser.Cnt.:

Function 2

MIDI:

Bank A/B

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 (47) or via a 5-pin DIN cord plugged into the MIDI In port (44). The former option affords switching access to channels and two special functions (for example, High Gain or FX Loop I/II), the configuration table is shown on page 38. In the latter setup, the Z-9 serves as a MIDI foot board that accesses the first 10 MIDI presets.

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. 48. Functions: Channel switching Up/Down (CH1 < > CH2, CH3 < > CH4) and CH1 < > CH3, CH2 < > CH4; see page 21 chapter 48 for more details. This does not afford direct access to each of the four channels. As an alternative to a two-way footswitch, you can connect

Tube

Amp

FOOTPEDAL

Z-4

a MIDI switcher (the ENGL Z11-S.A.C. will do nicely) to this jack (48) to control the two switching functions.

ON/OFFON/OFF

Noting Settings:

GAIN I

SOUND

Tube

Amp

GAIN 2

INPUT

HIGH GAIN

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

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

MIDDLE

TREBLE

VOLUME I

VOLUME 2

GAIN 3

GAIN 4

BASS

CH I

CH 2

BASS

MIDDLE

BASS

TREBLE

MIDDLE

TREBLE VOLUME 3

TREBLE

VOLUME 4 MASTER A

PRESENCE

DEPTH PUNCH

MASTER B

FX LOOP

I / II

MUTE

MASTER

A/B

CH 3

CH 4

NOISE GATE

S.W.M.

WRITE /

COPY

STAND BY

DER II

POWER

GAIN I

SOUND

Tube

Amp

GAIN 2

INPUT

HIGH GAIN

MIDDLE

TREBLE

VOLUME I

VOLUME 2

GAIN 3

GAIN 4

BASS

CH I

CH 2

BASS

MIDDLE

BASS

TREBLE

MIDDLE

TREBLE VOLUME 3

TREBLE

VOLUME 4 MASTER A

PRESENCE

DEPTH PUNCH

CH 3

MASTER B

CH 4

FX LOOP

NOISE

I / II

GATE

S.W.M.

MUTE

WRITE /

MASTER

COPY

A/B

STAND BY

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

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

GAIN I

SOUND

Tube

Amp

GAIN 2

INPUT

HIGH GAIN

MIDDLE

TREBLE

VOLUME I

VOLUME 2

GAIN 3

GAIN 4

BASS

CH I

CH 2

BASS

MIDDLE

BASS

TREBLE

MIDDLE

TREBLE VOLUME 3

TREBLE

VOLUME 4 MASTER A

PRESENCE

DEPTH PUNCH

CH 3

MASTER B

CH 4

INVA

FX LOOP

NOISE

I / II

GATE

S.W.M.

MUTE

WRITE /

MASTER

COPY

A/B

STAND BY

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

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

GAIN I

SOUND

Tube

Amp

GAIN 2

INPUT

HIGH GAIN

MIDDLE

TREBLE

VOLUME I

VOLUME 2

GAIN 3

GAIN 4

BASS

CH I

CH 2

BASS

MIDDLE

BASS

TREBLE

MIDDLE

TREBLE VOLUME 3

TREBLE

VOLUME 4 MASTER A

PRESENCE

DEPTH PUNCH

MASTER B

FX LOOP

I / II

MUTE

MASTER

A/B

CH 3

CH 4

NOISE GATE

S.W.M.

WRITE /

COPY

STAND BY

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

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

DER II

POWER

DER II

POWER

DER II

POWER

GAIN I

SOUND

Tube

Amp

GAIN 2

INPUT

HIGH GAIN

MIDDLE

TREBLE

VOLUME I

VOLUME 2

GAIN 3

GAIN 4

BASS

CH I

CH 2

BASS

MIDDLE

BASS

TREBLE

MIDDLE

TREBLE VOLUME 3

TREBLE

VOLUME 4 MASTER A

PRESENCE

DEPTH PUNCH

CH 3

MASTER B

CH 4

FX LOOP

NOISE

I / II

GATE

S.W.M.

MUTE

WRITE /

MASTER

COPY

A/B

STAND BY

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

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

DER II

POWER

Configuration table for assigning the ENGL INVADER's sound-shaping and special functions to the Z-9 Custom Footswitch's and :Functions 1 2

Button Functions INVADER amp Setup Indication S.A.C.

Function 1 Master A/B Channel 1 F1-1 Function 1 Channel 2 F1-2 Function 1 Channel 3 F1-3 Function 1 Channel 4 F1-4 Function 1 Channel 1 F1-5 Function 1 High Gain Channel 2 F1-6 Function 1 Channel 3 F1-7 Function 1 Noise Gate Channel 4 F1-8 Function 2 Channel 1 F2-1 Function 2 Channel 2 F2-2 Function 2 Channel F2-3 Function 2 Amp Mute Channel 4 F2-4 Function 2 Channel 1 F2-5 Function 2 Sound Channel 2 F2-6 Function 2 FX Loop I/II Channel 3 F2-7 Function 2 Channel 4 F2-8

Comments:

Column 1 lists the Function button on the Z-9. Column 2 lists the sound-shaping

and special functions that can be assigned to it.

Column 2 lists sound-shaping and special functions on the ENGL INVADER II amp

that can be controlled remotely via the Z-9 Custom Footswitch.

Column 3 lists the configuration or setting required to remote-control

sound-shaping or special functions on the ENGL INVADER II amp. The first digit indicates the routine, that is, 1: for Setup and 2: for .

Channel 1 Channel 4

Column 4 indicates the currently or newly selected configuration. For example, if

LED 3 flashes when the Z-9's Setup routine is activated, then the INVADER's switching feature is currently assigned to

Function 2 F2-7

of the Z-9 will remote control on the amp.

Column 5 lists the shorthand designations for specific configurations that appear

throughout the Z-9 Operator's Manual. For detailed information, please refer to the Z-9 Custom Footswitch Operator's Manual.

no 1: LED 2 lights no 1: LED 3 lights no 1: LED 4 lights no 1: LED 1 flashes

no 1: LED 3 flashes no 2: LED 1 lights

no 2: LED 2 lights no 2: 3 LED 3 lights

no 2: LED 1 flashes

no 2: LED 4 flashes

Function Setup

Function 1 Function 2 Setup

to denotes the Z-9 button used to enter the setting.

Function 2

FX Loop I/II

; the corresponding S.A.C. command is . The Function 2 button

FX Loop I/II

1: LED 1 lights

1: LED 2 flashes 1: LED 4 flashes

2: LED 4 lights 2: LED 2 flashes

2: LED 3 flashes

Please note:

afore mentioned Function buttons, LEDs and setup routines pertain to the Z-9.

The ENGL Z-9 Custom Footswitch is an optional accessory. The

page: >6< <----------------------- 8 -----------------------> <---------------------------------- 9 -----------------------------------> <---------------------- 10 ---------------------> >11

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

GAIN I

SOUND

Tube

Amp

INPUT

18 19 20 21 2522 23 24 26 27 28 29 30 31 32 33 34 35 38 39

GAIN 2

HIGH GAIN

BASS

MIDDLE

TREBLE

VOLUME I

VOLUME 2

GAIN 3

CH 1

GAIN 4

CH 2

BASS

MIDDLE

TREBLE VOLUME 3

TREBLE

VOLUME 4 MASTER A

PRESENCE

DEPTH PUNCH

DER II

NOISE GATE

S.W.M.

WRITE /

COPY

STAND BY

MASTER B

FX LOOP

I / II

MUTE

MASTER

A/B

CH 3

CH 4

INVADER II: Front Panel Layout

page: <------------------ 23 ----------------->

Type Plate

Midi

Midi FootController

CAUTION !

DO NOT OPEN !

RISK OF ELECTRIC SHOCK !

DO NOT EXPOSE THIS EQUIPMENT

TO RAIN OR MOISTURE !

123456

Midi

Channel

Amp Mute

REPLACE FUSE

ONLY WITH SAME TYPE

AND RATING !

Ground Floated

Ground

Ground Lift

Switch

40 4342 44 45 46 47 48 49 50 51 52 53 54 55 60 61 62 63 64 65 6641

page:

<---- 18 ----> <------------------ 19 ------------------> <- 21 -> <--------------- 22 ---------------> <------ 23 ------> <---------------------------- 24 ----------------------------->

HRB 6238

Midi Thru

Footswitch

Serial Amp

Control Port

CAUTION: Connect Custom Footswitch Z-9 Only!

Channel:

Up < > Down

1 < > 3 / 2 < > 4

Noise Gate

min. max.

Threshold

Level

56 57 58 59

Low / High Gain - Volume Ratio Control

FX Loop I

Send Return Balance

Dry Effect

Channel 4Channel 3Channel 2Channel 1

FX Loop II

Send Return Balance

Dry Effect

All-tube

Guitar Head Amp

INVADER-II

TYPE E642-2

optically refined by Edmund Engl

MADE IN GERMANY

Tube

Amp

Signal Outputs

Tuner Poweramp

Pre

Line Out

Output

Poweramp Output

48Or 8And Or-> 816Or 16And

4 Ohms Parallel

1 x 4 Ohms or 2 x 8 Ohms

1 x 8 Ohms or 2 x 16 Ohms

8 Ohms Parallel

Or->

POWER

16 Ohms

INVADER II: Rear Panel Layout

Tube

Amp

Technology

ENGL

Internet: www.engl-amps.com

Text, design, graphics and layout by

Horst Langer, Amp Designer

Photography INVADER II Amp: Stefan Wibbeke

Gerätebau GmbH

Germany

Engl Invader II User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual