Engl Raider 100 User Manual

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RAIDER 100

Tube Guitar Amplifier

Operator´s Manual

Please, first read this manual carefully!

Tube

Amp

Technology

Table of Contents

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

Input; Channel 1 Control Features Power Amp section: Presence, Depth Punch, P.T.M. Display Channel 2 Control Features, Mid Boost Power Amp section: Master A/B Channel selection, Hi Gain, FX Loop Stand By, Power

Rear Panel Features:

Mains, Mains Fuse S.A.C. Port for Z-9, Footswitch Ports Noise Gate: Threshold Level Main FX Loop: Send, Return, and Balance Serial FX Loop: Send, Return Poweramp Output 4, 8 16 Ohms Poweramp Output: speaker options

page

4 4, 5 6

6 - 8 9 10 10 - 12 12 13

13 14, 15 15, 16 16 16, 17 17 17, 18

Handling and Care Troubleshooting Important note concerning the cooling fans Technical Data, Tube Map, Tube Exchange Service Remote Control Options Wiring of Principal Connectors Front Panel Diagrams for Noting Settings Configuration table for Z-9 settings

Detailed Specifications and Ratings

19 20, 21 21 22 23 24 24 25 26

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!

Technical specifications are subject to change without notice.

Note:

Congratulations, ENGL Amp user! ENGL RaiderThe is one mean machine of a tube- driven guitar amplifier, engineered to inspire you and enthuse your audience. Alongside to-die-for tone, it puts at your fingertips everything you need to tap your creative potential and make your musical message heard and felt! When yours truly, a humble ENGL amp designer by profession, developed the ENGL Raider 100 amp, two goals loomed large in my mind. I aimed to pair tonal perfection with useful features that make sound (pun intended) sense in the real world. Out came a newtype of design – a nifty combinationof two primary channels 1and 2, each with different gain structures, and two gain stages. That adds up to four different basic sounds ranging from clean to hi gain lead. Best of all, you can dial in just about any flavor of crunch in between, quickly and easily. To broaden the tonal palette and afford you even greater sound-sculpting flexibility, I endowed the Raider's preamp section with a fresh, new Mid Boost button. Have fun mixing and matching its two settings with any of the four gain stages. With so many options to choose from on the fly, you enjoy instant access to painstakingly tuned, tonally balanced sounds that will serve you well for many styles and playing techniques. Lead sounds with a mighty midrange punch, lean-and-mean rhythm guitar tones, or heavy-duty low end for power chord riffing – you'll find your amp delivers all this and a lot more. And Channel 1 sports innovative brightness boosting circuits designed to accentuate this channel's tonal nuances. Here's how this works: One Bright button affects both of Channel 1's Lo and Hi Gain stages, and another special Clean Bright button affects Channel 1's Lo Gain stage only. Engage it to conjure sparkling clean sounds. On top of this, you get a button that lets you determine if the two power amp voicing knobs and shape the power amp's frequency response for Channel 1. The alternative is to have a precision-tuned, hardwired EQ filtering circuit shape the power amp's response when Channel 1 is active.

A/B Master switching is a powerful option that has proven its merits in countless ENGL amps (it featured in E920 power amps since the late '80s and in the legendary SAVAGE 120 head since '93!). Your Raider Combo also sports two effect loops and a high quality spring reverb system to round out its arsenal of sound-shaping tools. The tonal paletteranges from vintage clean to classic grind,and from creamy rock lead tone with thick, lush tubeoverdrive to the kindof massive hi-gain lead sound

cut through in appropriate playing situations.

And there's more: This amp sports our Serial Amp Control Port, or S.A.C. Port for short. Plug an ENGL Z-9 CustomFoot Controller into to it and get hip to some veryconvenient remote control options. This footboard lets you activate the two channels in combination with the Hi Gain option and Master A/B switching directly simply by tapping its four footswitches. And that affords you instant access to four sound variations at four different volume levels. In addition, the amp comes with three stereo jacks designed to accept dual footswitches like the ENGL Z-4 or a MIDI switching system (e.g. ENGL Z-11) for selecting the channels and other crucial Amp features. The certainly match the interior's impressive appointments. This amp's elegant and stylish look is sure to turn heads wherever you play.

was

exterior's compelling visuals

Presence Depth Punch

it takes to

Your ENGL Raider 100 Amp puts at your disposal:

1. a logical control feature array, utmost and

handling Top-drawer sound-shaping options remarkable versatility

2. and : You can combine two channels offering two gain stages each with different midrange voicings for each of these four gain stages.

A broad tonal palette Surgically precise sound-sculpting functions

3. : are at your fingertips, and a tap of your foot on the conveniently compact footboard gives you some very .

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

4. Channel 1 Lo Gain takes you from clean to a touch of mean. Channel 1 Hi Gain adds some grit to the mill for with a healthy helping of preamp overdrive. Channel 2 Lo Gain takes you deeper into the saturation zone with

headroom gain potential for creamy, singing lead tone

5. Even more courtesy of Channel 1's , a feature designed to help you those . If you wish, you can use an to activate the power amp EQ knobs to voice Channel 1's response or fall back on a power amp EQ preset.

6. further tone-tuning options such as an onboard featuring

dedicated controls each two main channels

spring that conjures , as well as that let you factor multi-effect processors into the sonic equation;

7. an that will give you years of

playing pleasure value to boot

;

powerful remote control options

sweet crunch tones

to spare. Channel 2 Hi Gain offers oodles of

tone-tweaking power Dual Bright button

precision-tune crucial top-end frequencies

extra tone-shaping tool

for of the and a long Reverb

lush, deep and warm reverb two effect loops

ultra-advanced tone-generating machine

and .

ease of use remarkably intuitive

plenty of

reverb system

Features and Functionality at a Glance

Two basic channels

-> : with separate Gain and Volume knobs.

Two Gain options

-> for the each channel: let you activate different gain settings for Channel 1 and Channel 2, thereby extending the number of four.

Two voicing sections specially tuned for each channel

-> : One three-band EQ for Channel 1 Clean and Crunch modes and one three-band EQ for Channels 2 Lead and Hi Gain Lead modes. The Dual Bright function (2 Bright buttons) is a very special feature that lets you tweak Channel 1's high-end response in both Lo Gain und Hi Gain modes.

-> for very natural-sounding reverb, with separate

Large spring reverb

knobs for the two main channels.

Two FX loops

-> , a switchable and adjustable and a that is hardwired into the signal path. You can control the remotely via a footswitch and use this circuit as a hardware bypass for connected FX.

-> . You can footswitch these knobs to activate

Two power amp Master knobs

two different power amp volume settings on the fly without twisting a knob.

Channel 1 and Channel 2 with

Hi Gain

potential sounds to

Main FX Loop Serial FX Loop

Main FX Loop

-> The optional Z-9 Custom Footswitch. It lets you select combinations of channels and the two gain stages directly and control two sound-shaping features of your choice. Three ¼” stereo jack plugs accept three dual footswitches that let you control remotely the two channels, the two gain stages, ,

Master A/B FX Loop Reverb

-> A Noise Gate for Channel 2. Activate it to suppress excessive noise at very high gain settings.

Among the hallmarks of this fine amp are painstaking workmanship and finishing as well as rigorously tested and carefully selected quality components. You'll find guidelines on care and maintenance of tube amps on page 19. Under the heading Tips from the designer, you'll come across practical tips on the aforementioned features throughout the manual. All critical information concerning the operation of this amp is preceded by "NOTE", "CAUTION", "Read and heed" or some other eye-catching comment. We're calling your attention to these remarks for reasons of safety or other compelling motives, so please give them due consideration. Everyone at ENGL is confident that the

outstanding features Simply plugin, play and be inspired

and are sure to delight you:

by the tone of your ENGL amp! A few words of wisdom from the designer:

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

, , and .

Raider tube amp's extraordinary versatility

Mid-Boost

Contents:

1. ENGL Raider 100 Tube Combo Amp E344 (1x12"speaker)

2. mains cord;

3. this manual;

4. a pamphlet entitled

Electrical Shock and Injury

Instructions for the Prevention of Fire,

Front Panel Features

At the back of the manual, diagrams of the front and rear panels. As you're the descriptions of the amp's features, you'll gain a better understanding of the topic of discussion if you unfold and refer to them as we go!

1 Input

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

A tip from the designer:

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

reading

you'll find fold-out

2 Bright

This feature boosts the upper end of the high frequency range for both Channel 1's gain stages, Lo and Hi Gain (or Clean and Crunch modes, if you prefer). Its intensity decreases as gain settings increase.

A tip from the designer:

For a crisp or glassy tone, activate the Bright boost. It brightens the sound of humbucking or muddy pickups. is a global function; that is, it affects both gain stages. Use it to tweak the amp's tone to taste, activating it to boost top-end frequencies for both gain stages or deactivating it to dampen high end response, for example, for Channel1's Hi Gain ( ) stage. If you want to addeven more top-end sparkle to the Lo Gain stage ( ), activate the Clean Bright-function (9), which affects Channel 1's Lo Gain stage only.

3 Gain 1

Gain control for the

is active; use it to dial in the desired amount of preamp distortion.

A tip from the designer:

The amount of distortion depends on your guitar's pickups. In Lo Gain mode, singlecoil pickups may begin saturating the preamp when the knob is set to approximately the two o'clock position. Pickups with very high output levels (humbuckers or active pickups) will evoke mild overdrive at even lower settings. If you want squeaky clean tone (a pure guitar tone without preamp distortion, that is), simply back off the Gain control knob accordingly. If your guitar sports single-coils and you want to add some grit to your tone and bite to your riffs, set the knob somewhere between 10 and 2 o'clock and Hi Gain active in Channel 1. Forhigher output pickups such as humbucking or active jobs, dial insettings between 9 and 1 o'clock and activate Hi Gain. For an even bigger, beefier crunch tone, try Crunch Gain settings well beyond the 2 o'clock position.

CAUTION:

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

Extremely high gain and volume levels especially in can

Channel 1. This knob determines input sensitivity when Channel 1

Bright

Crunch

Clean

Hi Gain mode

4 Bass

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

Crunch modes).

5 Middle

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

(Clean and Crunch modes).

6 Treble

This is the preamp voicing section's passivehigh-frequency EQ

Crunch modes).

A tip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that

Channel 1 (Clean and

for Channel 1

for Channel 1 (Clean and

you set all tone controls to or slightly higher than the center or 12 o'clock position. For higher-gain Crunch sounds, your best bet is to turn the Treble knob down to prevent the pickups and speakers from generating feedback (a setting in the 10-to -1 o'clock range is recommended). Bear in mind that you also have the Bright (2) and the Clean Bright (9) button at your disposal for shaping the high frequency range.

7 Reverb

Reverb intensity knob. Twist it to adjust the amount of reverb for Channel 1 ( and ). Turn the Reverb control knob clockwise to increase the effect's intensity.

Crunch

The signal remains completely dry when the knob is set to the 7 o'clock position or if Reverb is deactivated via a footswitch. You can switch the reverb unit on and off using a Z-9 Custom Footswitch connected to the S.A.C. Port (34) or a footswitch connected to jack (35). The reverb unit is always on if you do not plug a footswitch into the port (34) or jack (35).

8 Volume 1

Determines the level of Channel 1 and ). Twist this knob to adjust Channel 1's volume and dial in the desired balance of levels with Channel 2. Because this volume control is located pre effects loop, it also determines the effects send level for Channel 1. The green LED to the right of the knob lights up to indicate Channel 1 is on.

9 CleanBright

This feature boosts the upper end of the high frequency range in Channel 1, affecting the Lo Gain stage only (Clean mode). The Gain knob setting has no influence on Clean Bright's intensity.

Atipfrom thedesigner:

Activate in mode to up the twang factorinherent in certain types of guitars, and put a set of sonic cow horns on those that lack it. affects the Lo Gain stage only, so you can use it to tweak the tone to taste, activating it to target and boost top-end frequencies at the clean end of Channel 1's gain range. (2) also affects the Lo Gain range, so activating both and really boosts those high-range frequencies, adding all the sparkle and top-end shimmer you could want to the Lo Gain stage (or Clean mode). If you feel this is too much of a good thing, simply deactivate .

Clean Bright Clean

Clean Bright

(Clean Crunch

Clean Bright

Bright Clean Bright

Clean

Bright

10 Off/OnCH1

This button's status determines if the settings of the two power amp EQ knobs

Presence Depth Punch On

case, any adjustment of two and knob settings also shapes Channel 1's tone. If you set it to , the two knobs have no impact on Channel 1's tone. Disengaging the button activates a filter configuration in the power amp's feedback circuit. Optimized for Clean & Crunch modes, this filtering setup shapes Channel 1's frequency

Heads up: Off

two Presence andDepth Punch knobs for Channel 1. Whatever you do to these control knobs - twist, turn, dial, or tweak – will not affect the amp's response!

and affect Channel 1. Pressing the button sets it to ; in this

Presence Depth Punch

Off

response.

Disengaging this button – that is, setting it to the position - disables the

11Presence

This power amp voicing knob'ssetting determines the amountof high-end frequencies in Channel 2 ( and ) in general and for Channel 1 ( and ) when the Off / On CH 1 (10) button is engaged or .

12DepthPunch

This power amp voicing knob's setting determines the amount of lo-end frequencies in Channel 2 ( and ) in general and for Channel 1 ( and ) when the Off / On CH 1 (10) button is engaged or .

13PowerTube MonitorV1

This LED lights up when the current flowing through the V1 power amp tube was too high and the power tube monitor system has switched that tube off. To learn more about this crucial protection feature, read the paragraph that follows section 16. See the tube layout chart on page 23 to locate V1's position on the amp chassis.

14PowerTube MonitorV2

This LED lights up when the current flowing through the V2 power amp tube was too high and the power tube monitor system has switched that tube off. To learn more about this crucial protection feature, read the paragraph that follows section 16. See the tube layout chart on page 23 to locate V2's position on the amp chassis.

15PowerTube MonitorV3

This LED lights up when the current flowing through the V3 power amp tube was too high and the power tube monitor system has switched that tube off. To learn more about this crucial protection feature,read the paragraph that follows section 16. See the tube layout chart on page 23 to locate V3's position on the amp chassis.

Lead Hi Gain Lead Clean Crunch

16PowerTube MonitorV4

This LED lights up when the current flowing through the V4 power amp tube was too high and the power tube monitor system has switched that tube off. The next paragraph provides details on this crucial protection feature. See the tube layout chart on page 23 to locate V4's position on the amp chassis.

Animportantnote onthePowerTubeMonitor(P.T.M.)system:

The electronic power amp monitoring system constantly gauges the current flowing through each power amp tube. If it rises to too high a level the system shuts down the given tube. This can occur when the amp is operated incorrectly (for example, if the impedance is wrong due to an incorrect speaker load; see page 17 and 18 for permissible loads), at extreme power spikes, or when a tube is defective. Reset this electronic monitoring system by switching the standby switch off and on again. When you press the standby switch to turn the amp on again, the system again

measures the current sent to the tube. If it is still too high, the power amp must be checked by a service technician, and the tube may have to be replaced if it is defective.

17 Gain2

Gain control for the Channel 2. This Control knob determines input sensitivity when Channel 2 is active. Use it to dial in the desired amount of preamp saturation level.

CAUTION:

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

18 Bass

This is the preamp voicing section's passive low-frequency EQ for Channel 2 (Lead and Hi Gain Lead mode).

19 Middle

This is the preamp voicing section's passive midrange EQ for Channel 2 (Lead and Hi Gain Lead mode).

20 Treble

This is the preamp voicing section's passive high-frequency EQ for Channel 2 (Lead and Hi Gain Lead mode).

A tip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that you set all tone controls to about the center or 12 o'clock position. For higher-gain, high-volume lead sounds, your best bet is to turn the Treble and the Presence knob down to prevent the pickups and speakers from generating feedback (a setting in the 9-to-1 o'clock range is recommended). Though this passive voicing section's controls range is narrower than that of a comparable active system, its EQ curve is tweaked specifically for its designated purpose and will give you satisfying results. What's more, in combination with the Presence and the Depth Punchcontrol feature in the poweramp stage, you have heaps of voicing options for tailoring basic sounds to taste.

Extremely high gain and volume levels in Channlel 2 mode can produce

21 Reverb

Reverb intensity knob. Twist it to adjust the amount of reverb for Channel 2 ( and

Hi Gain Lead

22 Volume 2

Determines the level of Channel 2 . Twist this knob to adjust Channel 2's volume and dial in the desired balance of levels with Channel 1. Because

). Turn the Reverb controlknob clockwise to increasethe effect's intensity.

( and )

Lead Hi Gain Lead

Lead

this volume control is located pre effects loop, it also determines the effects send level for Channel 2. The red LED to the right of the knob lights up to indicate Channel 2 is on.

23 Mid Boost

This voicing feature operates globally, affecting hannels by boosting specific midrange frequencies when activated. The LED above the button lights up to indicate

Mid Boost

F1-6 and F2-6, page 26) connected to the S.A.C. Port (34) or a footswitch connected to jack (36).

A tip from the designer:

Mid Boost

sound. This tone-shaping option is remotely controllable via footswitch, so you can adapt the amp's fundamental sound on the fly, say to better support rhythm guitar work, singing leads, and slashing power chords. With a handy MIDI switcher such as the ENGL Z-11, you can assign CH 1 / CH 2 channel switching, Hi Gain boost, st and other functions to different MIDI presets and control these switching and soundshaping functions remotely in any configuration using a MIDI footboard.

24 Master A/B

Switches back and forth between the Master A and Master B control knobs. The LEDs next to the knobs light up to indicate which Master control knob is active the red LED

Master A Master B

for , the green LED for . You can switch between and using a Z-9 Custom Footswitch (S.A.C. F1-1, page 26) connected to the S.A.C. Port (34) or a footswitch connected to jack (36).

25 Master A

Master A volume knob. Located post effect loops, it controls power amp output. The red LED to the right of the knob lights up to indicate Master A is enabled and determining the master level.

is activated. It may also be switched using a Z-9 Custom Footswitch (S.A.C.

targets and shapes specific midrange bands crucial in voicing a guitar's

Master A Master B

both c

Mid Boo

26 Master B

Master B volume knob. Located post effect loops, it controls power amp output. The green LED to the right of the knob lights up to indicate Master B is enabled and determining the master level.

A tip from the designer:

If you want to experience real remote control convenience, try an ENGL Z-9 foot controller. You can dial in different levels for and , assign these settings to any channel and gain mode, and access them directly via the four channel switches on the Z-9 foot controller. This gives you a range of alternatives that you can apply to different playing styles and musical genres to great dramatic effect. What's more, you can use Channel 1 (Clean & Crunch mode) for rhythm or cleaner lead lines and Channel 2's overdriven preamp stage for power chords and soloing, and go from soft to loud at the touch of a button. Beyond that, you can also broaden the volume and tonal ranges by working your guitars' volume knob. If your arsenal includes MIDI gear - for instance, the Z-11 ENGL MIDI Switcher in combination with the Z-9 Custom Footswitch - you may use the amp's Master A/B circuit to swiftly and conveniently set

Master A Master B

the power amp's volume to two different levels, and then access these volume presets in combination with preamp voicing features such as . The mind boggles…

27 CH1/CH2

This channel switching button selects Channel 1 ( or ) or Channel 2 (

Hi Gain Lead

or ) and, depending on the Hi Gain (28) setting, activates Clean, Crunch, Lead, or Hi Gain Lead mode. The LEDs next to the respective volume control knobs (8) and (22) light up to indicate the active channel; the green LED for Channel 1, the red LED for Channel 2. Channels may also be switched via the ENGL Z-9 Custom Footswitch connected to the S.A.C. Port (34) or via a footswitch connected to jack (37). And for even greater convenience, you could also use the optional ENGL Z-9 Custom Footswitch to select directly Channel 1, Channel 2, and the two gain stages simply by tapping the Z-9's four channel-switching buttons.

28 Hi Gain

The Hi Gain function operates globally, affecting both channels. Pressing this button ups input sensitivity, thereby increasing the amplification factor and the amount of distortion in preamp Channel 1 and Channel 2. The LED above this button lights up to indicate isactive. This feature can also be switched via the ENGL Z-9 Custom Footswitch connected to the S.A.C. Port (34) or via a footswitch connected to jack (37). The optional ENGL Z-9 Custom Footswitch may be used as a conventional footswitch to select combinations of Channel switching and the Hi Gain feature to access the four different gain modes ( , , , and ), directly and conveniently by doing a little tap dancing on the Z-9's four channel-switching buttons.

A tip from the designer:

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

Hi Gain

Clean Crunch Lead Hi Gain Lead

Mid Boost

Clean Crunch Lead

29 FX Loop

Press this button to activate and deactivate the . The red LED above the button lights up to indicate is enabled. enable and bypass

Main FX Loop

to the S.A.C. Port (34) or a footswitch connected to jack (35).

A tip from the designer:

The can be configured in series (that is, 100% processed signal when

Main FX Loop

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

using a Z-9Custom Footswitch connected

Main FX Loop

You can the

(S.A.C. F1-3 andF2-7, page 26)

Balance is set somewhere between dry and Effect). The FX Loop button enables and bypasses this loop, meaning you can actually activate and deactivate connected effects using a control feature on the amp. The other effects loop, , is hardwired into the signal path between the preamp and power amp, and located pre

Main FX Loop

must switch this outboard device on to activate its effect and switch it off to bypass it. Note that in the signal path, and are sited post preamp and pre the two master knobs.

30 Stand By

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.

A tip from the designer:

I suggest you get into the habit of using standby during short breaks. In this mode, current is not piped through the power tubes, so they don't get as hot (due to the lack of anode dissipation) and are spared considerable wear. The amp is ready to run when you flip the Standby switch becausethe tubes are already warmand don't require time to heat up. For breaks of 30 minutes and longer, Irecommend that you switch theamp off in order to conserve energy.

31 Power

Mains power on/off.

Please note:

you switch the amp on. Let the tubes heat up for about 30 seconds before you activate the power amp. This procedure spares the tubes.

CAUTION: the amps's chassis can become very hot, therefore avoid touching the rear panel surface !

. If you patch a stomp box or other signal processor into this loop, you

Main FX Loop Serial FX Loop

ensure that the Stand By switch (30) is set to (0 position) before

After an extended period of operation and higher ambient temperatures

Stand By

Serial FX Loop

Rear Panel Features

At the back of the manual you'll find a folded page offering diagrams of the front and rear panels. Please unfold and refer to it as you read through the descriptions of features and functions!

32 AC Power Inlet; IEC - C14 connector)

Mains Connector (

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

CAUTION: Make sure you use an intact mains line cord with a grounded plug! Before you power the amp up, ensure the voltage value printed themains socket is the same as the current of the local power supply or wall outlet. Please also heed the guidelines set forth in the separately included pamphlet,

Instructions for the Prevention of Fire, Electrical Shock and Injury

alongside

33 Mains Fuse Box:

The rear chamber contains the mains fuse and in the front chamber, a spare fuse.

CAUTION: ALWAYS make sure replacement fuses are of the same type and have the same ratings as the original fuse! Please refer to the fuse ratings table.

34 Footswitch: Serial Amp Control Port (S.A.C.)

This serial data input accepts the optional ENGL Z-9 Custom Footswitch, which lets you control various amp functions remotely. Connect the Z-9 Footswitch to the amp using a cord equipped with stereo 6.3 mm (¼") jack plugs. This MIDI-enabled footboard is a custom tool designed to switch every amp feature designated as footswitchable in this manual. To learn if a given feature may be controlled remotely, refer to its description herein. You'll find a configuration table showing the Raider 100's functions on page

26.

Heads up:

controlled by the buttons arrayed on the amp's front panel. What's more, it also disables the three footswitch jacks' (35, 36, 37) remote-control capability. In other words, when a Z-9 board is plugged in, it has priority over the amp's controls as well as footswitches connected to these three jacks.

CAUTION:

Connecting any other switching device may damage it and/or the amp's circuitry! Insert and remove the Z-9's cable to and from the S.A.C. Port only when the amp is switched off!

A tip from the designer:

Try out the ENGL Z-9 Custom Footswitch – chances are you'll love the remote-control convenience. Based on a rather clever switching concept, it affords direct access to the four Clean, Crunch,Lead, and Hi Gain Lead modes bymerging channel selection and Hi Gain switching. Alongside selecting channels, you can opt to control any other two switchable amp functions such as and or and , and so forth. Another tremendous benefit of this microcontroller-driven footboard is that it connects to the amp viaan easily obtained, standardstereo cord. But that's not the last of the Z-9's advantages: At some point, you may decide to ramp up or connect to a MIDI system. This won't render the Z-9 obsolete because it also serves as a simple MIDI footboard 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 footboard to this jack: The Z-9 controls the amp via a proprietary ENGL serial data protocol, and the Serial Amp Control Port was developed exclusively for ENGL amps. No other footboard will work and in fact is likely to damage the footboard or the amp's circuitry!

Plugging a jackplug into the S.A.C. Port disables thefive switching functions

Connect only the ENGL Z-9 Footswitch to this 6.3 mm (¼") stereo jack!

Mid Boost Reverb Main FX Loop Reverb

35 Footswitch: FX Loop, Reverb

Main FX Loop Reverb

Main FX Loop

on/off and on/off.

FX Loop

Note also: A footswitch may be equipped with LEDs indicating the given switching status. Each of the two switches is provided with approx. 10 milliamperes current, which suffices to power a standard LED. The jack's mono terminal controls

Loop on/off Reverb on/off

see page 24).

36 Footswitch: Master A/B, Mid Boost

Use this jack to connect a conventional footswitch with two switching functions, for example, the ENGL Z-4 (2 x off/on - Single Pole Single Throw or SPST for short). This type of footswitch lets you access One of the two switches activates , while the the other activates . Plugging a footswitch into this jack disables onboard (24) and (23) switching. Note also: A footswitch may be equipped with LEDs indicating the given switching status. Each of the two switches is provided with approx. 10 milliamperes current, which suffices to power a standard LED. The jack's mono terminal selects , while the stereo terminal controls the Mid Boost feature (for pin assignments, see page24).

37 Footswitch: CH 1 /CH 2, Hi Gain

Use this jack to connect a conventional footswitch with two switching functions, for example, the ENGL Z-4 (2 x off/on - Single Pole Single Throw or SPST for short). This type of footswitch lets you access the two channels and . One of the two switches activates Channel 1 or 2, while the other activates . Plugging a footswitch into this jack disables onboard channel (27) and Hi Gain (28) switching. Note also: A footswitch may be equipped with LEDs indicating the given switching status. Each of the two switches is provided with approx. 10 milliamperes current, which suffices to power a standard LED. The jack's mono terminal selects channel 1/2 switching, while the stereo terminal controls the Hi Gain feature (for pin assignments, see page24).

, while the stereo terminal controls (for pin assignments,

Master A/B Mid Boost

Master A or B

Master A/B Mid Boost

and .

Mid Boost

Hi Gain

Main FX

Master A/B

38 NOISE GATE THRESHOLD LEVEL

This control knob activates an onboard Noise Gate serving to suppress excess noise in Channel 2 ( and ) when you twist it to the right, near or just beyond the 9 o'clock position. Use this knob to set a threshold value (that is, the noise level) at which the Noise Gate activates to suppress the signal within the 9 to 5 o'clock range. The further you twist the knob to the right, the higher the signal level at which the Noise Gate kicks in. If you set the knob to the 5 o'clock position, the Noise Gate reacts to extremely highnoise levels, meaning that there's not much of amargin between the guitar signal and background noise.

A tip from the designer:

Lead Hi Gain Lead

ENGL Raider's Noise Gate accordingly. However, there is some minor matching variance between the two. (Channel 2 and activated) stands to benefit most from the Noise Gate, so I suggest that you tweak its two knobs for this mode. 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 high-

Lead Hi Gain Lead

and in Channel 2 generate different levels of noise, and I tuned the

Hi Gain Lead Hi Gain

gain rigs to generate undesirable peripheral noise in overdriven channels. This is attributable to the physical properties of an amp's constituent components, in particular its active components. That's right; those cherished tubes are the culprits. The Noise Gate is a tool that lets you silence this noise during breaks by way of signal mute circuit. Note that electric guitars pick up interference signals, and these are amplified tremendously at high gain levels in Lead mode. The most common source of noise is 50 Hz or 60 Hz (hertz/cycle) mains hum, particularly when the guitar is positioned near transformers and power units. Because in worst-case scenarios this humming can attain extremely high levels, the Noise Gate can hardly distinguish between the musical signal and noise. This makes it hard to find the right Threshold setting. It is entirely possible for this humming and other noise to rise to a level that deactivates the Noise Gate and therefore becomes audible. My advice is to stay as far away from transformers and power units as space allows.

IMPORTANT note; please read and heed

when the is activated, a high-gain Lead channel is selected, and the volume exceeds the Threshold knob setting. At very high volume and gain settings, this may generate instant feedback, particularly if your guitar is facing the speakers. Rather than musical and controlled, this is the shrill, unpleasant and potentially harmful variety of feedback squealing that sends your audience and fellow musicians packing. Though the amp is not more susceptible to feedback when the is activated, the fact that it suppresses extraneous noise means you can't hear those telltale signs that feedback is swelling and consequently can't take measures to suppress it. For this reason, make an extra effort to be careful when the is activated: Before you approach the amp and speaker cabinet with your guitar in hand, turn the guitar's volume knob to the far left position (to 0 so that no signal is audible) to prevent the pickups and speakers from interacting!

Noise Gate

: The may open up inadvertently

Noise Gate

39 Main FX Loop Send

Connect to a signal processor's input/return jack using the shortest possible shielded cord equipped with 1/4" plugs. Activateand deactivate itvia

the FX Loop (29) Main FX Loop is

pre the two power amp Master knobs.

40 Main FX Loop Return

Connect this input to a signal processor's output/send jack using the shortest possible shielded cord equipped with 1/4" plugs. Activateand deactivate itvia the , which switches between these two loops. In the signal path,

Main FX Loop is

41 Main FX Loop 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 patched to the power amp (serial, 100% wet).

NOTE:

this Main FX Loop output

button. In the signal path, located post preamp and

Main FX Loop

FX Loop (29) button

located post preamp and pre the two power amp Master knobs.

Main FX Loop Dry

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

Dry

42 Serial FX Loop Send

Connect this output of the to a signal processor's input/return jack using the shortest possible shielded cord equipped with 6.3 mm (1/4") plugs. In the signal path, the is locatedpost preamp, pre , and pre power amp and its two Master control knobs. The is hardwired into the signal path. If you wish to bypass a connected effect, you must do this on the outboard device by switching it off or hitting its bypass button.

43 Serial FX Loop Return

Connect this input of the to a signal processor's output/send jack using the shortest possible shielded cord equipped with 6.3 mm (1/4") plugs. In the signal path, the is locatedpost preamp, pre , and pre power amp and its two Master control knobs. The is hardwired into the signal path. If you wish to bypass a connected effect, you must do this on the outboard device by switching it off or hitting its bypass button.

44 Poweramp Output, 4 Ohms Parallel

4 ohms speaker output jacks, internal connected parallel. For diverse cabinet options see !

45 Poweramp Output, 8 Ohms Parallel

8 ohms speaker output jacks, internal connected parallel; the internal 8 ohms speaker (1x12" combo: 1x 8 ohms) is connected to one of this two jacks. For diverse cabinet options see the last chapter on this page! The impedance of an additional cabinet should bear 8 ohms (for the Raider 112" Combo amp).

Serial FX Loop Main FX Loop

the last chapter on this page

Serial FX Loop

46 Poweramp Output, 16 Ohms

16 ohms speaker output jack; For diverse cabinet options see the last chapter on this page!

IMPORTANT NOTE, please read and heed:

sufficient load, otherwise you may damage or destroy it! Always check the connected cabinets' impedance to confirm it matches the amp's output impedance! For example, if you are connecting a cabinet to one of the two 8-ohms output, make sure the speaker system is indeed rated for 8 ohms. You'll find the various speaker and cabinet options listed in the section below. I cannot stress enough the importance of proper impedance matching when connecting one or more cabinets to your amp. Impedance mismatching can damage the power amp!

Choose only one of the following speaker and cabinet options:

A) Speaker and cabinet options for the Raider Combo Amp - 1x12" model only:

1. Internal speaker (1x12", 8 ohms) only, connected to an 8-ohm jack (without an external speaker cabinet!); Summary: No external cab; internal 8 Z -> internal to 8-ohm output.

Never operate the power amp without a

2. An external 8-ohm cabinet and the internal speaker (1x12", 8 ohms) connected to the 4-ohm jacks. When you unplug the cable for the external cabinet, ensure you plug the internal speaker back into a 8-ohm jack! Summary: External 8 Z + internal 8 Z -> external to 4-ohm + internal to 4-ohm output.

3. An external 16-ohm cabinet connected to one of the 8-ohm jacks and the internal speaker (1x12", 8 ohms) connected to one of the 4-ohm jacks. When you unplug the cable for the external cabinet, ensure you plug the internal speaker back into one of the 8-ohm jacks! Summary: External 16 Z + internal 8 Z -> external to 8-ohm + internal to 4-ohm output.

B) Cabinet options without using the internal speaker:

without using internal speaker:

1. One external 4-ohm cabinet connected to a 4-ohm jack

(without internal speaker !);

Summary: External 4 Z, no internal -> external to 4-ohm output.

2. Two external 8-ohm cabinets connected to the 4-ohm jacks (without internal speaker !); Summary: External 8 Z + 8 Z, no internal -> external to 4-ohm + 4-ohm

3. One external 8-ohm cabinet connected to an 8-ohm jack (without internal speaker !); Summary: External 8 Z, no internal -> external to 8-ohm output.

4. Two external 16-ohm cabinets connected to the 8-ohm jacks (without the internal speaker !); Summary: External 16 Z + 16 Z, no internal -> external to 8-ohm + 8-ohm output.

5. One external 16-ohm cabinet connected to the 16-ohm jack (without the internal speaker !). Summary: External 16 Z, no internal -> external to 16-ohm output.

An external 8-ohm cabinet connected to one of the 4-ohm jacks in combination

with a second external 16-ohm cabinet connected to one of the 8-ohm jacks (without the internal speaker !). Summary: External 8 Z + 16 Z, no internal -> external to 4-ohm + external to 8-ohm output.

Please note: ensure you plug the internal speaker back into one the appropriate output jack!

When you unplug the cable for the external cabinet/s,

Handling and Care:

* Keep the amp safe from hard knocks and shocks. Tubes are fragile and tend

to suffer when exposed to mechanical stress!

* Let the amp cool down before you transport it. Ten minutes or so will spare

the tubes.

* 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 flipping the Standby switch for short breaks.

* In order to spare the power tubes and prolong their lifetime, we recommend to

set the Stand By switch to (0 position, that is) before you switch the amp on. After a period of 30 seconds you may activate the poweramp by flipping the Stand By switch.

* 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 cover or flight case.

* Never use caustic or scouring detergents to clean the amp's housing, front or

rear panels. Use a soft, damp cloth or sponge with diluted soapsuds or a standard brand of mild dishwashing liquid instead. Never use solvents they can corrode the amp's vinyl skin and dissolve the front and rear panel labels. Keep liquids well away from the amp, particularly the interior of the housing.

Stand By

* Make sure air can circulate at the rear 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

terminating resistor).

* High ambient temperatures place an additional strain on diverse components; so

if at all possible, avoid operating the amp at temperatures far higher than 30°C for longer periods. Running the amp at mains voltages exceeding the nominal mains input voltage over longer periods can also shorten component life.

* 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 replacing tubes, this is a job best left to experienced and authorized specialists.

Troubleshooting

* Some features that may be controlled remotely using a Z-9 or Z-4 footswitch

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, there is a defect in the control system, probably on the logic board holding the microcontroller or merely a faulty contact on one of the four stereo footswitch jacks (34, 35, 36, 37). In this case, consult an authorized service center or a professional specialist.

* The amp fails to respond when you try to control switching functions remotely

via the Z-9 footboard.

-> Is the Z-9 footboard connected to the S.A.C. Port (34)?

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

(Refer to page 25 for pin assignments.)

* The amp fails to respond when you try to control switching functions remotely

using a footboard such as the Z-4 or a MIDI switcher such as the ENGL Z-11.

-> Are the footboards or switching loops connected to the corresponding footswitch jacks (35, 36, 37)?

-> Are the cords you are using stereo, intact, and wired properly? (Refer to page 25 for pin assignments.)

-> If you are using footswitches other than an ENGL Z-4 or Z-11, are the switches or relays inside the boards or switching loop systems off / on Single Pole Single Throw (SPST) switches? In other words, do these switches continuously connect to GND when you wish to activate the given function? If you're unsure about the answers to these questions, consult an authorized service center or a professional specialist.

* 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 4 ohms, 8 ohms or 16 ohms (44, 45, 46) ?

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

-> 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 Noise Gate activated in one of the Lead channels and the Threshold (38) knob set to a high value? Deactivate the Noise Gate (38) 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.

-> 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 humming noises:

-> Is there a connection (for example, via a shielded circuit) between the amp and another device that is grounded via a power plug of its own? Two or more circuits sharing a common electrical ground line can cause audible hum. If low-frequency noise is emanating from your rig, be sure to consult a specialist.

-> 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.

* 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.

-> 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).

Important note on the combo version's cooling fans:

To protect your combo amp from damage due to overheating, please ensure the cooling fans remain in operation at all times, especially during lengthy gigs or other occasions when your amp operates at high temperatures. For studio recording or other applications that demand silent operation, you may switch off the two fans for up to two hours, depending on the ambient temperature. You'll find the fan switch on the back of the amp below the tube protection grille on the side as the Mains socket (32).

Technical Data

Output power:

Input sensitivity levels Input:

Effect Return:

Output levels

SEND, level range:

Power consumption: Fuses:

at 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:

System interface:

Serial Amp Control

(S.A.C.)

approx. 100 watts; adjusted accordingly to 4, 8 and 16 ohms;

-20

from dB nominal, max. 0 dB (CH 1 Lo Gain)

-20

from dB nominal, max. 0 dB

nominal -20

approx. 330 watts max.;

external: 2 ATL, internal: 2,5 ATL external: 4 ATL, internal: 5 ATL

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

6L6GC or 5881, matched sets; ECC83 F.Q., input tube;

ECC83 selected; ECC83 standard;

Replace tubes with selected sets only!

AT89C2051 µC with internal 2K Flash Memory for software source code; Upgradeable with external Programmer;

Proprietary ENGL asynchronous data protocol

dB to approx. max. dB

(T: slo-blo);

Cooling, Combo amp:

Dimensions E344 - 112":

Weight E344 - 112:

two fans each 12 Volts DC - 1,2 watts;

approx. cm (l x h x d); approx. 22.8" (l x h x d);

approx. approx. 65 lbs

58 x 49 x 27

x 19.3" x 10.6"

29,5

Tube Map:

cooling fan

electrolytic

capacitor:

anode supply

smoothing

connector

power

transformer

V 4

V 8

reverb main connector:

red plug -> reverb spring input

black plug -> reverb spring output

V 3 V 2 V 1

V 7 V 6 V 5

output

transformer

amp chassis

as viewed

from above;

Front panel, Input

the tubes and their function: V 5 - ECC83 (12AX7): input stage, 2. stage; grade: FQ selected V 6 - ECC83 (12AX7): Lead driver stage, 4. stage; grade: selected V 7 - ECC83 (12AX7): FX buffer stage, poweramp driver stage; grade: selected V 8 - ECC83(12AX7): phase splitter; grade: standard V 1 - V 4: 6L6GC or 5881: power tubes, poweramp, matches sets

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

Your Options for controlling the ENGL Raider 100 amp remotely:

Main FX Loop

Noise Gate Serial FX Loop

1 /

Master A/B

Hi Gain

Mid Boost

Ser.Cnt.:

Channel 3

MIDI:

Patch 3/8

Off max.

Threshold

Level

Send Return

Ser.Cnt.:

Channel 4

MIDI:

Patch 4/9

Dry Effect

Send ReturnBalance

Ser.Cnt.:

Function 1

MIDI:

Patch 5/10

Guitar Combo Amp

RAIDER 100

MADE IN GERMANY

MIDI

Serial Amp

Out

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.

All-tube

TYPE E344

p-Design by

Horst Langer

Tube

Amp

Power Supply In

7-14 Volts AC 9-20 Volts DC

approx. 100 mA

Ser.Cnt.:

Function 2

MIDI:

Bank A/B

DO N

1 x 4 Ohms or 2 x 8 Ohms

CAUTION !

DO N

OT OPEN !

ISK OF ELECTRIC SHOCK ! OT EXPOSE THIS EQUIPMENT

TO R

AIN OR MOISTURE !

Poweramp Output

8 Ohms Parallel

1 x 8 Ohms or 2 x 16 Ohms

Tube

Amp

FOOTPEDAL

Z-4

Serial Amp

Control Port

Footswitch

FX Loop R

everb

UTION:

EPLACE FUSE

NLY WITH SAME

YPE AND RATING !

S.A.C. Port

Connect Custom Footswitch Z-9 Only!

#1 #2 #2 #2

Tube

Ser.Cnt.:

Channel 1

MIDI:

Patch 1/6

Amp

Technology

Custom

Footswitch

Z-9

Ser.Cnt.:

Channel 2

MIDI:

Patch 2/7

#1 ENGL Z-9 Custom Footswitch: This specialized footboard connects to the amp via a 6.3 mm (¼”) stereo cord plugged into the Serial Amp Port - S.A.C. (34). The Z-9 affords you direct access to the amp's four gain stages (CH 1 / CH 2 merged with Hi Gain) simply by tapping the four channel switching buttons, and lets you control two special functions, for example, Mid Boost and Reverb.

#2 A two-way footswitch such as the ENGL Z-4: Connect dual footswitches to the amp by plugging stereo 6.3 mm (¼”) cords into jack nos. 35, 36, and 37.

-> CH 1 / CH 2 (Channel 1 / 2) and Hi Gain (1 x Z-4);

-> Master A/B and Mid Boost (1 x Z-4);

-> Main FX Loop and Reverb (1 x Z-4); As an alternative to dual footswitches, you can connect a MIDI switcher (the ENGL Z-11 will do nicely) to these three jacks to control the six switching functions.

16 Ohms4 Ohms Parallel

ON/OFFON/OFF

Wiring of Principal Connectors

Dual Footswitch (35, 36, 37)

Stereo

1/4" jack

Use a stereo

plug only!

sleeve: Ground, GND

Here you'll find at a glance the technical details of the Raider 100's various remote switching capabilities: *2: A switch connected to this terminal controls

Reverb - off <-> on via jack (35) Mid Boost - passive <-> active via jack (36) Hi Gain - Lo Gain <-> Hi Gain via jack (37) *3: A switch connected to this terminal controls Main FX Loop - off (bypassed) <-> on (enabled) via jack (35) Master A/B - Master A <-> Master B via jack (36) CH 1 / CH 2 - Channel 1 <-> Channel 2 via jack (37)

page: 14, 15

ring: refer to *2

tip: refer to *3

Serial Amp Control Port (34)

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

Stereo

1/4" jack

ring: Data

tip: + 5 volts

sleeve: Ground, GND

Stereo

1/4" plug

page: 14

tip ring

sleeve

Noting Settings:

Gain 1 Middle Treble Volume 1 Depth PunchBass Presence

Bright

Tube

Amp

Gain 2 Middle Treble Volume 2

Input

Bass

Reverb

Gain

Loop

RAIDER 100

Stand By

Power

off / on

Clean

CH 1

Bright

Master

Mid

A/B

Boost

V1 V2 V3 V4

Power Tube Monitor

Master BMaster A

CH 1 CH 2

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

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

Gain 1 Middle Treble Volume 1 Depth PunchBass Presence

Bright

Tube

Amp

Gain 2 Middle Treble Volume 2

Input

Bass

Reverb

Gain

Loop

RAIDER 100

Stand By

Power

off / on

Clean

CH 1

Bright

Master

Mid

A/B

Boost

V1 V2 V3 V4

Power Tube Monitor

Master BMaster A

CH 1 CH 2

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

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

Gain 1 Middle Treble Volume 1 Depth PunchBass Presence

Bright

Tube

Amp

Gain 2 Middle Treble Volume 2

Input

Bass

Reverb

Gain

Loop

RAIDER 100

Stand By

Power

off / on

Clean

CH 1

Bright

Master

Mid

A/B

Boost

V1 V2 V3 V4

Power Tube Monitor

Master BMaster A

CH 1 CH 2

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

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

Gain 1 Middle Treble Volume 1 Depth PunchBass Presence

Bright

Tube

Amp

Gain 2 Middle Treble Volume 2

Input

Bass

Reverb

Gain

Loop

RAIDER 100

Stand By

Power

off / on

Clean

CH 1

Bright

Master

Mid

A/B

Boost

V1 V2 V3 V4

Power Tube Monitor

Master BMaster A

CH 1 CH 2

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

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

Configuration table for assigning the Raider 100's sound-shaping and special functions to the Z-9 Custom Footswitch's and :Functions 1 2

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

Function 1 Master A/B Channel 1 F1-1 Function 1 Channel 2 F1-2 Function 1 Main FX Loop off / on Channel 3 F1-3 Function 1 Reverb off / on Channel 4 F1-4 Function 1 Channel 1 F1-5 Function 1 Mid Boost Channel 2 F1-6 Function 1 Channel 3 F1-7 Function 1 Channel 4 F1-8 Function 2 Channel 1 F2-1 Function 2 Channel 2 F2-2 Function 2 Channel F2-3 Function 2 Reverb off / on Channel 4 F2-4 Function 2 Channel 1 F2-5 Function 2 Mid Boost Channel 2 F2-6 Function 2 Main FX Loop off / on 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 Raider 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 Raider 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 Raider's switching feature is currently assigned to

Function 2 F2-7

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 1 flashes

no 1: LED 3 flashes no 1: LED 4 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 button used to enter the setting.

Function 2

Main FX Loop

; the corresponding S.A.C. command is .

1: LED 1 lights

1: LED 3 lights 1: LED 4 lights

1: LED 2 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< <---------------------------------------- 7 ----------------------------------------> <-------------------- 8 --------------------> <------------------------- 9 ------------------------>

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

12 16

Tube

Amp

Input

Gain 1 Middle Treble Volume 1 Depth PunchBass Presence

Bright

Gain 2 Middle Treble Volume 2

Bass

18 19 20 21 22 23 24 25 26 27 30 31

Reverb

Clean

Bright

Mid

Boost

off / on

CH 1

Master

A/B

IDER

V1 V2 V3 V4

Power Tube Monitor

Master BMaster A

CH 1

Gain

Loop

CH 2

Stand By

Power

28 29

page: <------------------------------------------------------- 10 -------------------------------------------------------> <------------------ 11 ------------------> <--- 12 ---> <----- 13 ----->

page: <-- 14 --> <---------- 15 ----------> <-------- 16 --------> <-- 17 -->

Type Plate

EPLACE FUSE

NLY WITH SAME

YPE AND RATING !

S.A.C. Port

Serial Amp

Control Port

UTION: Connect Custom Footswitch Z-9 Only!

3634 35 37 38 39 40 41 42 43

Main FX Loop

Send Return

FX Loop R

everb

Footswitch

Master A/B

Mid Boost

Noise Gate Serial FX Loop

1 /

Hi Gain

Off max.

Threshold

Level

Dry Effect

Tube

Amp

All-tube

Send ReturnBalance

Guitar Combo Amp

RAIDER 100

TYPE E344

p-Design by

Horst Langer

MADE IN GERMANY

1 x 4 Ohms or 2 x 8 Ohms

CAUTION !

DO N

OT OPEN !

ISK OF ELECTRIC SHOCK !

DO N

OT EXPOSE THIS EQUIPMENT

TO R

AIN OR MOISTURE !

Poweramp Output

8 Ohms Parallel

1 x 8 Ohms or 2 x 16 Ohms

16 Ohms4 Ohms Parallel

32 4433 44 45 45 46

page: >13< >14< <----------------------- 17 ----------------------->

Tube

Amp

Technology

Gerätebau GmbH

Internet: http://www.engl-amps.com

Text, design, graphics, photography and layout by

Horst Langer, Amp Designer

Germany

Engl Raider 100 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual