Engl Steve Morse Signature 100 User Manual

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Steve Morse

Signature 100

3 Channel Full 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 Impotant remarks, some comments, Contents

page

4 5 6

Front Panel Features:

Tone Channel 1: Gain 1, Bass, Middle, Treble, Volume 1, CH 1 Channel 2: Gain 2, Bass, Middle, Treble, Volume 2, CH 2 Power Amp EQ: Presence, Depth Punch FX Loop I/II, Noise Gate Input, Hi Gain Channel 3: Gain 3, Bass, Lo Mid 1, Lo Mid 1/2 Channel 3: Lo Mid 2, Hi Mid 1, Hi Mid 1/2, Hi Mid 2 Channel 3: Treble, Lo Volume 3, Hi Volume 3, CH3 Power Amp section: Master A/B Write/Copy, Amp Mute Stand By, Power

Rear Panel Features:

Mains, Mains Fuse, MIDI Section and Footswitch Ports Noise Gate: Threshold Level FX Loops I: Send, Return, and Balance FX Loops II: Send, Return, and Balance 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 Additional information, Space for User Notes

Ground Lift Switch

Detailed Specifications and Ratings

6 7, 8 8, 9 9 9, 10 10, 11 11 12 13 13, 14 14, 15 16, 17

17 17 - 20 20 21 21 22 21 22

23, 24 25 25, 26 26, 27 27, 28 29 30 31 32 33 34 35

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 Steve Morse Signature

from !

suits my playing style thebest!"

Guitarist extraordinaire Steve Morse and ENGL amp designer Horst Langer teamed up to create and . The two met up on several occasions to tweak this amp until it delivered what Steve wants and you expect – to-die-for, . This project brought together the unique talents of a master musician and the inspired ideas of an innovative amp designer. Supported by amp tech / guitar tech Michael Berger, this twosome worked out all the kinks where it counts most – in

situations on stage epic sound checks fine-tuning real world conditions

Amp designer Horst took great pains to create something truly unique, even developing an housed in a separate box for the amp prototype. This unusual tool enabled Steve to work his way through a range of

EQ settings vary gain levels capture the perfect combination each musical context middle frequencies decisive in shaping the sound electric guitar more midsshaping power Mid Control Matrix

of the Signature amp. Boasting tuned individually to tweak and , the

Matrix utmost flexibility

see fit. Either of the may be combined with either of the t

knobs accessible via MIDI even greater sonic flexibility

Steve: "It's an ENGL: clear, fat, screaming sustain. This one allows the most control over the midrange where theelectric guitar really lives for me."

The Steve Morse Signature Head is a textbook example of . This

premium-quality tube amp wide range of sounds many subtle variations of tonal hues

answers to all their questions about . A lifetime of musical and sonic exploration awaits– enjoy!

Steve: "It performs like any ENGL amp with that pure, clear, high end. Additionally this Signature Edition gives youmore midrange control than any other amp!"

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

A/B Master switching

ENGL amps. The head also sports

loops programmable Amp Mute

As an alternative to operating the amp remotely via a such as the ENGL Z-15, you can also plug in an ENGL and manipulate key functions directly. What's more, the amp comes with a stereo jack specifically designed to fit an or a switching system for selecting the four channels. And the certainly match the interior's impressive appointments. This amp's elegant and stylish look is sure to turn heads wherever you play.

groundbreaking features painstakingly crafted, tube-driven sound

affords you the , freeing you to sculpt the midrange as you

. These different combinations are also for

and a .

on your great choice of amp, the Tube Head

Steve: "I've liked every ENGL Stack I've played through and this one

top-drawer tube tone

live performance

with the band and in before concerts. All this

under challenging paid off inbig dividends.

outboard control matrix

basic

and ever so subtly to for

- in real time and even during concerts. Steve knows that the

, more than any other, are of an

. To give guitarists everywhere who share Steve's view for

, Horst designed an unprecedented for Channel 3

four "Steve-approved" midrange knobs

specific frequency ranges bandwidths Mid Control

two Lo Mid knobs wo Hi Mid

teamwork at its best

offers such a , and in so

, that even the most demanding players will find authoritative

what constitutes killer tube tone

is a powerful option that has proven its merits in countless

Steve Morse Signature Amp two switchable effect

MIDI foot controller

Z-9 Custom Foot Controller

ENGL Z-4 dual footswitch

exterior's compelling visuals

This affords you:

1. a logical control feature array, utmost and

handling excellent sound-shaping options greatest flexibility

2. and courtesy of the many voicing options and special features, and 128 MIDI presets offering a bevy of programming options;

fundamental sounds excellent tube quality Two

3. in : , , and .

Gain stages double instant-access sounds Remote MIDI Channel Gain Lo/Hi switching

sounds. (that is, automatic frequency response adaptation to suit the selected Gain stage and activated channel) fine-tunes two Gain stages to give you a much wider range of sounds.

Separate Gain Volume 3-band EQ

4. and knobs in each of the three channels and a for let you dial in distinct tones with surgical precision. Channel 3 features the Mid Control Matrix comprising four switchable midrange knobs for fine-tuning your fundamental tone to taste.

5. an that will give you years of

playing pleasure value to boot

;

in every channel the count of .

and affords access to a wide range of

EQ adapting

channels 1 and 2

ultra-advanced tone-generating machine

and .

ease of use remarkably intuitive

Clean Crunch Lead

Features and Functionality at a Glance

Three basic channels

-> : , and with separate Gain and Volume knobs; Channel 3 equipped with two Volume knobs.

Two Gain variants

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

Three voicing sections

> : one EQ for Channel 1 and 2 featuring Bass, Middle and

Treble. Channel 3 sports Bass and Treble knobs and the Mid Control Matrix with four Mid knobs - Lo Mid 1, Lo Mid 2, Hi Mid 1, and Hi Mid 2.

-> for all : tuned to match

-> and are variable, switchable effect

-> The power amp's and knobs are .

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

-> , accessible via 16 MIDI channels.

-> The offers

-> for suppressing noise in and .

sound-shaping button

Tone

the given channels' tonal characteristics.

Two effect loops:

loops. Each effect loop may be activated for each channel.

MIDI controller #7 accesses , and in addition

MIDI-programmable

Pre Output tune your guitar

the signal to .

MIDI In Thru

128 MIDI presets

Key switching functions at the amp may be addressed using MIDI controllers.

Steve Morse Signature amp three different remote interface ports:

Serial Amp Control Port

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

Programmable Noise Gate

Channel 1 Channel 2 Channel 3

Channels

FX Loop I FX Loop II

A B Master accessible via MIDI

Amp Mute Amp Mute

. These choices come in handy if you wish to use

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 guidelines on care and maintenance of tube amps on page 25. 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 givethem due consideration.

Everyone at ENGL is confident that the

extraordinary versatility outstanding features Simply plug in, play and beinspired by the tone of your new ENGLamp! A few words of wisdom from the designer:

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

and are sure to delight you:

Steve Morse Signature tube amp's

Contents:

1. ENGL Steve Morse Signature Tube Amp Head;

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, you'll find fold-out diagrams of the front and rear panels. As you're reading the descriptions of the amp's features, you'll gain a better understanding of the topic ofdiscussion if you unfold and refer to themas we go!

1 Tone

The voicing feature operates globally. It affects all three channels, but achieves different results in each. In Channel 1, boosts the preamp's upper high-frequency range, much like a Bright control. Channel 2 delivers powerful midrange response when is deactivated; engaging it scoops these mids. In Channel 3, Tone subtly

Tone

influences the frequency range ofthe four Mid knobs. The red LED above thisbutton lights up to indicate the Tone functionis on. This feature can also be switched via MIDI program change, MIDI Controller #29 or the Custom Z-9 Footswitch.

A tip from the designer:

Activating the Tone button for Channel 1 yields crisp, glassier sounds. It's a great antidote to the muddy toneof some humbucking pick-ups. I matched to suit the three channels' Gain characteristics, which is why you get different sounds when you activate it. Its effect is strongest in Channel 1's Lo Gain range. As the name would indicate, the amp's gain level is lowest at this setting, so you

Tone

can activate to conjure sparkling clean sounds with Treble and Presence settings as low as the 12 o'clock position. In Channel 1's Hi Gain range delivers a rich, pleasing overtone spectrum infinest tube-approved quality. I also matched to Channel 2's tonal structure: Deactivate it for a more pronounced midrange; activate it – particularly in Lo Gain mode – for a sweet, riffapproved sound with a distinctivelyvintage tone! The Tone functions in Channels 1 and 2, in combination with the two Gain choices Lo and Hi, give you eightmarkedly different sounds, all accessible via MIDI! The Tone button shapes Channels 2 and 3's midrange frequency. In combination with Channel 3's four Mid knobs, the Tone button yields eight different tonal flavors because it changes the filter stages' limiting frequencies slightly. Describing all the many tonal variations in detail would make this an epic-length manual, so I suggest you experiment. Try each of the Tone button's passive and active settings with different Lo Mid and Hi Mid combinations; that is, Lo Mid1&HiMid1,LoMid2&Hi Mid1,LoMid1&HiMid2,LoMid2&HiMid2.It's a good idea to start with the four knobs set to the 12 o'clock position. With such a mind-boggling diversity of sonic options at your fingertips, you're sure to find the perfect match for your preferred musical styles and playing techniques.

Tone

Tone active

Tone

2 Gain 1

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

A tip from the designer:

The amount of distortion depends on your guitar's pickups and the Gain (19) setting. In Channel 1, single-coil pickups may begin saturating the preamp when the knob is set to about the two o'clock position; pickups with very high output levels (humbuckers or active pickups) will evoke mild overdrive at even lower settings. If you want squeaky clean tone, simply back offthe Gain knob accordingly. If your guitarsports single-coils and you want to add some grit to your tone and bite to your riffs, set the knob somewhere between 11 and 3 o'clock. For higher output pickups such as humbucking or active jobs, dial in settings between 9 and 1 o'clock and activate .

Hi Gain

3 Bass

This is the preamp voicingsection's passive low-frequency EQ for .

Channel 1

4 Middle

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

Channel 1

5 Treble

This is the preamp voicingsection's passive high-frequency EQ for .

A tip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that you set all tone controls to or slightly higher than the center or 12 o'clock position. For higher-gain preamp sounds, your best bet is to turn the Treble knob down to prevent the pickups and speakers from generating feedback (a setting in the 10-to -1 o'clock

Channel 1

range is recommended). You will find that grittier tones generally sound better with a touch less treble because preamp saturation makes higher frequencies figure more prominently in the signal. Bear in mind that you also have the Tone (1) button, as well as the power amp (14) an (15) knobs, at your disposal for shaping the frequency range. I suggest you get into the habit of dialing in lower Treble settings. That way, you can program various MIDI presets with the Tone option remotely and have plenty oftonal variations at your fingertips.

Presence Depth Punch

6 Volume 1

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

Channel 1 Channel 1

Channel 1

7CH1

Push this button to activate preamp Channel 1directly(inreciprocationwith ,

Channel 3

and ). The green LED to the right of the Channel 1 Volume knob (6) lights up to indicate is active. may also be activated via MIDI program change, the ENGLCustomZ-9Footswitch,or a dual footswitch.

Channel 1 Channel 1

Channel 2

8 Gain 2

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

A tip from the designer:

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

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 prevent unchecked feedback!

Channel 2

Extremely high gain and volume levels in Channel 2 can produce powerful

9 Bass

This is the preamp voicingsection's passive low-frequency EQfor .

Channel 2

10 Middle

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

Channel 2

11 Treble

This is the preamp voicingsection's passive high-frequency EQfor .

A tip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that you set all tone controls to or slightly higher than the center or 12 o'clock position. For higher-gain sounds in , your best bet is to turn the Treble knob down to

Channel 2

prevent the pickups and speakers from generating feedback (a setting in the 10-to -1 o'clock range is recommended). Each channel is equipped with adedicated EQ so you cantweak its sound separately to suit your taste and the given sonic scenario. Bear in mind that you also have the Tone (1) button, as well as the two power amp Presence (14) and Depth Punch (15) knobs, at your disposal for shaping the frequency range. Though this passive voicing section's controls range is narrower than that of a comparable active system, its EQ curve is tweaked specifically for its designatedpurpose, and will giveyou satisfying results.

12Volume2

Determines the level for . Use thisknob to adjust the volumeof and dial in the desired balance in comparison with the other channels' levels. Because this knob is located pre effects loop, it also determines the effects send level for . TheyellowLEDtotherightoftheknoblightsuptoindicate is on.

Channel 2 Channel 2

Channel 2

Channel2

13 CH 2

Press this button to activate preamp directly (in reciprocation with , and ). The yellow LED to the right of the Channel 2 Volume knob (12) lights up

Channel 3

to indicate is active. may also be activated via MIDI program change, the ENGL Custom Z-9 Footswitch, or a dual footswitch.

Channel 2 Channel 2

Channel 2 Chanel 1

14 Presence

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

15 Depth Punch

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

16 FX LOOP I/II

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

A tip 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

Master B FX Loop 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 Master A

controls are post and pre the power amp.

MIDI Controller #30

Balance dry

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

FX Loop II

FX Loop I FX Loop II

17 Noise Gate

Press this button to activate an onboard and suppress excess noise in channel 2 and 3. Control the using the Level Threshold (48) 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,

#24

or the ENGL Custom Z-9Footswitch.

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 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!

A tip from the designer:

Noise is a definite no-no in many situations. For example, studio etiquette demands that you keep a lid on extraneous noise during short breaks. It's in the nature of highgain rigs to generate undesirable peripheral noise in overdriven channels. This is attributable to the physical properties of an amp's constituent components, in particular its active components. That'sright; those cherished tubesare the culprits. The Noise Gate is a tool that lets you silence this noise during breaks by way of signal mute circuit. Note that electric guitars pick up interference signals, and these are amplified tremendously at high gain levels in Hi Gain mode. The most common source of noise is 50 or 60 hertz mains hum, particularly when the guitar is positioned near transformers and power units. Because in worst-case scenarios this humming can attain extremely high levels, the Noise Gate can hardly distinguish between the musical signal and noise. This makes it hard to find the right Threshold setting. It is entirely possible for this humming and other noiseto rise to a level that deactivatesthe

Noise Gate

transformers and power units asspace allows.

Noise Gate

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

Noise Gate

MIDI Controller

Noise Gate

: The may open up inadvertently

Noise Gate

18 Input

¼" unbalanced input jack. Plugyour guitar in hereusing a shieldedcord.

A tip from the designer:

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

19 Hi Gain

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

A tip from the designer:

Obviously, the difference between Lo and High Gain is the latter gives you more preamp juice. But I also tuned frequencyresponse to suiteach channel's gainstructure, which is a long-winded way of saying the three channels give you six 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 three channels to get to know their tonal characteristics and make the most of these eight fundamentalsounds.

Hi Gain

MIDI Controller #22

CH1 CH2 CH3

20 Gain 3

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

A tip from the designer:

Depending on Gain knob and Gain option (19) settings, Channel 3's gain ranges from middling to extreme, which translates to big power chords and mean leads. Beyond that, Channel 3's hip new Mid Control Matrix, with its four Mid knobs and tremendous leeway in sound-sculpting, gives you even more options. In combination with the two Lo and Hi Gain settings, you can tweak your settings to suit diverse styles and conveniently call up the various sounds on the fly via MIDI. With all this, Channel 3 affords you remarkable freedom forshaping sound creatively andconveniently.

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 prevent unchecked feedback!

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

21 Bass

This is the preamp voicingsection's passive low-frequency EQfor .

Channel 3

22 Lo Mid 1

Mid knob #1 in preamp Channel 3's passive voicing section shapes the low mids. The Tone button (1) setting subtly influences the Lo Mid 1 circuit's frequency range and bandwidth.

Lo Mid 1/2

This control switches between thetwo Mid knobs LoMid 1 (22)and Lo Mid 2(24). The LED to the rightof each Lo Midknob lights upto indicate this knobis activated. The Lo Mid 1/2 switching function can also be switched via MIDI program change, MIDI Controller #23, or theENGL Z-9 Custom Footswitch.

24 Lo Mid 2

Mid knob #2 in preamp Channel 3's passive voicing section shapes the low mids. The Tone button (1) setting subtly influences the Low Mid 2 circuit's frequency range and bandwidth.

Tip from the designer:

I decided to assign different frequency ranges and bandwidths to the two Lo Mid 1 and Lo Mid 2 knobsto give you thegreatest possible latitudefor shaping sounds asyou see fit. In practice, this means identical settings on the two knobs yield different tonal results. If you like scooped mids, try dialing in lower settings for Channel 3's Lo Mid 1 knob. Set to lower values, this voicing control cuts big slices of mids from the sonic pie. Conversely, if you activate Lo Mid 2, you will boost the low mids markedly, which can have a huge effect across the full frequency spectrum of some sounds. These two knobs' different sound-shaping propertiesand the Tonebutton's effect onvoicing give you four different ways ofvoicing the low midson the flyusing MIDI commands.

25 Hi Mid 1

Mid knob #1 in preamp Channel 3's passive voicing section shapes the high mids. The Tone button (1) setting subtly influences the Hi Mid 1 circuit's frequency range and bandwidth.

Hi Mid 1/2

This control switches between thetwo Mid knobs HiMid 1 (25)and Hi Mid 2(26). The LED to the rightof each Hi Midknob lights upto indicate this knobis activated. The Hi Mid 1/2 switching function can also be switched via MIDI program change, MIDI Controller #27, or theENGL Z-9 Custom Footswitch.

27 Hi Mid 2

Mid knob #2 in preamp Channel 3's passive voicing section shapes the high mids. The Tone button (1) setting subtly influences the Hi Mid 2 circuit's frequency range and bandwidth.

Tip from the designer:

Again, in the interests of affording you greater freedom in sound-sculpting, I chose to assign different frequency ranges and bandwidths to the two Hi Mid 1 and Hi Mid 2 knobs. You will find thatthe same knob settingsconjure different tones. The entire voicing section is based on passive circuitry, so its controls influence one another, the four Mid knobs especially. This is desirable because it delivers such excellent tonal results. Here's an example: Let's say Lo Mid 1 is activated and dialed to a relatively high setting. Now if you twist the Hi Mid 1 knob, its influence on your tone will be subtle. However, if the Lo Mid setting dips below 11 o'clock, the effect of twisting the Hi Mid 1 knob will be far more pronounced. Hi Mid 2's midrange voicing is tighter and more aggressive, adding a sharper edge to your sound. These two knobs' different sound-shaping properties and the Tone button's effect on voicing give you four different ways of voicingthe high mids onthe fly usingMIDI commands. Channel 3's Mid Control Matrix with its four Mid knobs and the global Tone button add up to give you eight different sound-shaping setups that you can access directly and on the fly via MIDI. Factor Channel 3's two Lo and Hi Gain stages into the sonic

equation and you end up with amazing tonal flexibility. You'll like having sounds of such diversity and quality at your disposal. And you'll love being able to access such a broad spectrum so easily onstage.

28 Treble

This is the preamp voicingsection's passive high-frequency EQfor 3.

A tip from the designer:

To help you get acquainted with the amp's fundamental sounds, I recommend that you set all tone controls to about the center or 12 o'clock position. For higher-gain, high-volume lead sounds, your best bet is to turn the Treble knob down to prevent the pickups and speakers from generating feedback (a setting in the 9-to-1 o'clock range is recommended). Each channel is equipped with adedicated EQ so you cantweak its sound separately to suit your taste and the given sonic scenario. Bear in mind that you also have the two power amp (14) and (15) knobs at your disposal forshaping the frequency range. Though this passive voicing section's controls range is narrower than that of a comparable active system, its EQ curve is tweaked specifically for its designated purpose, and will give yousatisfying results.

Presence Depth Punch

Channel

29 Lo Volume 3

This volume knob sets the level of preamp Channel 3 when Lo Gain mode is activated. Use this knob to adjust the volume of Channel 3 in Lo Gain mode and balance levels with the other channels as wellas withChannel 3's Hi Gain mode. This knobsits in front of the effects loops, so it also sets the level of both effects outputs when Channel 3 is active. The red LED to the right of the knob lights up to indicate Channel 3 Lo Gain mode is activated.

30 Hi Volume 3

This volume knob sets the level of preamp Channel 3 when Hi Gain mode is activated. Use this knob to adjust the volume of Channel 3 in Hi Gain mode and balance levels with the other channels aswell as with Channel3's Lo Gainmode. This knobsits in front of the effects loops, so it also sets the level of both effects outputs when Channel 3 is active. The red LED to the right of the knob lights up to indicate Channel 3 Hi Gain mode is activated.

31 CH 3

Press this button to activate preamp Channel 3 directly. The red LED to the right of the Channel 3 Volume knobs (29 or 30) lights up to indicate Channel 3 is active. Channel 3 may also be activated via MIDI program change, the ENGL Custom Z-9 Footswitch, or a dual footswitch.

32 Master A

Master A volume knob.Located post effect loops, it controls power ampoutput. 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

Master A

Amp Mute)

MIDI or the Z-9. To learn how to do this, see section 36 and section 45, page 18 in the

Rear Panel Features

chapter.

33 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 is enabled and determining the master level. You can also set the master level to 0 ( via MIDI or the Z-9. To learn howto do this,see section 36 and section45, page 18in the

Rear Panel Features

chapter.

Master B

Amp Mute)

34 Master A/B

Switches back and forth between the Master A and Master B knobs. The LEDs next to the knobs light up toindicate which Masterknob is active thered LED for , the green LED for . can also be switched via MIDI program change

MIDI Controller #14

A tip from the designer:

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

Channel 1

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.

Channel 1

advantage of the preamp saturation in Channels 2 and 3 for power chords and leads at diverse gain and volume levels. Try working your guitar's volume knob to extend your range of tones and musical expression. If a MIDI control unit and controller commands are available (for example, the ENGL MIDI Footcontroller Z-15) you can use the to silence the power amp quickly and conveniently for short breaks or to swap guitars.

Master B MASTER A/B

or the ENGL .

to 3 and Low or HighGain (19) settings todifferent MIDI presets. Thenyou

is your first choice for clean and even grittier rhythm and lead work. Take

Amp Mute

Custom Z-9 Footswitch

Master A B

Master A

Master A/B

35 Write/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

: with the former you're actually programming or writing a new MIDI preset, with

Copy

the latter you're making anexact duplicate of anexisting preset. The system will selecta Write operation whenever youedit a MIDIpreset, that is, when you have modified a programmable feature. You'll know that this is the case because the Status LED flashes steadily when you 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 and stored there. continuously to indicate is activated.Copy if you do not selecta new MIDI presetwithin 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

When you press this button, the Status LED lights up

The system quits mode autonomously

Copy

Write

Copy

must hold it down for about a second until the Status LED flashes three times in rapid succession. This mechanism is designed to prevent inadvertent programming. You can cancel the programming process at any time before the Status LED first illuminates by releasing the Write button. Again, the preset will only be programmed successfully if you press and hold thebutton until the StatusLED flashes threetimes. You'll have to go through a similar routine to copy a preset once you select a target preset: When the Status LED extinguishes, the copy operation is underway and can no longer be cancelled. The LED flashes three times to indicate the preset was copied successfully. You can cancel the copy operation by releasing the key, but only for as long as the LED lightsup continuously.

IMPORTANT note; please read andheed

MIDI preset 1 activates when the amp is powered up. If you want to edit and/or store other MIDI presets, you must connect a MIDI foot board or another MIDI send device

MIDI In

to the port (43) and use this outboard device to select the desired MIDI preset on the amp.

More good-to-know info:

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

Copy

and . The microcontroller runs a short system check after you switch the amp on. Should it find a defect in the memory chip (EEPROM), the LED five short bursts. Press the Write/Copy copy buttonto confirm thatyou got themessage. Once youhave done this, the system will be ready to run, although you may encounter problems when attempting to select orstore MIDI preset. Further indicator functions: ; descriptionin section 37.Power Tube Monitor The Status LED serves a third display function. As described in section 37, it indicates that no speaker is connectedto the power ampoutputs.

Write

will flash in a pattern of

36 Amp Mute

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 controller #28 command (see chapter 45 to learn more) or by sending the appropriate Z-9 command to the Serial Amp Control Port (46). Deactivate by setting Standby (37) from to or sending the appropriate MIDI command to the MIDI In port (43) or via the respective Z-9 command (setting ) send to theSerial Amp ControlPort (46).

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 enabled during programming. Therefore the power amp will not boost the signal and the sound will not beaudible over the speaker.

Note:

programmed MIDI presets, MIDI controller #7 /#28 commands or via the Z-9 when

Standby

switch.

Amp Mute 0 Power Amp On

F2-4

Amp Mute

You cannot deactivate to activate the amp via appropriate

is engaged to switch the power amp off. You must first flip the Standby

Amp Mute

Standby

When programming MIDI presets,

Amp Mute

37 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 itback up to fullpower.

Amp Mute

Amp Mute LED (36) shows this status by 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 start the programming process with the Write button (35).

IMPORTANT note; please read and heed:

Standby is set to (that is, the power amp is active) if you want this preset to disable

Amp Mute

Standby switch is set to during programming, the amp willbe 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 not be audible over thespeaker.

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

Do not engage the Standby switch when copying with the Write/Copy (35) button, as this launches a writeoperation. The controlsystem treats the Standby switchmuch like a function button. If youuse it to editthe stored settings,the Status LED willflash. To learn more about this, see section 35 and

(Settings) to MIDI presents inindividual steps

Note:

If the amp is in Standby mode, deactivating the Amp Mute function via the Amp Mute Z-9 command will not activate it. The same goes for sending MIDI controller #7 or controller #28 commands and selecting MIDI presets programmed with deactivated. You must first flipthe Standby switch.

More good-to-know info:

On the one hand, the amp's surveillance system monitors if speaker cords are plugged

Poweramp Outputs 4 Ohms 8 Ohms 16 Ohms

into (57, 58), (59, 60), and (61). If none of these ports is in use, flipping the Standby switch will not activate the power amp. This ensures the amp is not operated without a connected load.

up and the Standby switch is set to On, the Standby circuit is deactivated internally and the Status LED showsthis by flashing rapidly.

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 identify the given tube. Specifically, it lights up briefly at regular intervals - once for V1, twice for V2, thrice for V3, and four times for V4. Because the tube monitoring system only works when the power tubes are up and running, this indicator is not enabled until you activate the power amp by flipping the Standby switch. To reset the power tube monitoring circuitry, press thestandby switch briefly.

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

activates as soon as you set the Standby switch to the 0 position and the

When programming MIDI presets, ensure

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

Amp Mute

Write/Copy Programming sounds

in the appendix on page24.

Amp Mute

If the amp is powered

you flip the Standby switch becausethe tubes are already warm and don'trequire time to heat up. For breaks of30 minutes and longer, Irecommend that you switch the amp off in order to conserveenergy.

38 Power

Mains power on/off.

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!

39 AC Power Inlet; IEC - C14connector)

Mains Connector (

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

CAUTION:

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

Instructions for the Prevention ofFire, Electrical Shock andInjury

40 Mains Fuse Box:

The rear chamber contains themains fuse and thefront chamber aspare fuse.

CAUTION ALWAYS make sure replacement fuses are of the same type and have the same ratings as the original fuse! To this end, please refer to the fuse ratings shown on the type panel.

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

41 Ground Lift Switch

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 have connected a signal processor or power amp and want to preventthe twodevices' grounds from forming a groundloop that manifests inannoying 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

42 Midi Thru

This 5-pin DIN port patches incoming MIDI data from the (43) to any other connected MIDI device.

MIDI In

43 Midi In

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. 44 lets you activate the amp's power supply if you have an ENGL

controller

CAUTION:

make sure that switch no.44 is set tothe right toavoid damaging the device.

connected to this port.

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

MIDI foot

44 Power Supply For The ENGL Midi Footcontroller

This selector activates a MIDI In port power supply for connected ENGL MIDI foot boards. Power is fed to the board via the MIDI circuit. When the switch is set to the left position, power is routed to the MIDI In port's pin 1 and pin 2 (refer to page 31 for pin assignments). If you choose to use another MIDI foot board, be sure to set the switch to the right to avoid damaging it. If the foot board you are using is 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 voltage and current specifications and wiring match, you may set the switch to the left to power this foot boardvia the MIDI cable.

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 electronics engineer who earns aliving with a screwdriver!

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

45 Midi Channel &MIDI Controller Enable

Use encoding buttons 1, 2, 3, 4 and 5 to assign the MIDI channel by which the amp will receive MIDI program change commands and MIDI controller commands addressing various functions. See the MIDI Controllers table for assignments. Your choices are the standard 16 MIDI channels numbered from 00 to 15, as well as OMNI mode,where the amp receives MIDI data sent via any MIDI channel. The following table lists encoding button settings for specific channelsand for OMNI mode. Encoding button 6's setting controls access to the functions , ,

Gate Hi Gain Lo Mid Hi Mid Master A/B Amp Mute

, , , , , and using fixed MIDI controller assignments; for the assignment refer to the table "MIDI controller assignment" printed on the next page. How to set up encoding button 6 for MIDI controllers: Set the button to ON to enable specific MIDI controllers to accessthe assigned amp functions. Set the button to OFF to bar any MIDI controller from accessing the assigned amp functions. When the amp receives a specific MIDI controller command, it has a certain value that tells the amp whatto do. Commandvalues ranging from0 to 5deactivate the assigned function, and values greater thanor equal to 5activate it. There is one exception is MIDI Controller #7 or #28 and the way it addresses

Mute

. MIDI Controller #7 (#28) values from 0 to 5 activate Amp Mute, and values greater than or equal to 5 reset the amp to the level of the active MASTER volume control, thereby deactivating Amp Mute.

Note:

You cannot disable Amp Mute to activate the amp using a MIDI controller #7 (#28) command when the power amp's Standby switch is engaged. In other words, you must first flip theStandby switch to controlAmp Mute usingMIDI commands.

Tone FX Loop I/II Noise

Amp

MIDI channel assignment using theencoding buttons:

MIDI-channel: S 1 S 2 S 3 S 4 S5 S6 OMNI OFF XX XX XX XX XX CH 1 ON OFF OFF OFF OFF XX CH 2 ON OFF OFF OFF ON XX CH 3 ON OFF OFF ON OFF XX CH 4 ON OFF OFF ON ON XX CH 5 ON OFF ON OFF OFF XX CH 6 ON OFF ON OFF ON XX CH 7 ON OFF ON ON OFF XX CH 8 ON OFF ON ON ON XX CH 9 ON ON OFF OFF OFF XX CH 10 ON ON OFF OFF ON XX CH 11 ON ON OFF ON OFF XX CH 12 ON ON OFF ON ON XX CH 13 ON ON ON OFF OFF XX CH 14 ON ON ON OFF ON XX CH 15 ON ON ON ON OFF XX CH 16 ON ON ON ON ON XX

MIDI Controller setup configuration:

enabled XX XX XX XX XX ON disabled XX XX XX XX XX OFF

A tip from the designer:

As the table indicates, encoding button 1 switches between Poly and OMNI mode. Bear this in mind for practical applications, because this is a fast way to go from a preset Poly channel to OMNImode and vice versa.

MIDI controller assignment:

Amp Fuctions: MIDI Controller: as HEX value:

Amp Mute Master A/B Hi Gain

Lo Mid controller #23 0x17

Noise Gate Hi Mid Amp Mute Tone FX Loop I/II

controller #7 0x7 controller #14 0x0E controller #22 0x16

controller #24 0x18 controller #27 0x1B controller #28 0x1C controller #29 0x1D controller #30 0x1E

46 Footswitch: Serial AmpControl 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 port using a cordequipped with stereo¼" jack plugs.This MIDI-enabled footboard is a custom design that switches every amp feature designated as footswitchable in this

manual. To learn if a given feature may be controlled remotely, refer to its description herein. The MIDI In port is disabled when the Z-9 Footswitch is connected. A configuration table for the functions of the Steve Morse Signature amp is printed on page .

CAUTION:

Connecting any other switching devicemay damage it and/orthe amp's circuitry!

A tip from the designer:

The Custom Z-9 Footswitch was designed with the non-MIDI guitarist in mind. It's sure to delight if you don't or won't use MIDI systems. Based on a rather nifty switching concept, it provides direct access to the three channels. It also lets you control any other two switchable amp functions, for example, , , , etc. Another tremendous benefit of this microcontroller-driven foot board is that it connects to the amp viaan easily obtained,standard stereo cord.But that's notthe 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 foot board with a MIDI OUT (5-pin DIN connector) that selects 10 MIDI patches (or presets, if you prefer). Again, I want to emphasize that you should never connect another foot board to this jack: The Z-9 controls the amp via a proprietary ENGL serial data protocol, and the was developed exclusively for ENGL amps. No other foot board will work and in fact is likely to damage the foot board or amp's circuitry!

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

Master A/B FX Loop Hi Gain

Serial Amp Control Port

47 Footswitch: Channel Up/ Down, 1 <->2 / 3-Lo Gain <-> 3-HiGain

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

Channel 3 - Lo Gain Channel 3 - Hi Gain Up Down

among channels arrayed at the top and bottom of the amp's front panel. One button switches between the top (: and ) or bottom (: and

Channel 3 - Hi Gain Channel 1 2

channels) and or (: the bottom channel). The onboard channel switching facility, is disabled when you plug a footswitch into this jack. The MIDI In port (43) and the Z-9 Port (46) are both disabled when a plug is connected to this jack.

Note also:

status. Each of the two switches is provided with 15 milliamperes current, which suffices to powera standard LED. The stereo jack plug's mono contact ( ) controls up and down channel selection CH1 and CH2 or CH3-Lo and CH3-Hi, while the other contact ( ) accesses channels 1 or 2 and CH3-Lo or CH3-Hi. For details on wiring, see Pin Assignments on page .

A footswitch may be equipped with LEDs indicating the given switching

ring

and . Read and to mean switching

Channels 1 2 Channel 3 - Lo Gain

) channels, while the other activates or (: the top

Channel 3 - Lo Gain Channel 3 - Hi Gain

Channel 1 Channel 2

tip

48 Threshold Level

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

A tip from the designer:

Noise Gate Noise Gate

Channel 2 Channel 3

Noise Gate

The Lo and Hi Gain options generate different levels of noise, and I tuned the SM Signature Amp's Noise Gate accordingly. However, there is some minor matching variance between the two. stands to benefit most from the Noise Gate, so I suggest that you tweak itstwo knobs for thismode.

Hi Gain

49 FX Loop ISend

Connect this FX Loop I output to a signal processor's input/return jack using the shortest possible shielded cord equipped with 1/4" plugs. Activate anddeactivate it via the FX Loop I/II (16) button, which switches between these two loops. In the signal

FX Loop I

path, is located postpreamp and pre thetwo power ampMaster knobs.

50 FX Loop I Return

Connect this FXLoop I input to a signal processor's output/send jack using the 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,

Loop I

is located post preamp andpre the two poweramp Master knobs.

51 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:

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

FX Loop I Dry

Dry

52 FX Loop II Send

Connect this FX Loop II output to a signal processor's input/return jack using the shortest possible shielded cord equipped with 1/4" plugs. Activate anddeactivate it via the FX Loop I/II (16) button, which switches between these two loops. In the signal

FX Loop II

path, is located post preamp andpre the twopower amp Master knobs.

53 FX Loop II Return

Connect this FX Loop II input to a signal processor's output/send jack using the shortest possible shielded cord equipped with 1/4" plugs. Activate anddeactivate it via the FX Loop I/II (16) button, which switches between these two loops. In the signal

FX Loop II

path, is located post preamp andpre the twopower amp Master knobs.

54 Balance

NOTE:

Set this knob to when thisloop is notin use!

FX Loop II Dry

Dry

55 Pre Out

This is the SMSignature's preamp auxiliaryout. It deliversa signal withalmost the same level and frequency response as the signal patched into the amp's input. A lowimpedance circuit, Pre Out is great for applications like addressing a guitar tuner. The Pre Out signal is patched out to jack 55 even when Amp Mute is engaged. It can also serve as an effect device send, whereby the amp's preamp (and EQ and gain stages) is bypassed.

56 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 (-> and they are not frequency-compensated). Use it to do things like drive another linear power amp or frequency compensation filter, say to simulate a 4/12 cabinet and feed this signal to a recording system or PA.

57, 58 Poweramp Output, 4 Ohms Parallel

4 ohms speaker output jacks, internal connected parallel. For diverse cabinet options see the chapter onpage 22

abinet options

59, 60 Poweramp Output,8 Ohms Parallel

8 ohms speaker output jacks, internal connected parallel. For diverse cabinet options see the chapter onpage 22

abinet options

61 Poweramp Output, 16Ohms

16 ohms speaker output jack. For diverse cabinet options

options

IMPORTANT NOTE, please read and heed: Never operate the power amp without a sufficient load, otherwise you maydamage or destroy it!

An electronic surveillance system constantly monitors if a plug is inserted into the speaker outputs (57, 58), (59, 60) and (61). If a plug is not inserted into one ofthese 5 jacks, the poweramp is disabled and the Status LED flashes in a distinctive pattern to alert you to this. However, the system cannot check if a speaker is actually connected tothe other end ofthe cord. That'syour job.

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

on page 22

4 ohms 8 ohms 16 ohms

see the chapter

abinet

Cabinet options

1. One 4-ohm cabinet connectedto a 4-ohm jack;

Summary: 4 Z, -> connectedto 4-ohm output.

2. Two 8-ohm cabinets connectedto the 4-ohm jacks;

Summary: 8Z+8Z,->connected to 4-ohm +4-ohm output.

3. One 8-ohm cabinet connectedto an 8-ohm jack;

Summary: 8 Z, -> connectedto 8-ohm output.

4. Two 16-ohm cabinets connectedto the 8-ohm jacks;

Summary: 16Z+16Z->connected to 8-ohm +8-ohm output.

5. One 16-ohm cabinet connectedto the 16-ohm jack;

Summary: 16 Z -> connectedto 16-ohm output.

6. An 8-ohm cabinet connectedto one of the4-ohm jacks incombination

with a 16-ohm cabinet connectedto one of the8-ohm jacks Summary: 8Z+16Z->connected to 4-ohm +8-ohm output.

A few words from the designer on your ENGL Steve Morse Signature Amp's sounds and settings aswell as some practical tips:

A few comments on theNoise Gate:

The advantage of a Noise Gate that is installed in and matched to the amp is that it lets you fine-tune its threshold with extreme precision, thereby separating the useful, musical signal from useless background noise. Indeed, this was designed to address the signal the most beneficial spot in the signal chain - the preamp - to make it more effective. First and foremost, it is designed to suppress ambient noise such as hissing and humming during breaks when the Preamp is in Hi 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 Lo Gain ( deactivated) configurations. To get acquainted with how the works, I suggest you start by setting the Threshold knob to the far left ( opens at low signal levels) and slowly twist it clockwise to gradually raise the gate's trigger threshold. When the knob arrives at the far right position, the will not trigger until the signal reaches a very high level. This means that the preamp must amplify the guitar signal considerably to open up (or deactivate) the . In practice, your best bet for suppressing loud noise when running channels 2 and 3 at high Gain levels is to set the Threshold knob higher than 12 o'clock. If you're doing the low-gain thing in Lo Gain mode, 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 to work the guitar's volume knob.

Noise Gate

Hi Gain

Noise Gate

On the subject of effectloops:

An interesting configuration option is to run the Amp's internal preamp with or without an effects device. In this variant, serves as a nifty, MIDI-controlled hardware bypass. Another possibility is to connect two effect devices one each to

and - and assignthem freely tothe preamp channels.

Loop I FX Loop II

Electronic safety systems:

We endowed the amp with MIDI functionality and programmable settings, which mandate a microprocessor. This afforded me the opportunity to put that processor to even better use and employ itto power a couple of reassuring protectionsystems. 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,

FX Loop I

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, alwaysexercise due caution whenoperating this baby.

Programming sounds (settings, actually) to MIDI presets:

For reasons of convenienceand handling ease,we made programmingsounds to MIDI presets a piece of cake. Because this amp offers many programmable switching functions, is indeed a handy tool. It lets you copy the settings 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 programmable sound-shaping functionsare immediately enabled in the configuration stored in the most recent programming session - without having to first connect aMIDI foot board.

The programming process in steps:

1. Select the desired MIDI program (also called a preset or patch) using a MIDI foot board connected to the amp's (43).

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

Gate Lo Mid 1/2 Amp Mute Stand By

programmable functions are designated assuch in their descriptionsherein.

3. The Status LED flashesto indicate you haveedited one orseveral settings.

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 current settings of all programmable functions arenow stored in theselected MIDI patch.

Copy

MIDI In

Hi Gain Master A/B Noise

, , via and so forth as you please. All

Copying:

1. Select the desired MIDI preset using a MIDI foot board connected to the amp's

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

called the "source."

2. Press the Copy/Writebutton briefly. It is essentialthat during this routine youdo not change the settings of programmable functions in the selected source preset. That Status LED lights up continuouslyto indicate that Copyis activated.

3. Select the target preset via the MIDI foot board; you have approx. 30 seconds to do this. (The amp automatically quitsCopy mode 30 secondsafter 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 stored in the source MIDIpatch (that'sthe preset you selected first when you activated ) have now been dumped tothe newly selected targetpreset.

Copy

MIDI

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 10 minutes or so will do to 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 of flipping the Standby switch for short breaks.

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 thehousing.

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 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 canalso 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 ajob best left toexperienced and authorizedspecialists.

Glossary

MIDI Preset:

In this manual, MIDI programsare called presets andpatches. 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 numbering scheme.

MIDI Channel:

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

MIDI Controller:

You can control the programmable functions , , ,

Lo Mid 1/2 Hi Mid 1/2 Master A/B Amp Mute

controller commands with fixed MIDI controller number assignments. MIDI Controller data contains information about the MIDI Channel, the Controller number and the value. A suitable MIDI foot board (e.g. ENGL Z-15) must be able to send MIDI controller data with the appropriate controller numbers. To enable the MIDI controller receive feature at the amp, you must set coding switch number 6 to On. Refer to page 18 for further information.

Power Tube Monitor:

An electronic surveillance system that monitors each power tube's current and shuts the given tube down whenit detects a valuethat is toohigh.

, and as well as directly using MIDI

Tone, FX Loop I/II Noise Gate Hi Gain

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 ;

6. Power Tube Monitor: A problem or overload in power tube V2;

Standby further information on page 28.

Indication: LED flashes in 2 short bursts; What to do: Activate and deactivate ;

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 ;

Standby

Standby;

Standby

further information on page

28.

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 (43)?

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

(Refer to page 31 for pin assignments.)

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

program change commands? You can set the encoding button (45) 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

(57, 58) (59, 60) or (61)?

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

Standby / power amp off => The Amp 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

, 8 Ohms 16 Ohms

Noise Gate CH2 CH3

4 Ohms

the Threshold (48) 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 Amp 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 less than or equal to 5? This activates A , thereby silencing the amp. The front panel Amp Mute LED (36) lights up to indicate is active.

-> 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 (41) 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 (55) or Line Out (56) jacks to a

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

Amp Mute

mp Mute

Noise Gate

Amp Mute

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).

Technical Data

Output power:

Input sensitivity

Input: Effect Return:

Output level

SEND, level range: Pre Out: Line Out:

approx. 100 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.

-20 dB bis ca. + 3 dB max.;

approx.

0 dB at nominal power output;

Power consumption:

Fuses:

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

Memory:

System interfaces:

MIDI:

Serial Amp Control (S.A.C.):

approx. 425 watts max.;

2 ATL

(2 amps slo-blo)

4 ATL

(4 amps slo-blo)

2,5 ATL (2.5 amps slo-blo) 5 ATL (5 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; HEX: Cn MIDI channels 1 - 16

MIDI controller #7, #14, #22, #23, #24,'#27 #28, #29, #30; value 0-5 and 6 -127; HEX: Bn;

Proprietary ENGL asynchronous data protocol

Dimensions:

Weight:

approx. (l x h x d); approx. 28" (l x h x d); approx. 22

71 x 28 x 29 cm

x 11" x 11,4"

kg, 48,5 lb

Tube Map, ENGL - Steve Morse Signature Amp:

E656 chassis

as viewed

LED

Power

transformer

from above

Output

Transformer

V 5

Input

2.stage

V 1

driver &

3.stage

V 6

Lead

V 2

V 7

FX buffer

& P.A.

driver

V 3

V 4

V 8

phase

shift

converter

Frontpanel

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 (43), 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 *1

Pin 4 - MIDI-data wire

page: 17

*1: AC voltage is routed to pin 1 and 2 only when button 44 is set to ENGL MIDI Footcontroller.

Serial Amp Control Port (46)

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: 18

Dual Footswitch (47)

Stereo

1/4" jack

Use a stereo

plug only!

tip ring

sleeve

ring: refer to *2

tip: refer to *3

sleeve: Ground, GND

page: 18

Stereo

1/4" plug

*2: a switch connected to this pin activates Channel 1 or 2 (: switching between the top channels 1 or 2) and Channel 3-Lo Gain or Channel 3-Hi Gain (: switching between the bottom channel 3 in the Lo Gain or in the Hi Gain mode). *3: a switch connected to this pin is switching "up / down", means among channels arrayed at the top (: CH1 and CH2) or the bottom (: CH3-Lo Gain and CH3-Hi Gain) of the amp's front panel.

Options for controlling the ENGL - Steve Morse Signature amp remotely:

CAUTION !

REPLACE FUSE

ONLY WITH SAME TYPE

AND RATING !

Ground Lift

Switch

DO NOT OPEN !

RISK OF ELECTRIC SHOCK !

DO NOT EXPOSE THIS EQUIPMENT

Ground Floated

Ground

TO RAIN OR MOISTURE !

123456

Midi

Channel

Thru

Midi Foot-

Controller

Amp Mute

Connect Custom Footswitch Z-9 Only!

Foot sw it ch

Serial Amp Control Port CAUTION:

Channel: Up / Down

3 Lo <-> Hi

Noise Gate

min. max.

Threshold

1 <-> 2 /

Level

FX Loop I

Send Return Balance

Dry Effect

FX Loop II

Send Return Balance

Dry Effect

All-tube

Guitar Head Amp

Steve Morse Signature 100

Type E656

Amp D

esign by

Horst Langer

MADE IN GERMANY

Tube

Amp

Signal Outputs

Tuner Poweramp

Pre

Output

Line Out

And Or->

48Or8

4 Ohms Parallel

1 x 4 Ohms or 2 x 8 Ohms

Poweramp Output

8 Ohms Parallel

1 x 8 Ohms or 2 x 16 Ohms

And

Or->

16Or16

16 Ohms

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)

until “Cn.1” is displayed;

press "9" in the

last decade (12x)

until "Cn.2" is displayed;

then press "9";

select MPN with "Down" or "Up" confirm the selected

MPN with "4".

Cn. S. I. 50ms

switch loop 3

linear negative

Cn. value up

MIDI controller setup mode for

EXP Controller Cn.1:

press "0" in the

first decade (00x)

until "Cn.1" is displayed;

change settings:

Controller Number:

"Down" or "Up"

Controller curve:

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

Controller command

send intervall time:

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

store the setting with "0".

MIDI controller setup mode for

EXP Controller Cn.2:

press "9" in the

last decade (12x)

until "Cn.2." is displayed;

change settings:

Controller Number:

"Down" or "Up"

Controller curve:

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

Controller command

send send intervall time:

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

store the setting with "0".

Cn. S. I. 100ms

switch loop 4

log. positive

Cn. initial value

Switch Loop

3 & 4

Switch Loop

1 & 2 >

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

controller value and

the initial value with "3".

cn.2 setup mode

End

log. negative confirm MPN

Tube

Amp

Technology

MIDI

Footcontroller

Z-15

Cn. S .I. 20ms switch loop 2

56789

Cn. S. I.10ms switch loop 1

01234Down

cn.1 setup mode

Write

linear positve

Cn. value down

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".

Output

MIDI

Bank or

MPN

Power Supply

7-14 Volts AC 9-20 Volts DC

300 mA

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 (#28) or other functions at the amp that can be accessed via diverse MIDI controller.

Tube

Ser.Cnt.:

Channel 1

MIDI:

Patch 1/6

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

A B

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.

Power Supply In

7-14 Volts AC 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 (46) or via a 5-pin DIN cord plugged into the MIDI IN port (43). The former option affords switching access to channels and two special functions (for example, Hi Gain or FX Loop I/II), the configuration table is shown on page 34. 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. 47. Functions: Channel switching CH1, CH2, CH3-Lo Gain, CH3-Hi Gain see page 20 chapter 47 and page 31 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 a MIDI switcher (the ENGL Z-11 will do nicely) to this jack (47) to control the two switching functions.

Tube

Amp

FOOTPEDAL

Z-4

ON/OFFON/OFF

Noting Settings:

Gain 1 Middle Treble Volume 1 Gain 2 Treble Volume 2

Tone

Tube

Amp

Input

Gain

Bass Bass Middle

Lo Mid

1 / 2

CH 1

Hi Mid

1 /2

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

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

Presence

Depth Punch

CH 2

Hi Volume 3Lo Mid 2 Hi Mid 1 Hi Mid 2 Treble Lo Volume 3Bass Lo Mid 1Gain 3

Master A

Master B

CH 3

Steve Morse

Noise

FX Loop

Signature 100

Gate

I / II

Amp Mute

Master

Write /

A/B

Copy

Stand By

Amp Mute

Power

Gain 1 Middle Treble Volume 1 Gain 2 Treble Volume 2

Tone

Tube

Amp

Input

Gain

Bass Bass Middle

Lo Mid

1 / 2

CH 1

Hi Mid

1 /2

Presence

Depth Punch

CH 2

Hi Volume 3Lo Mid 2 Hi Mid 1 Hi Mid 2 Treble Lo Volume 3Bass Lo Mid 1Gain 3

Master A

Master B

CH 3

Steve Morse

Noise

FX Loop

Signature 100

Gate

I / II

Amp Mute

Master

Write /

A/B

Copy

Stand By

Amp Mute

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

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

Gain 1 Middle Treble Volume 1 Gain 2 Treble Volume 2

Tone

Tube

Amp

Input

Gain

Bass Bass Middle

Lo Mid

1 / 2

CH 1

Hi Mid

1 /2

Presence

Depth Punch

CH 2

Hi Volume 3Lo Mid 2 Hi Mid 1 Hi Mid 2 Treble Lo Volume 3Bass Lo Mid 1Gain 3

Master A

Master B

CH 3

Steve Morse

Noise

FX Loop

Signature 100

Gate

I / II

Amp Mute

Master

Write /

A/B

Copy

Stand By

Amp Mute

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

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

Gain 1 Middle Treble Volume 1 Gain 2 Treble Volume 2

Tone

Tube

Amp

Input

Gain

Bass Bass Middle

Lo Mid

1 / 2

CH 1

Hi Mid

1 /2

Presence

Depth Punch

CH 2

Hi Volume 3Lo Mid 2 Hi Mid 1 Hi Mid 2 Treble Lo Volume 3Bass Lo Mid 1Gain 3

Master A

Master B

CH 3

Steve Morse

Noise

FX Loop

Signature 100

Gate

I / II

Amp Mute

Master

Write /

A/B

Copy

Stand By

Amp Mute

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

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

Power

Gain 1 Middle Treble Volume 1 Gain 2 Treble Volume 2

Tone

Tube

Amp

Input

Gain

Bass Bass Middle

Lo Mid

1 / 2

CH 1

Hi Mid

1 /2

Presence

Depth Punch

CH 2

Hi Volume 3Lo Mid 2 Hi Mid 1 Hi Mid 2 Treble Lo Volume 3Bass Lo Mid 1Gain 3

Master A

Master B

CH 3

Steve Morse

Noise

FX Loop

Signature 100

Gate

I / II

Amp Mute

Master

Write /

A/B

Copy

Stand By

Amp Mute

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

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

Power

Configuration table for assigning the ENGL Steve Morse Signature Amp's sound-shaping and special functions to the Z-9 Custom Footswitch's

and :Functions 1 2

Button Functions at the 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 Hi Gain Channel 2 F1-6 Function 1 Lo Mid 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 Hi Mid Channel F2-3 Function 2 Amp Mute Channel 4 F2-4 Function 2 Channel 1 F2-5 Function 2 Tone 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 SM Signature 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 SM Signature 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 Amp'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 2: LED 1 lights no 2: LED 2 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 3 flashes 1: LED 4 flashes

2: 3 LED 3 lights 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

Additional information

The following refers to section 38 "Power" on page 17 Please note:

before 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: After an extended period of operation and higher ambient temperatures the amps's chassis can become very hot, therefore avoid touching the rear panel surface !

The following refers to section"Handling and Care" onpage 25

In order to spare thepower tubes and prolongtheir lifetime, werecommend 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.

ensure that the Stand By switch (31) is set to (0 position)

Stand By

Space for User Notes:

Page: > 6 < <----------------------- 7 -----------------------> <---------------------------------- 8 ----------------------------------> <----------------------- 9 -----------------------> >10<

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

Bass Bass Middle

Middle Treble

Volume 1 Gain 2 Treble Volume 2

CH 1

Presence

Depth Punch

FX Loop

CH 2

Noise

I / II

Gate

Signa

tur

e 100

Tube

Gain 1

Tone

Amp

Input

Gain 3

Gain

18 19 20 21

Bass

Lo Mid 1

22 23 24 26 27 28 29 30 31 32 33 34 35 37 3836

Lo Mid

1 / 2

Lo Mid 2

Hi Mid 1 Hi Mid 2 Treble Lo Volume 3

Hi Mid

1 /2

Hi Volume 3 Master A

CH 3

Master B

Master

A/B

Amp Mute

Write /

Copy

Stand By

Amp Mute

Power

Page:>10< <----------------------------11 ----------------------------> <----------------- 12 -----------------> <-------------------------- 13 --------------------------> <---- 14 ----> >15< > 16 < > 17 <

Type Plate

REPLACE FUSE

ONLY WITH SAME TYPE

AND RATING !

REPLACE FUSE

ONLY WITH SAME

TYPE AND RATING !

Ground Lift

Switch

Ground Floated

Ground

CAUTION !

DO NOT OPEN !

RISK OF ELECTRIC SHOCK !

DO NOT EXPOSE THIS EQUIPMENT

TO RAIN OR MOISTURE !

Midi Thru

123456

Midi

Channel

Midi Foot-

Controller

Amp Mute

Footswitch

Serial Amp

Control Port

CAUTION: Connect Custom Footswitch Z-9 Only!

Up / Down

3 Lo <-> Hi

Channel:

1 <-> 2 /

Noise Gate

min. max.

Threshold

Level

FX Loop I

Send Return Balance

Dry Effect

FX Loop II

Send Return Balance

Dry Effect

All-tube

Guitar Head Amp

Steve Morse

Signature 100

Type E656

Amp D

esign by

Horst Langer

MADE IN GERMANY

Tube

Amp

Signal Outputs

Tuner Poweramp

Pre

Line Out

Output

And Or->

48Or8

4 Ohms Parallel

1 x 4 Ohms or 2 x 8 Ohms

Poweramp Output

16Or16

8 Ohms Parallel

1 x 8 Ohms or 2 x 16 Ohms

And

Or->

39 4241 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 6140

Page: <----------------------- 17 ------------------------> < 18 > >19< <--- 20 ---> <-------------------------- 21 --------------------------> <----------------------------- 22 ----------------------------->

16 Ohms

Tube

Amp

Technology

Gerätebau GmbH

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

Text, design, graphics and layout by

Horst Langer, Amp Designer

photography Steve Morse Signature Amp: Stefan Wibbeke

Germany

Engl Steve Morse Signature 100 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual