Engl TUBE PREAMP 570 Operator's Manual

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Operator´s Manual

Please, first read this manual carefully!

Full Tube Guitar Preamp

with MIDI-Control

TUBE PREAMP 570

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Tube

Amp

Technology

Tube

Amp

Technology

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Table of Contents

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

Rear Panel Features:

Practical Info and Tips Glossary,

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

Note:

Handling and Care

Preamp Defeat; Clean and Crunch Channel Control Features Input; Lead I and Lead II Channel Control Features

Noise Gate Write/Copy Power

Mains, Mains Fuse, Ground Lift Switch

Detailed Specifications and Ratings

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

Technical specifications are subject to change without notice.

Modern/Classic, Mega Lo Punch,Stereo FX Loop

Noise Gate: Mute Depth, Threshold Level

Stereo Output: Right & Left, Level Stereo FX Loop: Send, Return Right & Left Auxiliary Input MIDI Section and Footswitch Ports

Balanced Line Out: Level, Overload LED, Line Out Status, XLR Ground, Line Output Frequency Compensated

CAUTION! Please read and heed the following:

Status-LED: Indications

Front and Rear Panel Diagrams

4 4 5

6 9 10 13 14 15

15 16 16

17 17 18 18 21 24 25 26 28 29 30 31 32 33

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Congratulations! Preamp E570 most advanced versatileGuitarpreamps

sophisticated guitar preamp all-tube technology

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

controlledremotelyviaMIDI

switchable

Noise Gate

frequency-compensated stereo out 4x12" speaker cabinet

emulation

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

a gigging workhorse

studio home recording

finely-tweaked, MIDI controllable sound-shaping functions

wealth of disparate sounds

four basic sounds , , and

ultra-advanced tone-generating machine

playing pleasure value to boot

Four basic channels Preamp Defeat Function:

Modern and Classic sound-shaping buttons Two Gain variants

Two voicing sections

Various sound-shaping buttons

With the , you now own one of the

and availabletoday! This marries the unrivalled tone of tothe awesomesound-shaping mightof controlfeaturespowered by

. This elegant combination puts at your fingertips

and an all but inexhaustible reservoir of compelling variationsallofwhichmay be .What'smore,thepreamp boasts a host of hip &practical features: To mentionjust a few, you get a

forthe Crunch,LeadI andLeadII overdrivechannels.In addition,the amp

sports a featuring

.You can sendabalancedsignal toamixingconsole viatheXLRports, oran

unbalancedsignaltoarecordingdeviceviathestereojack.

1. a logical control feature array, utmost and

;

2. and courtesy of the many

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

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

a handy tool for and ;

4. a combination of

providing instant access to a ;

5. the ; with two variable and

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

6. an that will give you years of

and .

-> : , , and with separate Gain,

Treble and Volume knobs.

-> This bypass circuit lets you combine the 570 preamp

with further preamps or multi-effect processors to extend the range of your 19" rack system's sound-shaping options.

-> : Determine the basic voicing of

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

-> for each of the basic channels: and

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

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

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

-> tuned to match the tonal requirements of

the given channels: and for and ,

and for the two Lead channels.

This affords you:

Features and Functionality at a Glance

Clean Crunch Lead I Lead II

Modern Classic

Clean Crunch Lead I Lead II

Gain Boost Hi Gain

Clean Crunch

Lead I Lead II

Bright Ultra Bright Clean Crunch

Contour Mid Edge

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-> Use this circuit to insert stereo effect devices

into the signal chain.

Programmable stereo effect loop:

The preamp can also be muted via MIDI controller 7.

-> Use this circuit to insert stereo effect devices

into the signal chain.

-> A stereo jack offers an

signal for recording to tape deck or PC.

-> for routing

the preamp signals to mixers or recording gear.

-> serve to integrate the preamp into a MIDI system.

-> , accessible via 16 MIDI channels.

-> The Preamp E570

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

-> for suppressing noise in the ,

and channels.

Among thehallmarks of this finepreamp are painstakingworkmanship and finishing as well as rigorously tested and carefully selected quality components. You'll find guidelineson care andmaintenanceoftube ampsonpage24. UndertheheadingTips from the designer, you'll come across practical tips on the aforementioned features throughout the manual. All critical information concerning the operation of this preamp is preceded by "NOTE", "CAUTION", "Read and heed" or some other eyecatchingcomment. We'recallingyour attentiontothese remarksforreasons of safety orothercompellingmotives,sopleasegivethemdueconsideration.

Everyone atENGL isconfident thatthe and aresuretodelightyou:

Though thispreamp isrelatively easy tohandle andyou're probably raringto give it a go, I recommend that you read the owner's manual thoroughly before you power it up.

1. ENGL E570 Tube Preamp;

2. mains cord;

3. this manual;

4. a pamphlet entitled

Stereo Effects Loop:

unbalanced, frequency-compensated line out

Balanced, frequency-compensated XLR line stereo outputs

and ports

128 MIDI presets

offers three different remote interface ports:

Programmable Noise Gate

E570 tubepreamp's extraordinaryversatility

outstandingfeatures Simplyplugin,playandbeinspired

bythetubetoneofyourENGL570preamp! Afewwordsofwisdomfromthedesigner:

MIDI In Thru

Crunch Lead I

Lead II

Instructions for the Prevention of Fire,

Electrical Shock and Injury

Contents:

Master knob: Overall output level control.Master knob: Overall output level control.

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Front Panel Features

At the backof the manual, you'll find fold-outdiagrams of the front and rear panels. As you're reading the descriptions of the preamp's features, you'll gain a better understandingofthetopicofdiscussionifyouunfoldandrefertothemaswego!

This option comes in handy when you want to insert another preamp or an effect processor into a serial loop along with the ENGL Preamp 570. If the other preamp can also be bypassed, you can switch between the two preamps on the fly or even run thembothat thesametime.If you wanttoconnecta secondpreamp,insertitinto the stereo effectsloop and set the Preamp Defeat statusand FX Loopstatus active when you wantactivate thesecond preamp.You couldeven daisychain severalpreamps or effectprocessors.

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

The amount of distortion depends on your guitar's pickups and the Gain Boost (3) setting.In Cleanmode, single-coilpickupsmay beginsaturating thepreampwhen the knob is set to about the two o'clock position; pickups with very high output levels (humbuckersor activepickups)will evokemild overdrive ateven lowersettings.If you wantsqueakycleantone,simplybackofftheGainknobaccordingly.

Boosts the input sensitivity ofMain Channel 1, and . The red LED above this button lightsup to indicate is on. can alsobe switched via MIDIprogramchangecommandortheCustomZ-9Footswitch.

As itsname would imply, servesprimarily to upClean and Crunch channel input levels, extend both channels' gain ranges. In effect, this feature gives you two additional variationson these two channels'basic sounds. Forexample, you could set theClean channel Gainknobto the highestsettingat whichyourguitarsignal remains distortion-free, just under the preamp clipping threshold. Then when you activate

, you will overdrive theClean preamp slightly, yielding a grittier tone wellsuitedforrockriffs. AnotherClean channeloptionisto usethe asa volumebooster.Todo this, activate and dialina CleanGain knobsetting,making surenot topushthe preampinto clippingzone.Consider thisyourhigh-volumeclean tone,sayfor clucking lead lines. Switching off gives you a softer clean tone for chord work. Switchbackandforthbetweenthetwoasdesired.

A tip from the designer:

Atipfromthedesigner:

Clean Crunch

Gain Boost Gain Boost

Gain Boost

GainBoost

Gain Boost

1 PREAMP DEFEAT

2CLEANGAIN

3GAINBOOST

Thisisabypassthatcutsthepreampoutofthesignalchain when you pressthebutton. In thiscase, theinput signalis routeddirectly to the Send jack.The LEDlocated above thebuttonilluminatestoindicatethepreampisbypassed.

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4CRUNCHGAIN

5BASS

6MIDDLE

7TREBLECLEAN

8TREBLECRUNCH

Gain control for the Crunch channel. This knob determinesinput sensitivity in Crunch mode;useittodialinthedesiredamountofpreampdistortion.

Extremely high gain and volume levels in Crunch mode can produce powerfulfeedback.Avoidfeedback squeals; theycanleadtohearinglossanddamage speakers! At higher volumes, back off the Gain and Treble levels in order to prevent uncheckedfeedback!

Single-coil pickups will evoke mildly overdriven sounds at settings somewhere between 10and 3 o'clock.Try settings between9 and 1 o'clock forpickups with highoutput humbuckers or activepickups. Bear in mind the Gain Boostfunction. You can activateit viaanENGLCustom Z-9Footswitchora preprogrammedMIDIpresetto get anevenbigger,beefiercrunchtoneonthefly.

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

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

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

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

Tohelpyouget acquainted withthepreamp'sfundamentalsounds,Irecommend that youset alltone controlstoor slightlyhigher thanthecenter or12 o'clockposition.For higher-gain Crunch sounds, your best bet is to turn the Treble Crunch knob down to prevent thepickups and speakers fromgenerating feedback (asetting in the 10-to-1 o'clockrangeisrecommended). The Cleanand Crunchchannels are equippedwith dedicatedTreble knobs soyou can tweak the top end of each of the two channels separately to suit your taste and the given sonic scenario. You will find that grittier tones generally sound better with a touch less treble because preamp saturation makes higher frequencies figure more prominently in the signal. Bear in mind thatyou also have the two Normal Bright (9) and UltraBright (10) buttonsat your disposal for shapingthe high frequencyrange. I suggest you get into the habit of dialing in lower Treble settings. That way, you can program various MIDI presets with one or both Bright options, remotely and have plentyoftonalvariationsatyourfingertips.

CAUTION:

Atipfromthedesigner:

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9NORMALBRIGHT

10ULTRABRIGHT

11CLEANVOLUME

12CLEAN

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

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

For acrisp orglassy tone,activate the .This settingbrightens thesound of humbucking or muddy pickups. Don't let the names confuse you: actuallyaddresses ahigher frequencyrangethan .Notealso thatthe Gain knob influencesthis sound-shaping function's intensity.Furthermore, its tonalimpact varies slightly in Modern and Classic modes, particularly when you are driving the preampintotheclippingzone.

Locatedin theClean andCrunch preampstageof MainChannel 1,this sound-shaping function boosts slightly lower high frequencies. Unlike (9), its intensity remains the same irrespective of the Gain knob setting. The LED above the button lightsuptoindicate the UltraBrightfunction is on.Itcan also beactivatedremotely via MIDIprogramchangeorCustomZ-9Footswitch.

Thisvoicingoptionupsthetwangfactorinherentincertaintypesofguitars,andletsyou putasetofsoniccowhornsonthosethatlackit.Feelfreetocontrolthissound-shaping functionremotelyvia MIDI.Butwhichever wayyou choosetouse it,I recommendthat youdon'toverstatetop-endfrequencies.BackoffthetwoTrebleknobstoavoid harsh, cuttingorover-the-topbrightness.InClassicmode,high-frequencypeaksaredampened anywaywhen thepreampstarts clipping.In Modern mode,the tonecan becomevery gritty andraw, particularlywhen Brightfunctions areactivated. That's notnecessarily bad;forsomesounds,thiseffectcanbequitecompelling.Isuggestyouliterallyplayitby earexperiment freelyand youare sure todiscover manyinteresting andinspiring topdrawertones.BesuretogivetheModern/Classicsound-shapingfunctionsagoodwork out.Isuspect you'll bedelighted bythearray oftones,particularly asyou add different guitarsandpickupstothemix.

Determines the Clean channel's level. Use this knob to adjust the Clean channel's volume and dial in thedesired balance in comparison with the other channels' levels. Because thisknob is located pre effectloop, it alsodetermines the effect send levelin Clean mode. The green LED to the right of the knob lights up to indicate the Clean channelison.

Pushthis buttonto activatethe preamp'sClean channel directly(in reciprocationwith

, , , and ). The green LED to theright of the Clean Volume knob (11) lights up to indicatethe Clean channel isactive. The Clean channel mayalsobeactivated viaMIDIprogram change,theENGL Custom Z-9Footswitch, or a dualfootswitch.

Clean Crunch

Normal Bright

UltraBright

Normal Bright

Crunch Lead I Lead II Preamp Defeat

Atipfromthedesigner:

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13CRUNCHVOLUME

14CRUNCH

15MODERN/CLASSIC

16M.L.P.:MEGALOPUNCH

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

Press this button to activate the preamp's Crunch channel directly. (in reciprocation with , , , ),The yellowLED tothe rightofthe Crunch Volume knob (13) lights up to indicate the Crunch channel is active. The Crunch channel may also be activated via MIDI program change, the ENGL Custom Z-9 Footswitchoradualfootswitch.

This sound-shapingfeature voices the basic tonalcharacter of thefour Clean,Crunch, LeadI andLead II channels,the choicesbeinga morecontemporary sound orvintageapproved tone. The LED above the button lights up to indicate is activated.

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

CustomZ-9Footswitch. When set to , the preamp's response is a touch less dynamic, with fewer

midrange frequencies in the mix. This voicing is particularly prominent when the preamp stage ( , ) is overdriven, making the right choice for heavier styles. Classic mode is the way to go for vintage tube tone. If you want your lead lines to pack a mightier punch, I recommend that you activate in Lead/Modern mode, or generally opt for Classic mode. When in Classic mode and at higher Gain settings, deactivate for a more focused,tighter low end. Thoughthe differencein thetwo voicings ismore subtlein theCleanchannel, youwill notice that elicits a more dynamic response; this is attributable to the ECC 83 triode stage. The result is a slightly smoother, less edgy tone. Here's a hip

configurationforyou:Set upyourrig so thatthepreamp isrightat the cusp of clipping that is, the point where the clean signal begins to break up and transition to a dirtier tone and turn up the Treble knob. In Classic mode, higher frequencies are dampened - an effect known as soft clipping yielding a more homogenous, balanced tone. You can achieve this kind of tone by dialing in higher Gain knob settings for theClean channel knobs or activating . The Crunch channel also puts out mild, rock-approved grind: Activate and dial in lower gainlevelsbysetting somewhereinthe9-1o'clockrange.

Whenactivated, thisfunctionboosts low-endfrequenciesin allfour preamp channels. The red LED above the button lights up to indicate this function is on. It may also be activatedremotelyviaMIDIprogramchangeorCustomZ-9Footswitch.

effects vary, particularly in Lead channel Modern and Classic operating modes. When is on, it boosts the bottom-end meaning that it audibly increasessound pressure. When Classicmode is activated, theeffect depends

Clean Lead I Lead II PreampDefeat

Classic

Modern Classic

Modern

Crunch Lead Modern

Contour

Mega Lo Punch

Classic

Classic/Modern

Gain Boost

Crunch

CrunchGain

Mega Lo Punch's

Modern

Atipfromthedesigner:

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on the Gain knob setting and is not nearly as pronounced. Atvery high Gain settings anddepending on thetypeof pickup, thesignal'slow end maybecomerather muddy. When you configure the amp in Classic mode and dial in a high gain level, I strongly suggestyoudeactivateMegaLoPunch.

Pressthisbuttontoactivateanddeactivatethe .TheredLEDabovethe button lights upto indicate is activated.You can also switchthe on and off viaMIDIprogramchangeorCustomZ-9Footswitch.

The integratedprogrammable stereoeffect loop offersyou the option of callingup a connected outboardsignal processor's effect atwill via MIDIand assigning thiseffect tothe preamp'sdifferent channelsasdesired. Asan alternative,youcan usethe effect loop to integrate an additional preamp into the system. In this case, use

and to switch to and fro between the 570 preamp and the

connectedoutboardpreamporcombinethetwodevices.

¼"unbalancedinputjack.Plugyourguitarinhereusingashieldedcord. 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 yourguitar to theamp using differentcords. 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).

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

Extremelyhigh gainand volumelevelsin Leadmode canproducepowerful feedback. Avoid feedback squeals; they can lead to hearing loss and damage speakers!Athigher volumes,back offthe Gainand Treblelevels andpossibly Presence levelsofaconnectedpowerampinordertopreventuncheckedfeedback!

Thetwo Leadchannels'fundamental tonesarenot worldsapart: boasts slightly less gain and bottom end, but its speedier response makes it a great choice for brisk riffingandlightningleadruns.

Pressing this button ups input sensitivity, thereby increasing the amplification factor and theamount of distortion in both Main Channel2's Lead Iand Lead IImodes. The LED above this button lights up to indicate is active. This feature can also be switchedviaMIDIprogramchangeorCustomZ-9Footswitch.

When activated, supercharges the amplification factor, switching from

FXLoop

FX Loop FX Loop

Preamp

Defeat FX Active Loop

LeadI

Hi Gain

Hi Gain Soft

Atipfromthedesigner:

CAUTION:

Atipfromthedesigner:

17 FX LOOP ACTIVE

18INPUT

19LEADIGAIN

20HIGAIN

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Lead Heavy Lead

Hi Gain

Soft Lead

HiGain

Lead II

Lead I

Lead I's

to and putting both Lead channels into high gear. This doubles the number of basic sounds in Main Channel 2. The Soft Lead setting suffices for highoutput pickups - even for playing leads - so you can leave off if your guitar is shred-approved. settings also work for chugging rhythm riffs or as alternative crunchsounds, sogive 'ema try. Butby allmeans, forscorching ultra highgain lead sounds with truckloads of sustain or for power chords with a monster bottom-end,gofortheHeavyLeadvariantwith activated.

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

The two Lead channels' fundamental tones are not worlds apart: boasts a bit more gainand bottomend than , andworks very wellfor fat,in-your-face solos and chunky riffs with a big bottom end with plenty of low-frequency punch. Its response is not quite as speedy as , and the low-end can turn muddy at high Gainsettingsincombinationwithhigh-testosteronepickups.

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

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

Thisisthepreampvoicingsection'spassivehigh-frequencyEQforLeadImode.

Thisisthepreampvoicingsection'spassivehigh-frequencyEQforLeadIImode. Tohelpyouget acquainted withthepreamp's fundamentalsounds,I recommend that

you set all tone controls to about the center or 12 o'clock position. For higher-gain, high-volumeleadsounds, yourbest betis toturn theTreble knobdown toprevent the pickupsandspeakers from generatingfeedback (asettingin the9-to-1 o'clock rangeis recommended). If your power amp - say, an ENGL tube power amp - features a Presence knob, you could turn upthe preamp's Treble knob abit and back off thepower amp's Presence knob when in Lead mode. If your power amp is not equipped with a Presence knob (meaningthat thepoweramp's frequencyresponse isfairlylinear), itisrecommended thatyousetthetwoTrebleknobstorelativelylow values inordertopreventfeedback. Besides,over-the-topTreblesettingsresultinoverlyaggressive,piercingleadtones.

CAUTION:

Atipfromthedesigner:

21LEADIIGAIN

22BASS

23MIDDLE

24TREBLELEADI

25TREBLELEADII

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The LeadI andLead II channelsare equippedwith dedicated Treble knobs soyou can tweakthe topend ofeachof thesetwo channelsseparately tosuityour taste.Though this passive voicing section's controls range is narrower than that of a comparable active system, its EQ curve is tweaked specifically for its designated purpose, and will give you satisfying results. What's more, in combination with the two sound-shaping buttons and , you have heaps of voicing options for tailoring basic soundstotaste.

shapes midrangefrequencies for Main Channel 2'sLead I andLead IImodes. When activated, Contour boosts low mids from 300 to 600 hertz as well as the frequency at 1500 hertz. Note that the Contour setting influences the functionality and range of the Mid knob (23). The LED above the button lights up to indicate

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

Though this voicing section is passive and its control range is therefore somewhat narrower, with and you have two additional tools available for shaping the midrange. And for good reason music is made in the mids, and these frequenciesare criticaltodialing inhappeninglead tones.Youcan employ to scoop mids radically and conjure rabid heavy metal tones or boost them to elicit assertiveleadsounds.

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

Like , is a passive voicing feature. Consequently, its effect on the soundscape is rather subtle. Technically speaking, it actually re-voices the Mid knob. Activating smoothes out lead tones' rough edges. Deactivating and thins out the lead tones' midrange, creating a more brittle tone. This brandof toneis bettersuited forrhythmwork becauseit isnot asaggressive oroverly assertive.Different combinationsof and yieldfouradditional tonal variants in Main Channel 2, and these variations can be programmed, stored and accessedviaMIDI.

Determines the Lead I channel's level. Use this knob to adjust the Lead I channel's volume and dial in thedesired balance in comparison with the other channels' levels. Because thisknob is located pre effectloop, it alsodetermines the effect send levelin Lead I mode. The red LED to the right of the knob lights up to indicate the Lead I channelison.

Contour MidEdge

Contour

Contour Mid Edge

Contour

MidEdge

Contour Mid Edge

Mid Edge Mid Edge

Contour

MidEdge Contour

Atipfromthedesigner:

26CONTOURACTIVE

27MIDEDGE

28LEADIVOLUME

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29LEADI

30LEADIIVOLUME

31LEADII

32MASTER

33NOISEGATE

Pushthis buttonto activatethepreamp's LeadIchannel directly(in reciprocationwith

, , , ).The redLED to the right ofthe LeadI Volume knob(28)lightsupto indicate LeadIchannel is active.Itmayalso beactivatedviaMIDI programchange,theENGLCustomZ-9Footswitch,oradualfootswitch.

Determines the Lead II channel's level. Use this knob to adjust the Lead II channel's volume and dial in thedesired balance in comparison with the other channels' levels. Because thisknob is located pre effectloop, it alsodetermines the effect send levelin Lead II mode. The red LED to the right of the knob lights up to indicate the Lead II channelison.

Pushthisbuttontoactivatethe preamp'sLeadIIchanneldirectly (in reciprocationwith

, , , ).The red LEDto the right ofthe Lead IVolume knob(30) lightsupto indicatetheLead IIchannel is active.It mayalso beactivated via MIDIprogramchange,theENGLCustomZ-9Footswitch,oradualfootswitch.

Master volume knob. Locatedpost effect loop, it controls theoverall preamp output level. You can also set the masterlevel to 0 via MIDI controller 7. To learn how to do this,seesection57inthe chapter.

TheMaster knobaffordsyou instantaccessto thepreamp'soverall outputlevel.It lets you quickly adjust the master volume without having to modify the individual channels'volumes. Remotecontrolvia(MIDI)footswitchisanifty little utility:IfyourarsenalincludesMIDI gear - for instance, the ENGL Z-15 MIDI Footcontroller - you can use the preamp's master volume mute circuit toswiftly and conveniently set the preamp's output level to0duringshortbreaksorwhenswitchingaxes.

Press this button to activate an onboard and suppress excess noise in the Crunch channelor thetwo Leadchannels. Controlthe NoiseGate using thetwo Level Threshold(40) and MuteDepth(39) knobs onthebackof thepreamp. TheLEDabove the button lights up to indicate the is activated. This feature can also be switchedviaMIDIprogramchangeortheENGLCustomZ-9Footswitch.

: The may openup inadvertently whenthe isactivated, ahigh-gain Leadchannel isselected, andthe volume exceeds the Threshold knob setting. At very high volume and gain settings, this may generate instant feedback, particularly if your guitar is facing the speakers. Rather than musical and controlled, this is the shrill, unpleasant and potentially harmful variety of feedback squealing that sends youraudience andfellow musicianspacking. Though the preamp is not more susceptible to feedback when the is activated, the fact that it suppresses extraneous noise means you can't hear those

Clean Crunch Lead II Preamp Defeat

Clean Crunch Lead I Preamp Defeat

RearPanelFeatures

Noise Gate

NoiseGate

Noise Gate

Atipfromthedesigner:

IMPORTANT note;please readand heed

Page 14

telltale signs that feedback is swelling and consequently can't take measures to suppress it.For this reason,make an extraeffort to becareful when the is activated: Before you approach the preamp or 19" racksystem and speaker cabinet with your guitarin hand,turn theguitar's volumeknob tothe farleft position (to0 so thatnosignalisaudible)topreventthepickupsandspeakersfrominteracting!

Noise is a definite no-no in many situations. For example, studio etiquette demands that youkeep alid on extraneousnoise during short breaks. It'sin the natureof highgain rigs to generate undesirable peripheral noise in overdriven channels. This is attributable to the physical properties of an amp's constituent components, in particular its active components. That's right; those cherished tubes are the culprits. The Noise Gateis a tool that lets you silence this noiseduring breaks by way ofsignal mute circuit. Note that electric guitars pick up interference signals, and these are amplifiedtremendously athighgain levelsinLead mode.Themost commonsourceof 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 entirelypossibleforthishumming and othernoisetorise to alevelthatdeactivates the

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

transformersandpowerunitsasspaceallows.

Noise Gate

Atipfromthedesigner:

34WRITE/COPY

Press this button to store the modified setting of a programmable feature to a MIDI memory slot(generally called apreset). Here'show to distinguishbetween and

:withtheformeryou're actuallyprogrammingor writing anewMIDI preset, with thelatteryou'remakinganexactduplicateofanexistingpreset. ThesystemwillselectaWriteoperationwhenever you editaMIDIpreset,thatis, when you havemodified a programmablefeature. You'll knowthat this isthe case because theStatusLEDflashes steadilywhenyou editoneor severalprogrammablefeatures. If you press the button and did not edit a MIDI preset, thesystem will select . This means that the given preset becomes the source, and its contents are dumped to anotherpreset andstored there.

Thesystem quits mode autonomously ifyoudonotselectanewMIDIpresetwithinabout30seconds. The preset programming process -- the Write command, thatis -- is not carried outas soon as you press the button. Pressing the button merely initiates the process. You must holdit downfor about asecond untilthe Status LEDflashes threetimes in rapid succession.This mechanismis designedto preventinadvertentprogramming. Youcan cancel theprogramming processat anytime beforethe StatusLED firstilluminates by releasing the Write button. Again, the preset will only be programmed successfullyif youpressandholdthebuttonuntiltheStatusLEDflashesthreetimes.

Write

Copy

Whenyou pressthis button,the StatusLED lightsup

continuouslyto indicate is activated.

You'll have to go through a similar routine to copy a preset once you select a target preset:When theStatusLED extinguishes,the copyoperation is underwayandcan 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 longastheLEDlightsupcontinuously.

Copy

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IMPORTANTnote;pleasereadandheed

Moregood-to-knowinfo:

: MIDI preset 1 activates when the preamp 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 deviceto the port (55)anduse thisoutboard device toselect thedesiredMIDI presetonthepreamp.

Note that the Status LED also indicates the status of components unrelated to and . The microcontroller runsa short systemcheck afteryou switch thepreamp on.Shoulditfind a defectinthe memory chip(EEPROM),the LED

PresstheWrite/Copycopybuttontoconfirmthatyougotthemessage.Onceyouhave done this, the system will be ready to run, although you may encounter problems whenattemptingtoselectorstoreMIDIpreset.

MIDIIn

Write

Copy

35POWER

MainsConnector

CAUTION:

37MAINSFUSEBOX: CAUTION ALWAYS makesure replacementfuses are ofthe same typeand have the

sameratingsastheoriginalfuse!Tothisend,pleaserefertothefuseratingstable. 38GROUNDLIFTSWITCH

Please note:

Mains power on/off.

Atthe backofthe manualyou'll find afolded pageoffering diagramsof thefront and rear panels. Please unfold and refer to it as you read through the descriptions of featuresandfunctions!

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

Make sureyou use anintact mains line cord witha grounded plug!Before you power the preamp up, ensure the voltage value printed on the label under the mainssocketisthesameasthecurrentofthelocalpowersupplyorwalloutlet. Please also heed the guidelines set forth in the separately included pamphlet,

Therearchambercontainsthemainsfuseandthefrontchamberasparefuse.

This switch severs the circuit connecting the preamp's internal ground to the wall receptacle's ground terminal. You can set the switch to when you haveconnectedasignalprocessor orpowerampand wanttopreventthe twodevices' groundsfromformingagroundloopthatmanifestsinannoyinghumming.

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

Rear Panel Features

InstructionsforthePreventionofFire,ElectricalShockandInjury

Ground Floated

Ground

willflashina pattern

offiveshortbursts.

Page 16

39MUTEDEPTH

40THRESHOLDLEVEL

Atipfromthedesigner:

41STEREOFREQUENCYCOMPENSATEDLINEOUTPUT

42OVERLOAD

43LEVEL

Atipfromthedesigner:

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

mutesthesignal; inother words,it setsthe residualvolume level.The furtheryou twist the knob clockwise, the greater the drop in (noise) level when the mutesthesignal.

Use thisknob toset athreshold value(that is,the noiselevel) atwhich the activatesto suppressthe signal.Thefurther youtwist theknobto theright, thehigher the signal levelat which the kicks in. The can be activatedand deactivatedas requiredforthe Crunchchannel andthe two Leadchannelsby pushing thefrontpanelbutton(33).

, and generate different levels of noise, and I tuned the ENGL 570 preamp's accordingly. However, there is some minor matching variance betweenthe three. (Lead channeland activated) stands tobenefit mostfrom the ,so Isuggest thatyoutweak itstwo knobsforthis mode.

Thisstereo¼"jack servesasthe output ofthe frequency-corrected linefilter.It delivers anunbalanced stereo-signaland itis equippedwith a groundterminal. Youcan patch the preamp signalrouted throughthis jackto arecorder ora PC'saudio cardvia some type of adapter (depending on the type of inputs on the audio card). Dial in the desiredsignallevelviatheLevelknob(43).

This LED lights upto tellyou theLine Outis saturated.If itilluminates, simplyroll back thesignallevelusingtheLevelknob(43).

This knob determines the level of the frequency-comensated Line outputs (41 & 44,

45).Useit toadjust the preamp'sline outputsignal level tomatch theinput gainofthe mixingdeskorrecorder'sinput.

The following factors determine Line Out level: the preamp input level (Gain), the given channels' Volume knobs, and to some extent, the tone controls and soundshapingbuttons' settingsas wellas the positionof theMaster knob.Thoseare alot of variables, so I recommend you proceed as follows: Configure buttons as desired and dialinthedesiredsettingsonthefrontpanel.Adjustthe levels ofconnectedFXdevices andsignalprocessors.Finally,use the Levelcontroltoadjust the linelevel.TheLine Out isnot overloadeduntil theOverloadLED (42)lights upcontinuously.You canpush the levelup tothis pointtomatch amixer deskor recorder's inputlevel requirements.Use thegivendevice'sinputsensitivityorgaincontroltofine-tunethelinelevel.

Noise

Gate

Noise Gate

Noise Gate Noise Gate

Crunch Soft Lead Heavy Lead

Noise Gate

Heavy Lead Hi Gain

NoiseGate

Page 17

44&45FREQUENCYCOMPENSATEDLINEOUTBALANCED

46LINEOUTGROUND

IMPORTANT NOTE:

47LEVEL

48STEREOOUTPUTRIGHT

49STEREOOUTPUTLEFT

50FXLOOPRETURNRIGHT

Thesearethefrequency-corrected (compensated)andbalancedright andleftchannel line outputs. Pin 2 and 3 of the XLR jack carry the signal, pin 1 = N.C. or ground dependingon theposition ofthe Groundswitch (46).

Youcan insertthe signalsrouted throughthese outputs directly into a mixing console or recording gear equipped with balanced inputs. The advantage of a balanced circuit is that this type of connection will not createa groundloop, providedof courseit iswired correctly.Dialin thedesired signal levelforthetwobalancedlineoutputsbyadjustingtheLevelknob(43).

Thisswitchassignspin1 of thetwoXLRsockets toground(Groundto Pin 1).You'llfind this option comes in handy when you want to earth the circuit you have routed to a mixingconsoleorrecordingdevice.

You encountersomething called aground loop if your preampis connected to a mixing console or recording gear and pin 1 of both devices' XLR connectorsserve asground terminals(the XLRGround button onthe preampis setto Ground to Pin 1). A ground loop is readily identified by the infernal humming emanating from your speakers. Set this button to the position "Ground Floated" to solvetheproblem!

Thisbutton determines theoutputlevelof thestereo outputjacks. Pressthebuttonto set ahigher level(up to +15dB) suitablefor driving lesssensitive poweramps. Do not press if you need a lower level (up to -5 dB) to feed the signal to additional signal processorsorextremelysensitivepowerampinputs.

This unbalanced ¼" line out jack carries the preamp's right channel signal. You can patch the signal routed to this jack to a power amp or a signal processor using a shieldedcordequippedwith¼"plugs.

Thisunbalanced¼"lineoutjackcarriesthepreamp's left channelsignal.Youcanpatch thesignalroutedtothisjacktoapower amp orasignalprocessorusingashieldedcord equippedwith¼"plugs.

Connectthe rightFXLoop inputtoa signalprocessor'sright channeloutput/sendjack using the shortest possible shielded cord equipped with 1/4" plugs. Activate and deactivateit via theStereoFX Loop (17)button. Inthesignal path, the is located post channel Volume controls and and pre the Master volume control and theoutputdriverstage.

StereoFX Loop

Thesignal routedto thisoutput

limitsthe responseof aguitar cabinet.

Page 18

51FXLOOPRETURNLEFT

52 FX LOOP SEND

53AUXILIARYINPUT

54MIDITHRU

55MIDIIN

CAUTION:

56 POWER SUPPLY FOR THE ENGL MIDI FOOTCONTROLLER

Please read and heed:

Connect the left FX Loop input to a signal processor's left channel output/send jack using the shortest possible shielded cord equipped with 1/4" plugs. Activate and deactivateit via theStereoFX Loop (17)button. Inthesignal path, the is located post channel Volume controls and and pre the Master control and the outputdriverstage.

Connect this output to a signal processor's input/return jack using the shortestpossibleshieldedcordequipped with1/4"plugs.Activate anddeactivateitvia the FXLoop Active (17) button.In the signalpath, the is locatedpost channelVolumecontrolsandpretheMastercontrolandtheoutputdriverstage.

This isthe preamp's ancillaryinput. The circuitis wired inseries with theinput located on the frontpanel. Use it to connectthe preamp to a 19"rack setup. The front panel inputhas priority.In otherwords, whenyou insert aplug intothe frontpanel jack (1), thesignalroutedinviatheAux.Inputiscutoff.

This 5-pin DIN port patches incoming MIDI data from the (55) to any other connectedMIDIdevice.

This 5-pin DIN port accepts data sent by a MIDI sender (for example, the ENGL MIDI Z-12, Z-15,or Z-9foot controllers)or from or routed throughanother MIDIdevice. Switch no. 56 lets you activate the preamp's power supply if you have an ENGL MIDI footcontrollerconnectedtothisport.

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

makesurethatswitchno.56issettotherighttoavoiddamagingthedevice.

This selector activates a MIDI In port power supply for connected ENGL MIDI foot boards.Power is fedto theboardviathe MIDIcircuit. Whenthe switchissetto theleft position,power isrouted totheMIDI Inport's pin1and pin2 (refertopage 30for pin assignments). Ifyou chooseto use anotherMIDI foot board,be sureto set theswitch tothe rightto avoiddamagingit. Ifthe footboardyou areusing isdesignedto handle phantom power, consult its operating manual to learn how it is wired (that is, which pins carry itspower supply) and whatits voltage and currentspecifications are. If the voltageand currentspecifications andwiring match,you maysetthe switchto theleft topowerthisfootboardviatheMIDIcable.

Note that a MIDI foot board may not draw more than 200 milliamperes ofcurrent if youwant to powerit via thisport. You mustalso 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 electronicsengineerwhoearnsalivingwithascrewdriver!

StereoFX Loop

FX Loop

Stereo FXLoop

MIDI In

Page 19

57MIDICHANNEL&VOL.0

Atipfromthedesigner:

58FOOTSWITCH:SERIALAMPCONTROLPORT

Use this set of encoding buttons (1, 2, 3,4 and5) toassign theMIDI channel.This tells the preamp's MIDI system over which channel it will receive MIDI program change commands. Your choices are the standard 16 MIDI channels (numbered from 00 to

15), as well as OMNI mode (whereby all MIDI data is received regardless of the MIDI send channel). The encoding button settings for a specific channel and OMNI mode arelistedinthefollowingtable. Encoding button number 6 lets you program the preamp so that it is muted when it receives aMIDI controller 7command. When thiscommand has avalue of 0(and less than andequal to5), thepreamp's mastervolume ismuted. Atvalues greaterthan or equal to 5,the preampis backon lineat thevolume leveldetermined bythe currently activeMasterknob. Setting the encoding button S6 to ON activates Master Volume Mute. Setting the encoding button S6 to OFF deactivates Master Volume Mute.

MIDI channel assignment using the encoding buttons:

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

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

This serial data input accepts the Custom ENGL Z-9 Footswitch (optional), which lets you control various preamp functions remotely. Connect the Z-9 Footswitch to the serial amp control port using a cord equipped with stereo ¼" jack plugs. This MIDI-

Page 20

enabledfoot boardis acustomdesign thatswitchesevery preampfeature 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 Footswitchisconnected.

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

Connectinganyotherswitchingdevicemaydamageitand/orthepreamp'scircuitry! TheCustom Z-9Footswitch wasdesigned withthe non-MIDI guitaristin mind.It's sure

to delight if you don't or won't use MIDI systems. Based on a rather nifty switching concept, it provides direct access to the four channels and As an alternative tothe option, youcan optto control any other switchable preamp functions, for example , , etc. Another tremendous benefit of this microcontroller-drivenfoot board is that it connects to the amp via an easilyobtained,standardstereocord.Butthat's not thelastoftheZ-9'sadvantages: At somepoint,youmaydecide torampupor connecttoaMIDI system.Thiswon'trender theZ-9 obsolete becauseitalsoserves asa simpleMIDIfoot board withaMIDIOUT (5pin DIN connector) that selects 10 MIDI patches (or presets, if you prefer). Again, I wantto emphasize thatyou shouldnever connectanotherfootboard tothis jack:The Z-9 controls the preamp via a proprietary ENGL serial data protocol, and the Serial Amp ControlPort wasdeveloped exclusivelyfor ENGLamps. No otherfoot boardwill workandinfactislikelytodamagethefootboardorpreamp'scircuitry!

Use this jack to connect a conventional footswitch with two switching functions (for example,the ENGLZ-4) thatlet youaccessthe fourchannels , , and

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

activates theselected MainChannel's two subordinatechannels, and or

and , as the case may be. The onboard channel switching facility, to

include switching,isdisabledwhenyouplugafootswitchintothisjack.

A footswitch may be equipped with LEDs indicating the given switching status. Each of the two switches is provided with 15 milliamperes current, which sufficestopowerastandardLED. The jack's mono terminal selects the Main Channel, while the stereo terminal selects the sub channel (refer to Pin Assignments on page 30).

CAUTION: Atipfromthedesigner:

59FOOTSWITCH:CH1/CH2,SUBI/II

Note also:

Preamp Defeat.

Preamp Defeat

Modern/Classic Hi Gain

Clean Crunch LeadI

Lead II

Clean Crunch

Lead I Lead II

PreampDefeat

Page 21

A few words from the designer on your ENGL 570 Preamp's sounds and settingsaswellas somepractical tips:

A great deal of effort went into tuning this tremendously versatile tube preamp; I devoted particularly painstaking attention to the details: The Clean and Crunch channels arematched sothat theirGain rangesoverlap somewhat;the samegoes for

and . This is intentional, and serves very sensible sound-sculpting purposes. For instance, higher Gain settings (in the 12-to-3 o'clock range, depending on pickups) push the Clean channel into moderate overdrive, and activating Gain Boostpropels thischannel intothe dirtzonethat much earlier.Thismeans youcan use thischannelforultracleanchord work, jazz-stylecompingandcluckingchicken-picked lead lines. And courtesy of that typical tube overdrive, it means the same channel is great grittier riffs and leads, with the amount of dirt hinging upon how hard you attackthe strings.If youaddthe guitar'svolume knobtothe sonicequation, yougeta vast spectrumof finetonal distinctionsin just this one channel.The samegoes forthe Crunchchannel:Itsspectrumrangesfromclean(whenGainissetnohigherthanabout 10 o'clock, depending on pickup) to fat, wooly, and warm tube overdrive at higher Gain settings. High-output pickups such as humbuckers will even serve up enough oomph for punchy leads. Though these application areas overlap somewhat, the Crunch and Clean channels are voiced differently. Crunch features an additional triode, making it a tad more dynamic and eliciting a slightly different frequency response.Whenused incombination withhigh-output pickups, Irecommend thatyou roll off the bottom-end (and give a wide berth) a touch to forestall low-endmud. Main ChannelI ( and )voicing controls respond differently than those of MainChannelII.Inconsequence,Isuggestthatyoustartbydialinginsettingsbetween 12and3o'clock,tweakingeach to tasteandcomparingthedifferences. Again, Iopted for passive tone controls, which puts each knob's control range at about 10 dB. As you're experimenting with modifying settings, you may notice that when the Crunch or Lead channels are in Classic mode and you are pushing the preamp hard, the EQ seemsslightlylessassertivethaninModernmode. All these options harbor vast and musically meaningful sonic potential. I'm confident that the Gain knobs, tone controls and sound-shaping buttonswill let you conjure all the sounds you have in mind and that you'll discover a world of tones while you're tweaking. On top of all that, with and , you have two voicing options for every preamp channel: Particularly in the high-gain channels, these give you two very distinctive distorted sounds for each channel. The contrast between the two sonic flavors is not merely amatter of different gain levels. The structures of thesaturated signals differ, and each is fine-tuned to work its tonal magic with a specific genre.

packsamightylow-endthumpand boasts truckloadsofgainthat'sthe wayto gotoforheavy-duty,powerchordriffingtypicalofcontemporarystyles. Note that you can tighten up and focus Lead channel tones using the two soundshapingbuttons and .Tweakedforafatter,warmersound, addsa healthyhelp ofmids aroundthe 500-hertz mark.The twoparameters and

putaremarkablearrayoflow-endtweakingoptionsatyourfingertips.

Lead I Lead II

Mega Lo Punch

Clean Crunch

Modern Classic

Modern

Contour MidEdge Contour

Bass

MegaLoPunch

OntheSubjectofSoundsandSettings

Page 22

MegaLoPunch

LeadI's

Lead II

Lead I Hi Gain

Soft Lead

Heavy Lead

Lead I Modern Lead II Modern Lead I Classic Lead II

Classic

Soft Lead

NoiseGate

Soft Lead Hi Gain

Crunch Noise Gate

Noise Gate

sound-shapingbuttonis programmable,providing instant MIDIaccess toahostofsonicconfigurations. In addition, I made a point of tuning the two Lead channels to respond slightly differently: response isa bit moreaggressive, fasterand moreprecise itall but lunges when you attack strings. , on the other hand, is not quite as testy. Its response is not as rabid, and with an extra sprinkling of low end added to the sonic recipe, it also delivers warmer tone. demands rather precise technique, while the more forgiving is easier to handle. The feature gives you twomore voicing options for each of the two Lead channels - (moderate Gain level) and (ultra high Gain shred). What's more, you can even tweak each individuallyusing thededicated Gain,Volume and Trebleknob. Thisbrings abunch of benefits to you,including greater freedom andmore precision in sound-shaping.The four Soft Leadvariants ( + , + , + , +

) run the gamut of crunch tones from light (with the Gain knob set no higher than 11 o'clock) to heavy crunch (with the Gain knob somewhere between 10 and 1 o'clock), with tonal properties differing quite markedly from Crunch channel sounds. These modes even let youdial in relatively lean clean sounds. So if clean is your thing andyour musicmandates arange ofdifferent cleanvariants,simply setthe Gainknob below the9 o'clock markand select (Lo Gain)to see whatyou can come up with. Because it is chock fullof tone-tweakingtools, thispreamp issure tosurprise youtime and again with new sonic variants. However, there's no need to panic in face of its sophisticatedfunctionality.AtENGL, easeofuse isparamount.We designallour amps so that players can dial in great sounds from the start - without hours spent researchingthe manualand strugglingwithsettings. Despitebeing soeasy touse, the ENGL 570 preamp puts into the hands of the innovative, creative guitarist an all but inexhaustiblebonanza ofsound-shaping resources.AndI amconvinced thatguitarists withmoretraditional leanings areequally well-servedwiththis preamp'ssmorgasbord oftastytubetone!

Theadvantage ofa thatis installed inandmatched tothepreamp isthat it lets youfine-tune its threshold withextreme precision, therebyseparating the useful, musicalsignalfrom uselessbackground noise.Indeed, this was designed to addressthe signalthemost beneficialspot inthe signalchain -the preamp- to makeit more effective. First and foremost, it is designed to suppress ambient noise such as hissingandhummingduringbreaks when theLeadchannelis in HeavyLeadmode.For this reason, I tuned itsthreshold (that's the level at which the gatetriggers) range to suit this preamp mode, and then adjusted it for (Lead channel, deactivated) and configurations. To get acquainted with howthe 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. Whenthe knob arrives atthe far right position,the will not trigger untilthe signalreaches avery highlevel. Thismeans thatthe preampmust amplify the guitar signal considerably to open up (or deactivate) the . In practice,your bestbetfor suppressingloudnoise whenrunningLead channelsathigh Gainlevels isto setthe Thresholdknob higherthan 12 o'clock.If you'redoing thelow-

AfewcommentsontheNoiseGate:

Page 23

gainthingin Crunchor SoftLead modes,dial ina lower Thresholdknob setting(below 12 o'clock) to prevent the gate from throttling notes (that is, the musically useful sounds)astheydecayparticularlyifyouliketoworktheguitar'svolumeknob.

Forreasonsofconvenienceandhandlingease,wemadeprogramming sounds toMIDI presets apiece ofcake. Because this preamp offersso manyprogrammable switching functions, isindeed ahandy tool.Itlets youcopy thesettingsof oneMIDI 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 inthe target preset, is so must fasterand more convenient than programming from scratch everytime. MIDI preset 1 is called upautomatically when you switch the preamp on. This ensures that when you power up, the settings for programmablesound-shapingfunctions are immediatelyenabled in theconfiguration storedinthemostrecentprogrammingsession-withouthavingtofirstconnectaMIDI footboard.

1. Select the desired MIDI program (also called a preset or patch) using a MIDI foot boardconnectedtotheamp's (55).

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

, , and so forth as you please. All programmable functions

aredesignatedassuchintheirdescriptionsherein.

3.TheStatusLEDflashestoindicateyouhaveeditedoneorseveralsettings.

4. Press and hold the Write/Copy button (34) for about one second until the Status LEDextinguishes,and thenflashesthree timesin rapidsuccession.The currentsettings ofallprogrammablefunctionsarenowstoredintheselectedMIDIpatch.

1. Select the desired MIDI preset using a MIDI foot board connected to the E570 preamp's MIDIIn port. This isthe preset that you want to copy,which is why in geekspeakitiscalledthe"source."

2.PresstheCopy/Writebuttonbriefly.It is essentialthatduringthisroutineyou do not change the settings of programmable functions in the selected source preset. That StatusLEDlightsupcontinuouslytoindicatethatCopyisactivated.

3.Select thetarget presetviathe MIDIfoot board;youhave approx.30 secondsto do this.(ThepreampautomaticallyquitsCopymode30secondsafteritisactivated.)

4. Press and hold the Write/Copy button (34) until the Status LED extinguishes, and then flashesthree times inrapid succession. Thecurrent settings ofall programmable functionsstoredinthesource MIDI patch(that'sthepreset you selectedfirstwhenyou activated )havenowbeendumpedtothenewlyselectedtargetpreset.

Programmingsounds(settings,actually)toMIDIpresets:

Theprogrammingprocessinsteps:

Copying:

Copy

MIDIIn

Hi Gain Countour Lead I

Mega Lo Punch Noise Gate

Copy

Page 24

HandlingandCare:

Keep the preamp safe from hard knocks and shocks. Tubes are fragile and tend to sufferwhenexposedtomechanicalstress!

Let the preamp cool down before you transport it. Ten 10 minutes or so will do to sparethetubes.

Tubes take some20 secondsto warmup afteryou switchthe poweron. Makea habit ofgivingyourpreampplentyoftimetogettoastybeforeyoustartplaying.

Avoid storing the preamp in damp or dusty rooms to spare jacks, switches and potentiometers.If youdon't usethe preampallthe time,I recommendthat youdrape acoveringoverittopreventtheintrusionofdust. Ifyouinstallyourpreampin a19"rack,closethe rack'slidwhennotin useforextended periods.

Never use causticor scouring detergents to cleanthe preamp's housing, front orrear panels.Use asoft, dampclothor spongewithdiluted soapsudsora standardbrandof milddishwashingliquidinstead.Neverusesolventstheycandissolve the frontandrear panel labels. Keep liquids well awayfrom the preamp, particularly the interior of the housing.

Make sureair cancirculate atthe two sidesand rearpanel ofthe preamp toallow for adequatecooling,whichincreasescomponentlife.

High ambienttemperatures placean additionalstrain on diverse components; soif at all possible, avoid operating the preamp at temperatures far higher than 30°C for longer periods. Running the preamp at mains voltages exceeding the nominal mains inputvoltageoverlongerperiodscanalsoshortencomponentlife.

Replace tubes with selected tubes that satisfy ENGL selection criteria to forestall microphonic properties,undesirable noiseand loss ofGain. Tubereplacement is ajob bestlefttoexperiencedandauthorizedspecialists.

Page 25

Glossary

MIDI-Preset:

MIDIChannel:

MIDI-VolumeandMasterVolumeMute:

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

MIDI specifications define 16 channels for sending and receiving MIDI data. The encoding buttons on the back of the preamp determine the MIDI data receiver channel. MIDI channels: 1 to 16, or OMNI (meaningthat all 16 channels receive MIDI data).

This option lets you access the preamp's Master Volume Mute function via a suitable MIDI foot board. This foot board must like the ENGL Z-15 - be able to send MIDI controller 07 data. In order to afford access to Master Volume Mute, this function mustbeenabledusingthecorrespondingencodingbuttononthebackofthepreamp.

The Status LED above the Write/Copy (34) button indicates the following conditions:

1. 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.

2. 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.

3. 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).

Page 26

Troubleshooting

Programmable features fail to respond when you change settings:

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

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

The speaker, recodring device or P.A. system is emitting humming noises:

-> 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 preamp off and on again.

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

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

-> Is the MIDI foot board connected to the MIDI IN port (55)?

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

(Refer to page 30 for pin assignments.)

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

program change commands? You can set the encoding button S1(57) 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?

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

and are they functional?

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

peripheral devices.

-> Check the function of the connected poweramp and the cabinets.

-> Is the Noise Gate activated in one of the Lead channels and the Threshold (40)

knob set to a high value? Deactivate the Noise Gate (33) for a quick check.

-> Are the 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 preamp's outputs.

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

a value less than or equal to 5? This activates Master Volume Mute, thereby silencing the preamp. You can check this by deactivating the Master Volume Mute by resetting the appropriate encoding button (57) accordingly.

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

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

-> Is the Ground Lift switch (38) set to Ground? If you are operating the

preamp with other grounded gear (power amp, effect devices) connected, this switch must be set to the "Ground floated" position; otherwise, it's goodbye

Page 27

silence, hello humming! In this case, the preamp will hum even without a guitar connected.

-> Cords connected to the input, effect loops or to the power amp may not be

shielded properly. Replace them to check if this is indeed the case.

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

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

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

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

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

the preamp's and the XLR Ground (46) button is set to Pin 1 to Ground, the problem may be a ground loop that has been formed with the connected device's ground. Set the button to Ground Lifted.

Line Out

Page 28

Technical Data

Input sensitivity

Output level

Power consumption: Fuses:

Important: Tubes:

Logic control system:

System interfaces:

Dimensions: Weight:

Input: Effect Return:

SEND, level range: Level Lo: Level Hi: Frequ. Comp. Line Out:

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

V1:

V2, V3: V4: Consult Tube Map to view tube array

Processor, software:

Memory:

MIDI:

Serial Amp Control:

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

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

0,25 ATL 0,5 ATL

ca. -5 dB max.; ca. +15 dB max.; ca. 0 dB max., (depends on frequency);

ECC83 selected; ECC83 standard;

Mute, value > 5 = default

Master Volume level;

approx. 35 watts (VA) max.;

(0,25 amps slo-blo)

(0,5 amps slo-blo)

2 x 0,315 ATL (0,315 amps slo-blo)

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

Asynchronous data protocol according to the MIDI standard;

Proprietary ENGL asynchronous data protocol 19" rack, 2 rack spaces, 360 mm overall depth,

approximately 300 mm chassis depth; approx. 8

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

ECC83 F.Q., input tube;

Replace tubes with selected sets only!

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

Page 29

Tube Map:

Tube replacement report:

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

Replaced tube(s): _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

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

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

Replaced tube(s): _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

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

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

Replaced tube(s): _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

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

V1 V2 V3 V4

Power

Transformer

internal

Mains Fuses

Page 30

Wiring of Principal Connectors

*: AC voltage is routed to pin 1 and 2 only when button 56 is set to ENGL MIDI Footcontroller.

LINE OUT BALANCED (44 & 45), XLR male connector

Pin 3:

signal -

Pin 1 - or ground, depending on the position of the switch XLR GROUND (46)

Pin 2: signal +

page: 17

MIDI IN (55), DIN connector

Pin 1 - power supply approx.11 volts AC *

Pin 4 - MIDI-data wire

Pin 5 - MIDI-data wire

Pin 2 -

power supply

approx.11 volts AC *

Pin 3 - N.C.

page: 18

Stereo

1/4" jack

Serial Amp Control Port (58)

+ 5 volts

Data

Ground, GND

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

page: 19

Stereo

1/4" jack

Dual Footswitch (59)

CH1/CH2

Sub I/II

Ground, GND

Use a stereo

plug only!

page: 20

Page 31

ON/OFFON/OFF

Amp

Tube

FOOTPEDAL

Z-4

Options for controlling the ENGL 570 Preamp remotely:

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. 59. Functions: Ch.1 / Ch.2 (Main Channels) and Sub Channel I/II Clean - Crunch and Lead I - Lead II. This means you can't activate sub channels directly, and must first switch to the other Main Channel. As an alternative to a two-way footswitch, you can connect a MIDI switcher (the ENGL Z-11 will do nicely) to this jack (59) to control the two switching functions.

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

2. ENGL Custom Z-9 Footswitch: This special foot board connects to the preamp via a ¼” stereo cord plugged into the Serial Amp Port (58) or via a 5-pin DIN cord plugged into the MIDI IN port (55). The former option affords switching access to channels and two special functions (for example, Hi Gain or Mega Lo Punch). In the latter setup, the Z-9 serves as a MIDI foot board that accesses the first 10 MIDI presets.

1. 2.

1./2. 2. 3.

GROUND LIFT

SWITCH

GROUND FLOATED

GROUND

NPUT

UXILIARY

END

FX L

OOP

ETURN

EFT

ETURN

IGHT

TEREO OUTPUT

EFT

IGHT

EVEL

-20/0 dB

EVEL

IGHT

ALANCED

REQUENCY

OMPENSATED

INE OUTPUT

VERLOAD

ROUND

TO PIN 1

ROUND

IFTED

INE

ROUND

EFT

ALANCED

TEREO

0 dB

EPLACE FUSE

ONLY WITH SAME

TYPE AND RATING !

ROGRAMMABLE

TEREO

UBE PREAMP

YPE

E570

MADE IN GERMANY

DO NOT OPEN !

RISK OF ELECTRIC SHOCK !

DO NOT EXPOSE THIS

EQUIPMENT TO RAIN OR MOISTURE !

CAUTION !

FOOTSWITCH

ERIAL AMP

ONTROL PORT

IDI

HRU

IDI

MIDI

FOOT-

CONTROLLER

1 /

I / II

MIDI CHANNEL & VOL. 0

CAUTION:

ONNECT

ENGL CUSTOM

FOOTSWITCH Z-9 ONLY

TO T

S.A.C. P

ORT

HRESHOLD

UTE

EPTH

NOISE GATE

123456

01234Down

56789

Bank or

MPN

MIDI Channel

Setup:

press Down & Up

simultaneously

until >c< appears

at the left; select the

desired MIDI Channel

via Down or Up; press 0 to store the setting or press 9 to quit the Setup.

MIDI

Footcontroller

Z-15

Cn.1 Setup

Write

Linear Positve

Cn. value down

Linear Negative

Cn. value up

Log. Positive

Cn. initial value

Log. Negative confirm MPN

Cn. S. I.10 ms Switch Loop 1

Cn. S .I. 20 ms

Switch Loop 2

Cn. S. I. 30 ms Switch Loop 3

Cn. S. I. 50 ms Switch Loop 4

Cn.2 Setup

End

Internal Continuous

Controller:

Activate MIDI Program

Direct Access Mode; press 1 or 2 to send

controller commands;

press 3 to switch between

controller default and

initial values.

MIDI Program

Bank Mode:

Active after power up;

Press Up & Down to select bank 1 - 13; press 0 to 9 to select

desired MIDI program

no. (MPN)

Controller 1 Setup for

Cont. Controller 1:

Press 0 in the first bank (00x)

until >Cn.1< appears.

Changing settings: Controller number:

Down or Up.

Controller curve:

1, 2, 3, 4.

Controller command

send interva:

5, 6, 7 8.

Press 0 to store.

MIDI Program

Direct Access Mode:

Press 0 in the

first bank (00x)

until >Cn.1< appears;

press 9 in the

last bank (12x)

until >Cn.2< appears,

then press 9;

press Down or Up to

select the desired MPN;

press 4 to confirm

selected MPN.

Amp

Technology

Tube

Power Supply

7-12 Volts AC 9-15 Volts DC

300 mA

MIDI

Out

Cont.Controller 1

Input

Cont.Controller 2

< Input

Switch Loop

3 & 4

Switch Loop

1 & 2 >

Switch Loop Setup:

Activate MIDI Program

Direct Access Mode;

select the desired MPN,

press 4 to confirm;

set switch loop status

to on or off using

5, 6, 7, 8

for the respective loop.

Press 0 to store.

Controller Setup for

Cont. Controller 2:

Press 9 in the last bank (12x)

until >Cn.2.< appears;

Changing settings: Controller Number:

Down or Up.

Controller curve:

1, 2, 3 4.

Controller command

send interval:

5, 6, 7, 8.

Press 0 to store.

Switch Loop 1

Switch Loop 2

Switch Loop 3

Switch Loop 4

Amp

Technology

Tube

Custom

Footswitch

Z-9

S.A.C.:

Channel 1

S.A.C.:

Channel 2

S.A.C.:

Channel 3

S.A.C.:

Channel 4

S.A.C.:

Function 1

S.A.C.:

Function 2

MIDI:

Patch 1/6

MIDI:

Patch 2/7

MIDI:

Patch 3/8

MIDI:

Patch 4/9

MIDI:

Patch 5/10

MIDI:

Bank A/B

Power Supply

7-14 Volts AC

9-20 Volts DC

approx. 100 mA

MIDI Out

Serial Amp Control Out

Caution !

Connect To

Amplifier

Only!

Design by

Horst Langer

Setting up functions:

To assign amp switching

options to Function

buttons 1 and 2, press Channel 1 and the desired Function

button simultaneously

until the LED flashes.

Confirm by pressing the

target Function button. Press Channel 1, 2, 3, 4 buttons (once or twice)

to select the desired

switching feature.

Press the other Function button for

about one second

to store.

Alternative

Power Supply

refer to the

Operator's Manual

Page 32