Hughes & Kettner TRIAMP ML II User Manual

DEUTSCH

ENGLISH

BEDIENUNGSANLEITUNG

100 WATT TUBE AMPLIFIER

1.2

www.hughes-and-kettner.com

IMPORTANT:

Before powering up please read the Important Safety Instructions on page 29 - 31!

WICHTIG:

Bitte lesen Sie vor der Inbetriebnahme unbedingt die Sicherheitshinweise auf Seite 29 - 31!

TRIAMP MK II - MANUAL

When the first TriAmp®debuted in 1995, it wasn’t long until it garnered a reputation as the Holy Grail of amplifiers. And with good reason, for it was the first time that a design featuring three totally independent, dual channel, all-tube amplifiers was shoehorned into a single device. Tube tone purists were ecstatic. Its state-of-the-art handling and switching logic – optionally controllable via MIDI enabled direct access to six of the most soughtafter tonal flavors. And that put at players’ fingertips a sonic spectrum with a breadth unrivalled by any all-tube amp. The TriAmp®MK II was truly a milestone in amp history.

Then the engineers at Hughes & Kettner

decided to play matchmaker, marrying the qualities of this milestone to the latest innovations in tube amp technology. They named the progeny of this union

TriAmp

MK II. The findings of modern research

flowed into the revamped six fundamental sounds. By the same token, the power amp circuit was redesigned from the bottom up, resulting in an even bigger, even more open sound. Next to a variable effects loop (serial/parallel), the TriAmp®MK II was endowed with a Half Power switch. Now you can halve its output power from 100 watts to 50 watts whenever the mood strikes. This lowers the power amp saturation threshold.

The flagship of the Hughes & Kettner®Tube Custom Series, the TriAmp®MK II is exclusively handcrafted, bar a few exceptions. Every device is put through the paces of numerous load and safety trials before it is subjected to ultimate test – the ears of experienced guitarists, the most sensitive gauge of them all.

When you chose the TriAmp®MK II, you opted for a top-drawer tool built by pros for pros. Courtesy of its versatility, professional-quality features, impeccable workmanship, and, above all, stunning sound quality, it truly merits the moniker “state of the art”, setting standards for generations of tube amps to come.

HERE’S WISHING YOU LOTS OF FUN AND JOY WITH THE TONE OF YOUR TRIAMP

MK II!

YOUR HUGHES & KETTNER

TEAM.

TRIAMP MK II - MANUAL

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THANK YOU FOR CHOOSING THE TRIAMP®MK II !

CONTENTS

1.0 TRIAMP®MK II: THE THREE AMPS . . . . . . . . . . . 4

2.0 CONNECTIONS AND CONTROL FEATURES . . . 6

2.1 AC POWER AND THE GLOBAL

CURRENT ADAPTER . . . . . . . . . . . . . . . . . . . . . 6

2.2 OVERVIEW OF CONTROL FEATURES . . . . . . . . 7

3.0 STANDARD SETUP/CABLE CONNECTIONS . . . . 9

4.0 TRIAMP

MK II OPERATION . . . . . . . . . . . . . . . 9

4.1 CHANNEL SELECTION . . . . . . . . . . . . . . . . . . . 9

4.2 TRIAMP®MK II AND SIGNAL PROCESSORS . . . 9

4.3 RED BOX®DI OUT -

ALL-TUBE TONE TO THE MIXER . . . . . . . . . . . . 10

4.4 TRIAMP®MK II AND MIDI . . . . . . . . . . . . . . . . .11

5.0 REPLACING TUBES, SERVICE AND

PREVENTIVE MAINTENANCE . . . . . . . . . . . . . 12

6.0 TROUBLESHOOTING . . . . . . . . . . . . . . . . . . . . 14

7.0 TECHNICAL SPECIFICATIONS . . . . . . . . . . . . 27

Important Safety Instructions . . . . . . . . . . . .29 - 31

CAUTION!

TO PREVENT THE RISK OF FIRE AND SHOCK HAZARD DON´T EXPOSE THIS APPLIANCE TO MOISTURE OR RAIN. DO NOT OPEN CASE; NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

BEFORE POWERING UP

• Check that the local current and the amp's AC power rating are identical before you plug the

TriAmp

MK II's mains cord into an AC outlet.

• Ensure that air can circulate freely around your amp's ventilation ducts.

• Place the amp on a stable platform where it is not exposed to mechanicall shocks and temperature extremes which may damage the amp or endanger the safety of bystanders.

• Hughes & Kettner

is not liable for any damage

to the amp due to improper use.

TRIAMP MK II - MANUAL

1.0 THE THREE AMPS IN THE TRIAMP®MK II

Three totally different amps in a single housing? Until the mid-‘90s, this was thought to be an impossible dream. The Hughes & Kettner team was undeterred: Years of intense development efforts and research culminated in the TriAmp®, and this magical combination debuted in 1995. To make the dream reality, we developed an unprecedented switching technology that delivers totally independent fundamental sounds of the highest quality. Each of the three preamps is dual-channel in design so a total of six sounds are available at the touch of a button.

How does TriAmp®MK II produce such fundamentally different sounds with just one power amp and a common master section? TriAmp's tonal potential lies primarily in its puristic tube design. Highly advanced new switching technology developed by Hughes & Kettner for this amp reconfigures the multiple tube stages with each new sound you select. This new design pulls every drop of tone out of the all-tube circuitry, lending TriAmp®MK II incredible tonal flexibility without any reliance on solid-state compromises. The power amp design further supports TriAmp®MK II's vast range of tones: In each channel, the Presence attenuation factor is switched automatically via a special capacitor. This lends each channel its trademark power amp characteristics and explains why they are so easily adjusted using just one Presence knob in the MASTER section.

AMP 2 – CLASSIC BRITISH DRIVE

What will strike you about the second amp is its extraordinary dynamics at every level of distortion. This responsiveness opens up enormous expressive possibilities by reacting sensitively to the subtleties and nuances of different playing styles. This amp conveys every detail of your attack – this is as honest as an amp gets.

CHANNEL A cranks out the brand of overdriven tone that graced almost every rock production in the ‘80s. It has an open, British flavor that works great for raw-edged riffing and aggressive chord work.

The more you crank CHANNEL B, the bolder it gets, going from gritty and fat to singing with days of sustain at the twist of a knob. It features a special circuit that injects a very desirable sonic additive into your sound - the kind of power amp distortion that players loved about the old Plexis .

AMP 1 – CHUNKY CLEAN + FAT DRIVE CLEAN

The first amp is dedicated to delivering classic clean sounds.

CHANNEL A sounds full and expansive in the great American tradition. It’s forte is classy clean tone that remains unadulterated by distortion even at high gain settings. It delivers the kind of twang that makes you want to put cow horns on the Toyota. This channel’s low end is like a good burger - big, beefy and served up hot.

CHANNEL B cranks out British-approved class A tone with the trademark shimmering top end and extremely subtle harmonic distortion courtesy of EL84 power amp tubes. Even at lower GAIN settings you get pronounced overtones in the high mids. Pushing the AMP 1 TIGHT button cuts mushy bottom end frequencies hard. These indistinct bass frequencies commonly rear their ugly little heads when clean sounds are dialed in. By their very design, combos’ housings tend to suppress these frequencies. Chances are that you will run the TriAmp®MK II into a 4x 12" cabinet. If you want to simulate the response of a combo, activate this frequency “correction” button.

The AMP 1 MASTER knob affects Channel B only. Channel A, on the other hand, operates much like vintage amps that were not equipped with master knobs. Twist the GAIN A knob to control the volume and saturation level of Channel A.

TRIAMP MK II - MANUAL

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AMP 3 – MODERN GAIN

'Truth in distortion' is a major consideration when buying an amp. An absolute prerequisite for any top amp is that it preserves the guitar's own characteristic sound - rather than making all guitars sound more or less alike - and the tone must remain well defined no matter how high you set the gain. Only a handful of amps make the grade, and AMP 3 is certainly a leading member of this elite club.

CHANNEL A is based on the Hughes & Kettner

Duotone’s Overdrive channel. Brutally honest and direct, its hair-trigger response reacts instantly to even subtle changes in your picking attack and the slightest twist of your guitar’s volume knob. Though this lead channel was built for the veteran axe slinger who believes great tone is well worth fighting for, it’s also the bee’s knees for pounding out big & beefy power chords. 110% rock ‘n’ roll indeed!

CHANNEL B pumps out high-gain American-style sound of the more merciless variety. New Metal merchants and Drop-D acolytes will swoon at the sound of this channel’s hot, huge and downright nasty distortion, while well-rounded players will appreciate the extra hues in their lead tone palette.

TRIAMP MK II - MANUAL

2.0 CONNECTIONS AND CONTROL FEATURES

2.1 MAINS CONNECTION AND MAINS INPUT VOLTAGE SETTING

TriAmp®MK II ships in two versions rated for 110/120V and 220-240V, respectively. The rating stamped on the mains socket (figure) indicates the version type. Both models offer two operating voltages that are selected using the voltage selector integrated in the mains socket. Before connecting

TriAmp

MK II to the mains power supply, ensure that the

mains voltage matches the voltage rating appearing in the voltage selector window. This value is legible when the amp is in the standard operating position, that is, placed right side up. The upright number indicates the currently selected voltage, and the inverted number indicates the alternative voltage.

Check also the fuse ratings to ensure they match the ratings indicated on the rear panel.

NOTE:

Voltage selection and fuse replacement may be performed by experienced service technicians only. Accordingly, the following notes are addressed exclusively to service technicians!

• Use a small flat screwdriver to remove the voltage

selector from the mains socket.

• If the fuse is defective, replace it with a fuse bearing

the specified rating.

• Turn the voltage selector and insert it back into the

port so that the desired mains voltage rating is legible and appears at the top left (next to the "Voltage Setting" arrow).

FRONT

INPUT: Input jack for guitars.

PREAMP SECTION:

The three preamps’ controls are largely comparable. The functions of their knobs are explained in the following using AMP 1 as an example.

CHANNEL BUTTON: Push these to select the desired fundamental sound (channel A or B) directly. The buttons also serve as indicator LEDs, illuminating to call attention to the active channel.

GAIN A, GAIN B: Twist these to dial in the desired amount of distortion for channels A and B.

EQ SECTION: Common BASS, MID and TREBLE pots for CHANNEL A and CHANNEL B.

TIGHT: Cuts muddy low end frequencies that may occur when clean sounds are rendered by a 4x 12" cabinet. This frequency “correction” feature lets the

TriAmp®MK II respond like a combo.

MASTER: Turn this knob to dial in the desired level

for AMP 1B relative to the two other preamps’ levels.

MASTER SECTION

FX ON SWITCH: Turns TriAmp®MK II's FX LOOP on or off. If you want to switch the FX LOOP on and off via the Stageboard or MIDI, set this switch to the 'off' position.

LEARN: Installation of the MSM-1 MIDI Module is a prerequisite for MIDI capability. With the module installed, a press on the MIDI LEARN button will save the current CHANNEL/FX LOOP combination.

MASTER: Determines overall TriAmp®MK II output.

PRESENCE: Determines presence levels for all three

amps. The PRESENCE circuit is automatically reconfigured with each change of channel to respond optimally for each basic sound. Try it. In each channel, turn the PRESENCE control all the way up and back down again to hear how it affects each channel differently.

STANDBY: Mutes the amp during breaks. The voltage to the power amp tubes is reduced but not turned completely off to extend tube life; when you turn the amp back to full power, they are still warm and don't need to be reheated from a cold start.

MAINS: Power ON/OFF switch.

TRIAMP MK II - MANUAL

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2.2 OVERVIEW OF CONTROL FEATURES

REAR

MAINS IN: Socket for the included Euromains power cable. Before plugging into the wall socket, make certain the amp's voltage rating as displayed in the VOLTAGE SELECTOR window matches your local AC voltage rating.

VOLTAGE SELECTOR: If you need to change TriAmp®MK II's voltage to your local AC voltage

rating, pull out this cartridge and see Section 2.1 for further details.

ANODE FUSE: Fuse holder for the power amp's anode fuses. Be sure you only use fuses rated to the indicated specifications.

HALF POWER: This power soak switch cuts the TriAmp®MK II’s output power in half from

100 watts to 50 watts.

PREAMP OUT, POWER AMP IN: The TriAmp®MK II sports an ancillary serial FX loop that lets you control master volume via a volume pedal. The preamp signal is patched out via PREAMP OUT jack and in again via POWER AMP In.

STAGEBOARD: Input jack for TriAmp®MK II STAGEBOARD. The length of the cord can be extended using standard computer cables (equipped with 9-pin SUB-D connector).

FX LOOP

FX SERIAL/PARALLEL: An innovative new feature of the TriAmp®MK II, it lets you select the desired type of effects loop, parallel or serial, at the touch of a button. The FX loop setting may be stored and switched via MIDI using the optional MSM-1 MIDI module.

LEVEL: Determines the relative levels of the TriAmp®MK II’s preamp signal and the signal

routed into the FX RETURN jack as sent from a connected effects device and the like. In other words, use it to set the desired wet/dry mix.

FX SEND: Connect this jack to your effects processor's input jack.

FX SEND LEVEL: This damping switch allows you to adapt the signal level to lower-level effects devices. Press this switch in for instrument level processors (e.g. stomp boxes).

FX RETURN: Connect this jack to your effects processor's output jack.

RED BOX®DI OUT: This is a balanced output featuring the RED BOX®Cabinet Simulator. It enables you to feed the TriAmp®MK II signal directly to a mixing console for stage and recording purposes. Refer to Section 4.3 for details.

SPEAKER: The TriAmp®MK II features 4-, 8- and 16-ohm speaker outs for perfect impedance matching. Its minimum impedance is 4 ohms.

NOTE:

Never operate the TriAmp

MK II without

a loudspeaker connected!

TRIAMP MK II - MANUAL

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3.0 STANDARD SETUP/CABLE CONNECTIONS

4.0 TRIAMP MK II OPERATION

4.1 CHANNEL SELECTION

The TriAmp®MK II’s six fundamental sounds may be accessed via the channel selector buttons on the front panel or the TriAmp®MK II Stageboard are called up. You can also execute switching functions via MIDI using the MSM 1 MIDI Module (refer to Section 4.4). If you want to use an external MIDI switcher, you will need to make an adapter cable that accesses the Stageboard jack, wiring it according to the pin assignments shown in Diagram below. Channel selection is executed via momentary contact; FX LOOP activation is executed by switching, namely by applying pin 8 to pin 5 (ground).

Stageboard jack pin assignments:

4.2 TRIAMP®MK II AND

SIGNAL PROCESSORS

The TriAmp®MK II is equipped with a variable effects loop (serial/parallel). In parallel mode, the effect signal is added to the original preamp signal so that you can dial in a setting where the dry signal remains audible during the brief delays that multieffector switching is prone to cause. This face-saving feature prevents glaringly evident and potentially embarrassing sonic drop-out the LEVEL knob controls the mix. The passive nature of the mix guarantees that the original signal is not sent through any solid-state circuitry. When the FX LOOP is deactivated, the buffer stage for the effects side is switched off via a relay, thereby ensuring that the FX LOOP never compromises the amp's sound quality.

NOTE:

As a rule of thumb, the best method for using signal processors is to set the output of the processor itself to maximum effect (balance = 100%), and then mix the processed signal with the original signal via the LEVEL control to avoid the sound degradation an effects device might otherwise introduce. Switch the FX LOOP button on the front panel to OFF if you want to switch the FX LOOP via the Stageboard or MIDI commands.

Amp 2B Amp 2A Amp 1B Amp 1A

Ground/Masse

Amp 3A Amp 3B

FX-LOOP

+ 22 V Output

Connecting signal processors:

• Connect the device's INPUT to the FX LOOP SEND jack and its OUTPUT to the RETURN jack.

• Activate the FX LOOP via the FX ON button on the front panel or the Stageboard.

• Adapt the FX loop level to the signal processor's level, if necessary. Press the FX SEND LEVEL button for effects devices like stomp boxes that are designed for guitar signals. If the button is not depressed, the signal level remains at standard line level, appropriate for most rack-mounted multi-effects processors.

• In parallel mode, use the LEVEL knob to set the volume of the effect signal.

NOTE:

Some signal processors introduce phase cancellations that are detrimental to the overall sound. In this case, set the effects loop to FX SERIAL. The effects loop now operates like a conventional serial loop – in other words, you'll have to adjust the balance of levels between the original and processed signal at the processor.

TIP: If you choose not to connect a signal

processor or effects device to the FX loop, you may connect another instrument or audio source. When you use the RETURN circuit as a second input channel in this way, the FX-MIX knob becomes a balance control to determine he relative volumes of the guitar signal and the other sound source.

4.3 THE RED BOX®DI OUT ALL-TUBE TONE TO THE MIXER

The balanced RED BOX®DI OUT allows you to connect TriAmp

MK II's output signal directly to

a mixing console, for the smooth, rich sound of a miked-up cabinet without the hassles of actually using a microphone. The integrated RED BOX

circuitry is in-line with the speaker output for optimum audio results, allowing the character of the connected speaker to come through to as great a degree as possible.

WARN ING:

Never run the amp without a load (a connected speaker cabinet), even in a recording situation. Doing so risks serious damage to the amp's all-tube output stage.

NOTE:

Speakers, in combination with a tube amp's output transformer, may demonstrate microphonic properties. If your amp's master setting is extremely low and the PA is very loud, you may encounter feedback through the DI OUT circuit. This effect does not occur at normal stage volumes. However, we do recommend you use the STANDBY switch rather than turning the MASTER down to silence your amp during breaks. If this feedback problem does occur at some point, simply turn the amp's master volume up. The speaker then loses the microphonic properties and the feedback will stop.

TRIAMP MK II - MANUAL

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