ENGL Sovereign 1x12" E365
Contents
1. CH 11 ON ON OFF ON OFF XX CH 12 ON ON OFF 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 CH16 on oN ON ON XX 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 OMNI mode and vice versa 36 FOOTSWITCH SERIAL AMP CONTROL PORT This serial data input accepts the Custom ENGL Z 9 Footswitch optional which lets you control various amp functions remotely Connect the Z 9 Footswitch to the amp port using a cord equipped with stereo 1 4 jack plugs This MIDI enabled foot board 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 15 herein The MIDI In port is disabled when the Z 9 Footswitch is connected A configuration table for the functions of the Sovereign 100 amp is printed on page 35 CAUTION Connect only the ENGL Z 9 Footswitch to this 6 3 mm 1 4 stereo jack Connecting any other switching device may damage it and or the amp s circuitry Atip 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 prov2. Button Functions E365 E368 Setup Indication S A C Function 1 F1 1 Function no t Channe 2 LED2lights F1 2 Function no t Channe 3 LED3lights F1 3 Function 1 mo H Chamnel4 plns _ F1 4 Function 1 F1 5 Function 1 F1 6 1 Function F1 7 Function 1 hg 27777 F1 8 Function2 no 2 Channel1 LED lights F2 1 Function2 no 2 2 LED2lights F22 Function2 no 2 Channel3 LED3lights 2 3 Function 2 2 4 Function2 no 2 Channel1 LED 1 flashes F2 5 Function2 no 2 Channel2 LED 2 flashes Ge Function 2 F2 7 Function2 no L 4 LED 4 flashes G Comments Column 1 lists the Function button on the Z 9 Column 2 lists the sound shaping and special functions that can be assigned to it Column 2 lists sound shaping and special functions on the ENGL Sovereign 100 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 Sovereign 100 The first digit indicates the Function Setup routine that is 1 for Function 1 Setup and 2 for Function 2 Setup Channel 1 to Channel 4 denotes the button used to enter the setting Column 4 indicates the currently or newly selected configuration For example if LED 3 flashes when the Z 9 s Function 2 Setup routine is activated then the Sovereign s FX Loop 1 2 switchin
3. comparable active system its EQ curve is tweaked specifically for its designated purpose and will give you satisfying results What s more in combination with the Presence control feature in the poweramp stage you have heaps of voicing options for tailoring basic sounds to taste 23 Lead Volume Determines the Lead channel s level Use this knob to adjust the Lead channel s volume 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 in 11 Lead mode The red LED to the right of the knob lights up to indicate the Lead channelis on 24 Lead II Volume Determines the Lead II channel s level Use this knob to adjust the Lead II channel s volume 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 in Lead Il mode The red LED to the right of the knob lights up to indicate the Lead II channelis on 25 MasterA Master A volume knob Located post effect loops it controls power amp output The red LED to the right of the knob lights up to indicate Master A is enabled and determining the master level You can also set the master level to 0 via MIDI controller 7 To learn howto do this see section35 in the Rear Panel Features chapter 26 Master B Master B volume knob Located post effect loops it controls po
4. knob to the sonic equation you get a vast spectrum of fine tonal distinctions in just this one channel The same goes for the Crunch channel Its spectrum ranges from clean when Gain is set no higher than about 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 When used in combination with high output pickups recommend that you roll off the bottom end a touch to forestall low end mud main channel 1 Clean and Crunch voicing controls respond differently than those of main channel 2 In consequence I suggest that you start by dialing in settings between 12 and 3 o clock tweaking each to taste and comparing the differences Again opted for passive tone controls which puts each knob s control range at about 10 dB All these options harbor vast and musically meaningful sonic potential I m confident that the Gain knobs tone controls and sound shaping buttons will let you conjure all the sounds you have in mind and that you ll discover a world of tones while you re tweaking In addition made a point of tuning the two Lead channels to respond slightly differently Lead s response is a bit more aggressive faster and more precise it all but lunges when you attack strings Lead on the other hand is not q
5. A footswitch may be equipped with LEDs indicating the given switching status Each of the two switches is provided with 15 milliamperes current which suffices to power a standard LED The jack s mono terminal selects the main channel while the stereo terminal selects the sub channel refer to Pin Assignments on page31 38 NOISE GATE THRESHOLD LEVEL This knob activates an onboard Noise Gate serving to suppress excess noise in main channel 2 Lead and Lead 11 when you twist it to the right past about the 9 o clock position Use this knob to set a threshold value that is the noise level at which the Noise Gate activates to suppress the signal within the 9 to 5 o clock range The further you twist the knob to the right the higher the signal level at which the Noise Gate kicks in Atip from the designer Soft Lead and Heavy Lead generate different levels of noise and tuned the ENGL Sovereign s Noise Gate accordingly However there is some minor matching variance between the two Heavy Lead Lead channel and Hi Gain activated stands to benefit most from the Noise Gate so suggest that you tweak its two knobs for this mode 16 Noise is a definite no no in many situations For example studio etiquette demands that you keep a lid on extraneous noise during short breaks It s in the nature of high gain rigs to generate undesirable peripheral noise in overdriven channels This is attributable to the physical properties of an amp s co
6. GROUND This switch assigns pin 1 of the XLR port 50 to ground Ground to Pin 1 You ll find that this is a handy option when you want to earth the circuit you have routed to a mixing console or recording device IMPORTANT NOTE You encounter something called a ground loop if your amp is connected to a mixing console or recording gear and pin 1 of both devices XLR connectors serve as ground terminals the XLR Ground button on the amp is set to Ground to Pin 1 A ground loop is readily identified by the infernal humming emanating from your speakers Set this button to Ground Lifted to solve the problem 50 LINE OUT BALANCED amp FREQU COMP This is a frequency compensated balanced XLR line output Pins 2 and 3 of the XLR jack carry the signal pin 1 N C or ground depending on the position of the Ground switch 49 Refer to page 31 to learn more about this The signal routed to this output limits the response of an ENGL 412 cab Dial in the desired signal level for the balanced Line Out by adjusting the Level knob 47 Atip from the designer You can patch signals routed through these outputs directly to the balanced inputs a 19 mixing console or recording gear The advantage of a balanced circuit is that it is immune to ground loops provided of course it is wired correctly You can also patch the line out signal to an unbalanced input using an adapter To do this you ll need a shielded cord equipped with an XLR connector and an RC
7. Lead and Lead with separate Gain and Volume knobs Clean and Crunch with a separate Treble control gt Two Gain options for the two Lead channels Hi Gain let you active directly two different gain settings for Lead and Lead II thereby extending the number of potential Lead sounds to four gt Two dedicated and specially tuned voicing sections one EQ for Clean and Crunch main channel 1 and a 4 band EQ with Presence control for Lead and Lead II main channel 2 As a special feature the Clean and Crunch channel sports a dedicated Treble knob each gt Large spring reverb for very natural sounding reverb with separate knobs for the two main channels gt Two effect loops FX Loop 1 and FX Loop 2 are variable and switchable Each may be activated separately for every channel or one FX Loop may be used as a hardware bypass gt Two each power amp Master knobs accessible via MIDI The amp can also be muted via MIDI controller 7 gt Balanced frequency compensated XLR line output for routing preamp or power amp signals to mixers or recording gear offering a precisely tuned and very authentic sounding speaker simulation gt MIDI In and Thru ports serve to integrate the amp into a MIDI system gt 128 MIDI presets accessible via 16 MIDI channels or OMNI gt The Sovereign combo amp offers three different remote interface ports The Serial Amp Control Port accepts the Custom Z 9 Footswitch optional use it as
8. Noise Gate 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 Noise Gate 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 39 FX LOOP 1 SEND Connect this FX Loop 1 output to a signal processor s input return jack using the shortest possible shielded cord equipped with 1 4 plugs Activate and deactivate it via the FX Loop 1 2 13 button which switches between these two loops In the signal path FX Loop lis located post preamp and pre the two power amp Master knobs 40 FX LOOP 1 RETURN Connect this FX Loop 1 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 1 2 13 button which switches between these two loops In the signal path FX Loop is located post preamp and pre the two power amp Master knobs 41 BALANCE FX mix control for FX Loop 7 When the knob is set to Dry 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 k
9. Note that the Status LED also indicates the status of components unrelated to Write and Copy 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 will flash in a pattern of five short bursts More info about the Status LED on page 26 Press the Write Copy copy button to confirm that you got the message Once you have done this the system will be ready to run although you may encounter problems when attempting to select or store MIDI preset Further indicator functions Power Tube Monitor description in section 28 page 13 The Status LED serves a third display function As described in section 53 on page 20 and page 23 it indicates that no speaker is connected to the power amp outputs 16 Lead I Gain This knob determines the Lead channel s input sensitivity and preamp saturation level CAUTION Extremely high gain and volume levels in Lead mode can produce powerful feedback Avoid feedback squeals they can lead to hearing loss and damage speakers At higher volumes back off the Gain Treble and Presence levels in order to prevent unchecked feedback Atip from the designer The two Lead channels fundamental tones are not worlds apart Lead boasts slightly less gain and bottom end but its speedier response makes it a great choice for brisk riffing and lightning lead runs The Lead channel is voiced with scooped mids making it an excellent choice for
10. 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 gt Noise Gates for suppressing high gain hiss in the Lead and Lead II channels gt Two fans for cooling the power amp section 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 24 Under the heading Tips from the designer you ll come across practical tips on the aforementioned features throughout the manual All critical information concerning the operation of this amp is preceded by NOTE CAUTION Read and heed or some other eye catching comment We re calling your attention to these remarks for reasons of safety or other compelling motives so please give them due consideration Everyone at ENGL is confident that the Sovereign tube amp s extraordinary versatility and outstanding features are sure to delight you Simply plug in play and be inspired by the tone of your ENGL amp A few words of wisdom from the designer Though this amplifier is relatively easy to handle and you re probably raring to give it a go recommend that you r
11. due to overheating please ensure the cooling fans remains in operation at all times especially during lengthy gigs or other occasions when your amp s operating temperature is high For recording in the studio or other applications that demand absolutely silent operation you may disconnect the power supply to the fan pulling the central power supply plug see tube map on page 30 Ensure the fan is not off for longer period of time one to two hours depending on the ambient temperature 28 PDFMAILER DE Technical Data Output power Input sensitivity levels Input Effect Return Output levels SEND level range Frequ Comp Line Out Power consumption Fuses at 230 240 mains voltage at 100 115 120 mains voltage Important Tubes V1 V2 V3 V4 V8 Consult Tube Map to view tube array Logic control system Processor software Memory System interfaces MIDI Serial Amp Control Cooling Dimensions E365 112 Weight E365 112 Dimensions E368 212 Weight E365 212 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 max 12 dB balanced 6 dB unbalanced approx 330 watts max external 2 ATL internal 2 5 ATL T slo blo external 4 ATL internal 5 ATL T slo blo Replace these with fuses of the same type and rating only 6L6GC or 5881 matched sets ECC83 F
12. 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 always exercise due caution when operating this baby 23 Programming sounds settings actually to MIDI presets For reasons of convenience and handling ease we made programming sounds to MIDI presets a piece of cake Because this amp offers many programmable switching functions Copyis 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 much 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 functions are immediately enabled in the configuration stored in the most recent programming session without having to first connect a MIDI 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 MIDI In 2 Set all programmable features as required configuring Lead I Gain Lo Hi Master A Reverb Active FX Loop ll and so forth as you please All programmable functions are designated as such in their descriptions herein 3 The
13. the Status LED lights up continuously to indicate Copyis activated The system quits Copy mode autonomously if you do not select a new MIDI preset within about 30 seconds The preset programming process the Write command that is is not carried out as soon as you press the button Pressing the button merely initiates the process You must hold it 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 the button until the Status LED flashes three times 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 9 successfully You can cancel the copy operation by releasing the key but only for as long as the LED lights up continuously IMPORTANT note please read and heed 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 to the MIDI In port 33 and use this outboard device to select the desired MIDI preset onthe amp More good to know info
14. to turn heads wherever you play Your ENGL Sovereign 100 puts at your disposal 1 a logical control feature array utmost ease of use and remarkably intuitive handling 2 excellent sound shaping options and greatest flexibility courtesy of the many voicing options and 128 MIDI presets offering a bevy of programming options 3 a gigging workhorse that also sports a precise tuned speaker simulation system making it a handy tool for studio and home recording 4 a combination of finely tweaked MIDI controllable sound shaping functions providing instant access to a wealth of disparate sounds 5 four fundamental sounds in finest tube quality Clean Crunch Lead and Lead lI along with total freedom of tonal expression that comes courtesy of Gain switching a four band EQ with Presence knobs for both Lead channels as well as two separate Treble knobs for Clean and Crunch enabling you to dial in precisely the amount of high end you need to make your tone sparkle 6 further tone tuning options such as an onboard reverb system featuring dedicated controls for each of the two main channels and a long Reverb spring that conjures lush deep and warm reverb as well as two effect loops that let you factor multi effect processors into the sonic equation 7 an ultra advanced tone generating machine that will give you years of playing pleasure and value to boot Features and Functionality at a Glance gt Four basic channels Clean Crunch
15. 6 Z no internal gt external to 16 ohm output 6 An external 8 ohm cabinet connected to one of the 4 ohm jacks in combination with a second external 16 ohm cabinet connected to one of the 8 ohm jacks without the internal speaker s Summary External 8 Z 16 Z no internal gt external to 4 ohm external to 8 ohm output Please note When you unplug the cable for the external cabinet s ensure you plug the internal speaker s back into one the appropriate output jack 21 A few words from the designer on your ENGL Sovereign Amp s sounds and settings as well as some practical tips On the Subject of Sounds and Settings A great deal of effort went into tuning this tremendously versatile combo amp devoted particularly painstaking attention to the details The Clean and Crunch channels are matched so that their Gain ranges overlap somewhat the same goes for Lead land Lead Iland the two Gain levels Lo and Hi This is intentional and serves very sensible sound sculpting purposes For instance higher Gain settings in the 1 to 5 o clock range depending on pickups push the Clean channel into moderate overdrive This means you can use this channel for ultra clean chord work jazz style comping and clucking chicken 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 attack the strings If you add the guitar s volume
16. A connector plug that bridges the signal pin 2 or 3 and ground circuits Be sure to set the button to Ground to Pin 1 51 POWERAMP OUTPUT 4 OHMS PARALLEL 4 ohms speaker output jacks internal connected parallel For diverse cabinet options see the last chapter on this page 52 POWERAMP OUTPUT 8 OHMS PARALLEL 8 ohms speaker output jacks internal connected parallel the internal 8 ohms speaker E365 112 combo 1x 8 ohms is connected to one of this two jacks For diverse cabinet options see the last chapter on this page The impedance of a additional cabinet should bear 8 ohms for the Sovereign combo amp type E365 53 POWERAMP OUTPUT 16 OHMS 16 ohms speaker output jack the internal two speakers E368 212 combo 2x 8 ohms speakers connected in series results 16 ohms are connected to this jack For diverse cabinet options see the last chapter on this page The impedance of a additional cabinet should bear 16 ohms for the Sovereign combo amp type E368 IMPORTANT NOTE please read and heed Never operate the power amp without a sufficient load otherwise you may damage or destroy it An electronic surveillance system constantly monitors if a plug is inserted into the speaker outputs 4 ohms 8 ohms and 16 ohms 51 52 and 53 If a plug is not inserted into one of these 5 jacks the power amp is disabled and the Status LED flashes in a distinctive pattern to alert you to this However the system cannot check if a speaker i
17. Commune Tube Ti ARAD Tube Guitar Amplifier with MIDI Control Operator s Manual Please first read this manual carefully E PDFMAILER DE a Amp Technology PDFMAILER DE Table of Contents page Introduction 4 Features and Functionality at a Glance 4 5 Contents 6 Front Panel Features Input Clean and Crunch Channel Control Features 6 8 Channel selection Reverb FX Loop 1 2 8 9 Write Copy 9 Lead and Lead II Channel Control Features 10 12 Power Amp section Master A B 12 Stand By Power 12 13 Rear Panel Features Mains Mains Fuse 14 MIDI Section and Footswitch Ports 14 16 Noise Gate Threshold Level 16 17 FX Loop 1 and 2 Send Return and Balance 17 18 Reverb control CH1 Reverb control CH2 18 Balanced Line Out Level Overload LED Line Out Status 18 19 XLR Ground Line Output Frequ Comp 19 20 Poweramp Output 4 8 16 Ohms 20 Poweramp Output speaker options 20 21 Practical Info and Tips On the Subject of Sounds and Settings 22 23 A few comments on the Noise Gate 23 Electronic safety systems 23 Programming sounds settings to MIDI presets 24 Handling and Care 24 25 Glossary 25 26 Status LED Indications 26 Troubleshooting 27 28 Important note concerning the cooling fans 28 Technical Data Detailed Specifications and Ratings 29 Tube Map Tube Exchange Service 30 Wiring of Principal Connectors 31 Remote Control Options 32 Front Panel Diagrams for Noting Settings 33 Con
18. Q input tube ECC83 selected ECC83 standard Replace tubes with selected sets only AT89C52 uC with internal 8K Flash Memory for software source code Upgradeable with external Programmer EEPROM 93C66 for data retention Asynchronous data protocol according to the MIDI standard MIDI program changes 0 127 MIDI channels 1 16 MIDI controller 7 main volume value 0 5 Master Volume Mute Mute value gt 5 default Master Volume level Proprietary ENGL asynchronous data protocol two fans each 12 Volts DC 1 2 watts approx 57 5 x 48 x 27 cm I x h x d approx 29 kg approx 70 x 48 x 27 cm I x hx d approx 70 x 55 x 27 cm including castors approx 38 kg 29 T mmmmn MNT ERE ee Tube Map cooling fan connector output transformer v4 v3 v2 Vi power transformer D B V8 V7 6 Q electrolytic E amp chassis capacitor reverb main connector anode supply plug gt reverb spring input as viewed smoothing black plug gt reverb spring output from above Front panel Input the tubes and their function V 5 ECC83 12AX7 input stage 2 stage grade FQ selected V 6 ECC83 12AX7 Lead driver stage 4 stage grade selected V 7 ECC83 12AX7 FX buffer stage poweramp driver stage grade selected V 8 ECC83 12AX7 phase splitter grade standard V 1 V 4 6L6GC or 5881 power tubes poweramp matches sets Tube replaceme
19. Status LED flashes to indicate you have edited one or several settings 4 Press and hold the Write Copy button 15 for about one second until the Status LED extinguishes and then flashes three times in rapid succession The current settings of all programmable functions are now stored in the selected MIDI patch Copying 1 Select the desired MIDI preset using a MIDI foot board connected to the amp s MIDI In 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 Write button briefly It is essential that during this routine you do not change the settings of programmable functions in the selected source preset That Status LED lights up continuously to indicate that Copy is activated 3 Select the target preset via the MIDI foot board you have approx 30 seconds to do this The amp automatically quits Copy mode 30 seconds after it is activated 4 Press and hold the Write Copy button 15 until the Status LED extinguishes and then flashes three times in rapid succession The current settings of all programmable functions stored in the source MIDI patch that s the preset you selected first when you activated Copy have now been dumped to the newly selected target preset 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
20. ansmission 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 ENGL D a a Ser Cnt n Ser Cnt Ser Cnt Ser Cnt Channeli sl en Channel 2 Channel 3 Channel 4 Ser Cnt Ser Cnt Function 1 Function 2 Custom Footswitch 2 9 MIDI MIDI Patch 5 10 Bank A B MIDI MIDI MIDI MIDI Patch 1 6 Patch 2 7 Patch 3 8 Patch 4 9 2 ENGL Custom Z 9 Footswitch This special foot board connects to the amp via a 4 stereo cord plugged into the Serial Amp Port 36 or via a 5 pin DIN cord plugged into the MIDI IN port 33 The former option affords switching access to channels and two special functions for example Hi Gain or Reverb In the latter setup the Z 9 serves as a MIDI foot board that accesses the first 10 MIDI presets 3 3 Two way footswitch e g ENGL Z 4 Connect two way footswitches to the amp by plugging a stereo cord into jack no 37 Functions Ch 1 2 Ch 1 2 main channels ENGL sub channels Clean Crunch and Lead Lead II This means you can t activate sub channels directly and must first switch to the other Main Channel FOOTPEDAL As an alternative to a two way footswitch you can connect i a MIDI switcher the ENGL Z 11 will do nicely to this jack 37 to c
21. ckups 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 off the Gain knob accordingly 3 Crunch Gain Gain control for the Crunch channel This knob determines input sensitivity in Crunch mode use it to dial the desired amount of preamp distortion CAUTION Extremely high gain and volume levels in Crunch mode can produce powerful feedback Avoid feedback squeals they can lead to hearing loss and damage speakers At higher volumes back off the Gain and Treble levels in order to prevent unchecked feedback Atip from the designer Single coil pickups will evoke mildly overdriven sounds at settings somewhere between 10 and 2 o clock Try settings between 9 and 1 o clock for pickups with high output humbuckers or active pickups For an even bigger beefier crunch tone try Crunch Gain settings well beyond the 2 o clock position 4 Bright This feature boosts the upper end of the high frequency range in main channel 1 Clean and Crunch The red LED above this button lights up to indicate the Bright function is on This feature can also be switched via MIDI program change or the Custom Z 9 Footswitch Atip from the designer For a crisp or glassy tone activate the Bright feature This setting brightens the sound of humbucking or muddy pickups T
22. 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 Standby 6 Power Tube Monitor A problem or overload in power tube V2 Indication LED flashes in 2 short bursts What to do Activate and deactivate Standby 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 Standby 8 Power Tube Monitor A problem or overload in power t
23. dialing in hip heavy metal sounds 17 Lead II Gain This knob determines the Lead II channel s input sensitivity and preamp saturation level CAUTION Extremely high gain and volume levels in Lead mode can produce powerful feedback Avoid feedback squeals they can lead to hearing loss and damage speakers At higher volumes back off the Gain Treble and Presence levels in order to prevent unchecked feedback Atip from the designer The two Lead channels fundamental tones are not worlds apart Lead boasts a bit more gain and bottom end than Lead and works very well for 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 Lead I s and the low end can turn muddy at high Gain settings in combination with high testosterone pickups Note that certain midrange frequencies are boosted in the Lead II channel for a punchier tone ensuring your lead lines cut through 10 18 Gain Lo Hi Pressing this button ups input sensitivity thereby increasing the amplification factor and the amount of distortion in both main channel 2 s Lead and Lead II modes The LED above this button lights up to indicate Hi Gain is active This feature can also be switched via MIDI program change or Custom Z 9 Footswitch Atip from the designer When activated Hi Gain supercharges the amplification factor switching from Soft Lead to Heavy Lead and putting both Lead channels into hi
24. ead the owner s manual thoroughly before you power it up It is equipped with several safety features that require further explanation to prevent malfunctions Contents 1 ENGL Tube Combo Amp E365 1x12 or ENGL Tube Combo Amp E368 2x12 including 4 castors 2 mains cord 3 this manual 4 a pamphlet entitled nstructions for the Prevention of Fire Electrical Shock and Injury 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 of discussion if you unfold and refer to them as we go 1 Input V4 unbalanced input jack Plug your guitar in here using a shielded cord Atip from the designer Depending on the type of cord and its shielding you may occasionally encounter interference from sources such as radio stations or powerful magnetic fields When this occurs try connecting your guitar to the amp using different cords What s more to minimize signal degradation due to high frequency loss use the shortest cords feasible as a rule the shorter the cord the less susceptible it is to high frequency attenuation 2 Clean Gain Clean channel Gain control This knob determines the preamp s input sensitivity in Clean mode use it to set the desired input level Atip from the designer The amount of distortion depends on your guitar s pickups In Clean mode single coil pi
25. ed to the 8 ohm jacks When you unplug the cable for the external cabinet ensure you plug the internal speakers back into the 16 ohm jack Summary External 16 2 internal 16 Z gt external to 8 ohm internal to 8 ohm output 3 An external 8 ohm cabinet connected to one of the 4 ohm jacks and the internal speakers 2x12 16 ohms connected to one of the 8 ohm jacks When you unplug the cable for the external cabinet ensure you plug the internal speakers back into one of the 16 ohm jacks Summary External 8 2 internal 16 Z gt external to 4 ohm internal to 8 ohm output C Cabinet options for the E365 1x12 and the E368 2x12 model without using internal speaker s 1 One external 4 ohm cabinet connected to a 4 ohm jack without internal speaker s Summary External 4 Z no internal gt external to 4 ohm output 2 Two external 8 ohm cabinets connected to the 4 ohm jacks without internal speaker s Summary External 8 Z 8 Z no internal gt external to 4 ohm 4 ohm 3 One external 8 ohm cabinet connected to an 8 ohm jack without internal speaker s Summary External 8 Z no internal gt external to 8 ohm output 4 Two external 16 ohm cabinets connected to the 8 ohm jacks without the internal speaker s Summary External 16 Z 16 Z no internal gt external to 8 ohm 8 ohm output 5 One external 16 ohm cabinet connected to the 16 ohm jack without the internal speaker s Summary External 1
26. erly or are altogether disconnected Have an experienced specialist check this gt Cords connected to the input or effect loops may not be shielded properly Replace them to check if this is indeed the case gt 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 gt 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 gt If you are feeding the signal to recording equipment or a mixing console via the amp s Line Out and the XLR Ground 49 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 The electronic power amp protection circuit has tripped gt 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 gt The amp has been overloaded perhaps by excessive volume levels mains over voltage or the wrong output impedance the impedance setting does not match the connected speaker s impedance Important note concerning the cooling fans To protect your amp from damage
27. figuration Table Z 9 settings 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 Note Technical specifications are subject to change without notice Congratulations tube tone connoisseur With the ENGL Sovereign 100 you now own one ofthe most advanced and versatile tube amp combos available today This sophisticated guitar amp marries the unrivalled tone of all tube technology to the awesome sound shaping might of control features powered by state of the art microchip circuitry This elegant combination puts at your fingertips a vast range of great fundamental tones and an all but inexhaustible reservoir of compelling variations all of which may be controlled remotely via MIDI What s more the amp boasts a host of hip amp practical features To mention just a few these features include Four channels Clean Crunch Lead and Lead II tweaked to deliver different tonal spectrums for various styles and playing techniques for instance Lead for fast amp heavy riffs and Lead II for punchy lead tone with an assertive midrange kick Both Lead channels offer Lo Gain Hi Gain switching as well as dedicated Volume knobs that give you an even greater range of sound sculpting options With dedicated Treble knobs for the two Clean and Crunch cha
28. g feature is currently assigned to Function 2 the corresponding S A C command is F2 7 Column 5 lists the shorthand designations for specific configurations that appear throughout the Z 9 Operator s Manual For detailed information please refer to the Z 9 Custom Footswitch Operator s Manual Please note The ENGL Z 9 Custom Footswitch is an optional accessory The afore mentioned Function buttons LEDs and setup routines pertain to the Z 9 35 E PDFMAILER DE Amp Technology ENGL Ger tebau GmbH Germany Internet http www engl amps com Text design graphics photography and layout by Horst Langer ENGL Amp Designer
29. gh gear This doubles the number of basic sounds in main channel 2 The Soft Lead setting suffices for high output pickups even for playing leads so you can choose o Gain if your guitar is shred approved Soft Lead settings also work for chugging rhythm riffs or as alternative crunch sounds so give em a try But by all means for scorching ultra high gain lead sounds with truckloads of sustain or for power chords with a monster bottom end go for the Heavy Lead variant with Hi Gain function activated 19 Bass Thisis the preamp voicing section s passive low frequency EQ for main channel 2 s Lead and Lead II modes 20 Middle This is the preamp voicing section s passive midrange EQ for main channel 2 s Lead and Lead II modes 21 Treble This is the preamp voicing section s passive high frequency EQ for main channel 2 s Lead and Lead Il modes 22 Presence This control defines the Treble response in the poweramp stage for main channel 2 s Lead and Lead II modes Atip from the designer To help you get acquainted with the amp s fundamental sounds recommend that you set all tone controls to about the center or 12 o clock position For higher gain high volume lead sounds your best bet is to turn the Treble and the Presence knob down to prevent the pickups and speakers from generating feedback a setting in the 9 to 1 o clock range is recommended Though this passive voicing section s controls range is narrower than that of a
30. grammable Bright 4 button at your disposal for shaping the high frequency range suggest you get into the habit of dialing in lower Treble settings That way you can program various MIDI presets with different Bright settings and activate them remotely and have plenty of tonal variations at your fingertips 9 Clean Volume Determines the Clean channel s level Use this knob to adjust the Clean channel s volume 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 in Clean mode The green LED to the right of the knob lights up to indicate the Clean channelis on 10Crunch Volume 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 effects loop it also determines the effects send level in Crunch mode The yellow LED to the right of the knob lights up to indicate the Crunch channelis on 11 Channel 1 2 Main channel selector button selects main channel 1 or 2 and depending on the sub channel settings 12 activates Clean Crunch Lead or Lead II channels When the LED above the button is off main channel 1 Clean or Crunch is active When the LED lights up main channel 2 Lead or Lead I is active Channels may also be switched via MIDI program change the ENGL Custom Z 9 Footswitch or a dual f
31. hen this loop is not in use 45 REVERB CHANNEL 1 Reverb intensity knob Twist it to adjust the amount of reverb for main channel 1 Clean Crunch Activate Reverb button 14 at the front panel and twist the Reverb knob clockwise to increase the effect s intensity The signal remains completely dry when the knob set to the 7 o clock position or Reverb 14 is deactivated The red LED above this button lights up to indicate Reverbis on In addition it can be activated and deactivated via MIDI program change or Custom Z 9 Footswitch 46 REVERB CHANNEL2 Reverb intensity knob Twist it to adjust the amount of reverb for main channel 2 s Lead and Lead II modes Activate Reverb button 14 at the front panel and twist the Reverb knob clockwise to increase the effect s intensity The signal remains completely dry when the knob set to the 7 o clock position or Reverb 14 is deactivated The red LED above this button lights up to indicate Reverbis on In addition it can be activated and deactivated via MIDI program change or Custom Z 9 Footswitch 47 LEVEL This knob determines the level of the frequency compensated Line Out 50 Use it to adjust the amp s line output signal level to match the input gain of the mixing desk or recorder s input 18 Atip from the designer The following factors determine Line Out level 50 The input level Gain the given channels Volume knob settings as well as the activated Master and to some extent the
32. his voicing option ups the twang factor inherent in certain types of guitars and lets you put a set of sonic cow horns on those that lack it Feel free to control this sound shaping function remotely via MIDI 5 Bass This is the preamp voicing section s passive low frequency EQ for main channel I s Clean and Crunch modes 6 Middle This is the preamp voicing section s passive midrange frequency EQ for main channel I s Clean and Crunch modes 7 Treble Clean This is the preamp voicing section s passive high frequency EQ for main channel I s Clean mode 8 Treble Crunch This is the preamp voicing section s passive high frequency EQ for main channel I s Crunch mode Atip from the designer To help you get acquainted with the amp s fundamental sounds recommend that you set all tone controls to or slightly higher than the center or 12 o clock position For higher gain Crunch sounds your best bet is to turn the Treble Crunch knob down to prevent the pickups and speakers from generating feedback a setting in the 10 to 1 o clock range is recommended The Clean and Crunch channels are equipped with dedicated Treble knobs so you 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 that you also have the pro
33. ides direct access to the four channels Alongside selecting channels you can opt to control any other two switchable amp functions for example Master A B Reverb Gain Lo Hi etc Another tremendous benefit of this microcontroller driven foot board is that it connects to the amp via an easily obtained standard stereo cord But that s not the last of the Z 9 s advantages At some point you may decide to ramp up or connect to a MIDI system This won t render the Z 9 obsolete because it also serves as a simple MIDI foot board with a MIDI OUT 5 pin DIN connector that selects 10 MIDI patches or presets if you prefer Again 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 Serial Amp Control Port 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 37 FOOTSWITCH CH 1 CH 2 SUB I II Use this jack to connect a conventional footswitch with two switching functions for example the ENGL Z 4 that let you access the four channels Clean Crunch Lead land Lead ll One of the two switches activates main channel 1 and 2 while the other activates the selected main channels two subordinate channels Clean and Crunch or Lead and Lead Il as the case may be The onboard channel switching facility is disabled when you plug a footswitch into this jack Note also
34. mponent life Replace tubes with selected tubes that satisfy ENGL selection criteria to forestall microphonic properties undesirable noise and unbalanced power amp signals Because power tubes idle current bias must checked and possibly adjusted when replacing tubes this is a job best left to experienced and authorized specialists Glossary MIDI Preset In this manual MIDI programs are called presets and patches 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 that all 16 channels receive MIDI data MIDI Volume and Master Volume Mute This option lets you access the amp s Master Volume Mute function via a suitable MIDI 25 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 must be enabled using the corresponding encoding button on the back of the amp Power Tube Monitor An electronic surveillance system that monitors each power tube s current and shuts the given tube down when it detects a value that is too high The Status LED above the Write Copy 15 button indicates the following
35. nd slowly twist it clockwise to gradually raise the gate s trigger threshold When the knob arrives at the far right position the Noise Gate 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 Noise Gate In practice your best bet for suppressing loud noise when running Lead channels at high Gain levels is to set the Threshold knob higher than 12 o clock If you re doing the low gain thing in Soft Lead modes dial in a lower Threshold knob 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 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 it to power a couple of reassuring protection systems One is Power Tube Monitoring which checks every power tube individually the other is a speaker output surveillance system designed to prevent the potentially destructive operation of the power amp without a load For reasons of operating safely tube amps require a load such as a speaker cabinet connected to the output Be aware though that as sophisticated as these features may be they can t relieve you of all responsibility For example the system can t detect
36. nnels you have at your fingertips extremely precise tone tweaking tools for those top end frequencies that are so important in shaping your sound A B Master switching is a powerful option that has proven its merits in countless ENGL amps it has featured in E920 power amps since the late 80s and in the legendary SAVAGE 120 head since 93 Your Sovereign Combo also sports two switchable effect loops and an Accutronics spring reverb system to round out its arsenal of sound shaping tools The tonal palette ranges from vintage clean to classic grind and from creamy rock lead tone with thick lush tube overdrive to the kind of aggressive hi gain lead sound ittakes to cut through in contemporary heavy styles We developed this amp with the needs of the working musician in mind painstakingly tweaking its frequency compensated balanced Line Out Rest assured this output delivers the amp s awesome tube tone directly to mixers and recording systems with amazing authority and authenticity As an alternative to operating the amp remotely via a MIDI foot controller such as the ENGL Z 15 you can also plug in an ENGL Z 9 Custom Foot Controller and manipulate key functions directly What s more the amp comes with a stereo jack designed to take an ENGL Z 4 dual footswitch or a switching system for selecting the four channels And the exterior s compelling visuals certainly match the interiors impressive appointments This amp s elegant and stylish look is sure
37. nob position When the knob arrives at the Effect position only the 17 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 Dry when this loop is not in use 42 FX LOOP 2 SEND Connect this FX Loop 2 output to a signal processor s input return jack using the shortest possible shielded cord equipped with 1 4 plugs Activate and deactivate it via the FX Loop 1 2 13 button which switches between these two loops In the signal path FX Loop 2is located post preamp and pre the two power amp Master knobs 43 FX LOOP 2 RETURN Connect this FX Loop 2 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 1 2 13 button which switches between these two loops In the signal path FX Loop 2is located post preamp and pre the two power amp Master knobs 44 BALANCE FX mix control for FX Loop 2 When the knob is set to Dry 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 Dryw
38. nstituent components in particular its active components That s right those cherished tubes are the culprits The Noise Gate is a tool that lets you silence this noise during breaks by way of signal mute circuit Note that electric guitars pick up interference signals and these are amplified tremendously at high gain levels in Lead mode The most common source of noise is 50 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 noise to rise to a level that deactivates the Noise Gate and therefore becomes audible My advice is to stay as far away from transformers and power units as space allows IMPORTANT note please read and heed The Noise Gate may open up inadvertently when the Noise Gate is activated a high gain Lead channel is selected and the volume exceeds the Threshold knob setting At very high volume and gain settings this may generate instant feedback particularly if your guitar is facing the speakers Rather than musical and controlled this is the shrill unpleasant and potentially harmful variety of feedback squealing that sends your audience and fellow musicians packing Though the amp is not more susceptible to feedback when the
39. nt report 1 Replaced on 20 Replaced by Replaced tubes 2 Replaced on 20___ Replaced by Replaced tubes Reason 3 Replaced on 20 Replaced by Replaced tubes Reason 30 PDFMAILER DE Wiring of Principal Connectors LINE OUT BALANCED 50 XLR male connector Pin 1 or ground depending on the position of the switch XLR GROUND 49 MIDI IN 33 DIN connector Pin 3 N C e Pin 1 power supply Oo approx 11 volts AC Pin 5 MIDI data wire Pin 4 MIDI data wire Pin 2 power supply page 14 approx 11 volts AC AC voltage is routed to pin 1 and 2 only when button 34 is set to ENGL MIDI Footcontroller Serial Amp Control Port 36 Dual Footswitch 37 Stereo Stereo 1 4 jack 1 4 jack Data Sub I II ENG C d M Very important 5 volts Use a stereo CH1 CH2 use a stereo plug only plug only Connect ENGL Ground GND Ground GND Custom Z 9 Footswitch only page 15 page 16 31 Options for controlling the ENGL Sovereign 100 amp remotely FoorswTcH NOISE F X LOOP F X LOOP It 90090090 zem 5 Jenat MIDI Footcontroller 215 1 MIDI foot board for example the ENGL 2 12 or ENGL 2 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 tr
40. ontrol the two switching functions 32 ON OFF ON OFF E PDFMAILER DE Noting Settings Middle Treble Cl D D Treble Cr D Clean Vol Crunch Vol D x o o o o o 5 700 Vintage 112 Presence Lead 1 Ki Lead E Master A keet B Or OOO 8 Qe Input Gain QUO Stand By Power Sound title comment Input 8 E 1 Vet Lead Ki Gain Master Master H are oe Bass besse E rami Ce Ki yer 5 4 00 00 2 O20 020 OOS NW lena i Gen n Middle Treble Presence Master O26 26 6 6 6 a Cre StandBy Power Sound title comment pa Bass Treble CL Treble Cr cem v Crunch You o o o o 7 0 Qus 59259 TEM Lena i Gen Middle reble Presence Lead 1 Vol Lead II Vol MasterA Master B O OO Oe Input OUO Gain loni Stand By Power Sound title comment Kee a Mie pan Ka Pee e See vO a b o o o o 7 d gt EE KE ge EE Hio mE ad i Gen Migare Zeit Presence E 1 E bead a Master 3 Master B SEOBE Gain G r 9 5 iO 6 Stand By Power S
41. ootswitch 12 Sub I II Sub channel selector button selects Sub Channel or Il Depending on the main channel settings 11 it activates the Clean or Crunch and the Lead I or Lead II channels When the LED above the button is off Clean or Lead I Sub Channel 1 is active When the LED lights up Crunch or Lead Sub Channel II is active Distinctively colored LEDs are located next to each channel s Volume knob To make operation and navigation easier for you they light up to indicate which channelis currently active Channels may also be switched via MIDI program change the ENGL Custom Z 9 Footswitch or a dual footswitch 8 13 FX Loop 1 2 This button switches to and fro between FX Loop 1 and FX Loop 2 The red LED above the button lights up to indicate FX Loop 2 is on You can also select loops via MIDI program change or Custom Z 9 Footswitch Atip from the designer Both effect loops can be configured in series that is 100 processed signal when Balance is set to Effect or in parallel 1 to 99 mix of preamp and effect signal when Balance is set somewhere between dry and Effect or be bypassed altogether 0 wet balance when Balance is set to dry 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 1 2 function or employ just one of the two effect loops for example FX 2 Loop and use FX Loop 1 2 to activate the effect In the latter case FX Loop 7 ser
42. ound title comment 33 S S em ER gt lt bl gt abed 7 ZS IS Le LE oE smoor aNd HHO S m NM EE MEA duy isunisioN NIH OL E MSN OZO KO EO NISI 4 LNdLNO ANVIHAD 1N3dO LON OG a vH3MOd NI 211 32 sen WV i NOLLAVS YW 27225 Ser T Se EE I d007 X3 31VO ISION HOLIMSLOO4 T nes 0S 6v 8v Lv gp sv Vy Er pb Ir Ov ee 8E JE 9 SE ve EE ZE adh 61 gt 1g gt lt _ 1 gt lt 91 gt 1 lt tli gt gt 81 lt Li 01 gt ebed 62 8z 1 9 Sz v z ez 12 oz 6l 1 1 yamog g puris wv eos PEN PES PES 2x PEN moi o ee 2 as Sue SS mdu 9 mois VISEN TPA peT TOA 1 peT 21441 IPP E pear I Li A Sok quent door sr is pine B 2 m ng E i 222 bem e i doi d 7200 002 e e e e e e 1 e JOA oun TOA Aer ox ss Se Se GL vi EL LU Ol 6 8 v lt 6 gt Se Eeer KE Js lt 9 gt PDFMAILER DE Configuration table for assigning the Sovereign 100 s sound shaping and special functions to the Z 9 Custom Footswitch s Functions 1 and 2
43. r routed through another MIDI device Switch no 34 lets you activate the amp s power supply if you have an ENGL MIDI foot controller connected to this port CAUTION Before you connect any other MIDI footswitch or effects device always make sure that switch 34 is set to the right to avoid damaging the device 34 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 powerthis foot board via the MIDI cable Please read and heed Note that a MIDI foot board may not draw more than 200 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 ea
44. rns a living with a screwdriver 14 PDFMAILER DE 35 MIDI CHANNEL amp VOL O Use this set of encoding buttons 1 2 3 4 and 5 to assign the MIDI channel This tells the amp 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 are listed in the following table Encoding button number 6 lets you program the amp so that it is muted when it receives a MIDI controller 7 command When this command has a value of 0 and less than and equal to 5 the amp s master volume is muted At values greater than or equal to 5 the amp is back on line at the volume level determined by the currently active Master knob Setting the encoding button to ON activates Master Volume Mute Setting the encoding button to OFF deactivates Master Volume Mute MIDI channel assignment using the encoding buttons MIDI channel S1 52 53 54 56 OMNI 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 CH 10 ON ON OFF OFF ON
45. s actually connected to the other end of the cord That s your job Always check and verify that the amp s output impedance matches the connected cabinets impedance Choose only one of the following speaker and cabinet options depending on your amp model A Speaker and cabinet options for the E365 1x12 model only 1 Internal speaker 1x12 8 ohms only connected to an 8 ohm jack without an external speaker cabinet Summary No external cab internal 8 Z gt internal to 8 ohm output 2 An external 8 ohm cabinet and the internal speaker 1x12 8 ohms connected to the 4 ohm jacks When you unplug the cable for the external cabinet ensure you plug the internal speaker back into a 8 ohm jack Summary External 8 Z internal 8 Z gt external to 4 ohm internal to 4 ohm output 3 An external 16 ohm cabinet connected to one of the 8 ohm jacks and the 20 internal speaker 1x12 8 ohms connected to one of the 4 ohm jacks When you unplug the cable for the external cabinet ensure you plug the internal speaker back into one of the 8 ohm jacks Summary External 16 Z internal 8 Z gt external to 8 ohm internal to 4 ohm output B Speaker and cabinet options for the E368 2x12 model only 1 Internal speakers 2x12 16 ohms only connected to the 16 ohm jack Summary No external cab internal 16 Z gt internal to 16 ohm output 2 An external 16 ohm cabinet and the internal speakers 2x12 16 ohms connect
46. s or 16 ohms 51 52 53 gt Is the power amp activated Standby switch to ON gt Are all cords guitar effect and speaker connected properly and are they functional gt Unplug connected effectors and see if the preamp works fine without these peripheral devices gt Is the Noise Gate activated in one of the Lead channels and the Threshold 38 knob set to a high value Deactivate the Noise Gate 38 for a quick check gt 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 gt 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 amp You can check this by deactivating the Master Volume Mute by resetting the appropriate encoding button 35 accordingly gt You may be looking at a faulty tube or another defect In this case be sure to take the preamp to an authorized professional service center The speaker is emitting humming noises gt Is there a connection for example via a shielded circuit between the 27 amp and another device that is grounded via a power plug of its own Two or more circuits sharing a common electrical ground line can cause audible hum If low frequency noise is emanating from your rig be sure to consult a specialist gt The amp and mains grounds are not connected prop
47. s are already warm and don t require time to heat up For breaks of 30 minutes and longer recommend that you switch the amp off in order to conserve energy 29 Power Mains power on off Space for user notes 13 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 30 Mains Connector Plug the mains cord in here For European models use a standard non heating equipment connector cable CAUTION Make sure you use an intact mains line cord with a grounded plug Before you power the amp up ensure the voltage value printed above the mains socket is the same as the current of the local power supply or wall outlet Please also heed the guidelines set forth in the separately included pamphlet Instructions for the Prevention of Fire Electrical Shock and Injury 31 MAINS FUSE BOX The rear chamber contains the mains fuse and the front chamber a spare fuse CAUTION ALWAYS make sure replacement fuses are of the same type and have the same ratings as the original fuse To this end please refer to the fuse ratings table 32 MIDITHRU This 5 pin DIN port patches incoming MIDI data from the MIDI In 33 to any other connected MIDI device 33 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 o
48. tand By Power amp standby switch Use this switch to silence 0 position the amp when you take longer break The amp s tubes stay nice and toasty and the amp is ready to roll immediately when you ramp it back up to full power More good to know info On the one hand the amp s surveillance system monitors if speaker cords are plugged 12 into Output Power Amp 4 ohms 8 ohms or 16 ohms 51 52 53 If none of these ports is in use flipping the Standby switch will not activate the power amp This ensures the ampis notoperated without a connected load In addition an electronic surveillance system monitors the four 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 the standby switch briefly Atip from the designer suggest you get into the habit of using standby during short breaks In this mode current is not piped through the power tubes so they don t get as hot due to the lack of anode dissipation and are spared considerable wear The amp is ready to run when you flip the Standby switch because the tube
49. ube V4 Indication LED flashes in 4 short bursts What to do Activate and deactivate Standby 26 Troubleshooting Programmable features fail to respond when you change settings gt 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 gt 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 gt Is the MIDI foot board connected to the MIDI IN port 33 gt Is the MIDI cord you are using intact and wired properly Refer to page 31 for pin assignments gt 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 35 to OMNI reception to check if the preamp is actually receiving data gt 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 gt Is at least one speaker connected to the speaker outputs 4 ohms 8 ohm
50. uite 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 What s more Lead II channel mids in the 500 to 1000 Hz range are boosted to focus and tighten up the tone This makes it perfect solos that cuts through the din Lead demands rather precise technique while the more forgiving Lead is easier to handle Gain Lo Hi gives you two more voicing options for each of the two Lead channels Soft Lead moderate Gain level and Heavy Lead ultra high Gain shred What s more you can even tweak each Lead sound individually using the dedicated Gain and Volume knob This brings a bunch of benefits to you including greater freedom and precision in fine tuning the various Lead tones The two Soft Lead variants Lead Lo Gain Lead Il Lo Gain 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 you dial in relatively lean clean sounds So if clean is your thing and your music 22 mandates a range of different clean variants simply set the Gain knob below the 9 o clock mark and select Soft Lead Lo Gain to see what you can come up with Because it is chock full of tone tweaking tools this amp is sure to surprise you time and again with new sonic variants Howe
51. ver there s no need to panic in face of its sophisticated functionality At ENGL ease of use is paramount We design all our amps so that players can dial in great sounds from the start without hours spent researching the manual and struggling with settings Despite being so easy to use the ENGL Sovereign 100 Amp puts into the hands of the innovative creative guitarist an all but inexhaustible bonanza of sound shaping resources And am convinced that guitarists with more traditional leanings are equally well served with this amp s smorgasbord of tasty tube tone Afew comments on the Noise 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 Noise Gate 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 Lead channel is in Heavy Lead mode For this reason tuned its threshold that s the level at which the gate triggers range to suit this amp mode and then adjusted it for Soft Lead Lead channel Lo Gain configurations To get acquainted with how the Noise Gate works suggest you start by setting the Threshold knob to the 9 o clock position Noise Gate opens at low signal levels a
52. ves as a bypass set its Balance knob to the dry position Note that in the signal path FX Loop 1 and FX Loop 2are post the preamp and pre the two master knobs 14 Reverb This button activates and deactivates the onboard spring reverb system The red LED above the button lights up to indicate Reverb is active This button is important when you re programming MIDI patches Use it to assign the internal reverb signal to the desired MIDI preset Adjust the wet signal for the two main channels using the assigned Reverb knob 45 46 located at the rear panel of the amp Reverb can also be switched via MIDI program change or Custom Z 9 Footswitch 15 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 Write and Copy with the former you re actually programming or writing a new MIDI preset with the latter you re making an exact duplicate of an existing preset The system will select a Write operation whenever you edit a MIDI preset 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 Copy This means that the given preset becomes the source and its contents are dumped to another preset and stored there When you press this button
53. voicing section s settings and the Presence control when button 48 is set to the Power Amp position Those are a lot of variables so recommend you proceed as follows Configure buttons as desired and dial in the desired settings on the front panel Adjust the levels of connected FX devices and signal processors Finally use the Level control to adjust the line level The Line Out is not overloaded until the Overload LED above the Status knob lights up continuously You can push the level up to this point to match a mixer desk or recorder s input level requirements Use the given device s input sensitivity or gain control to fine tune the line level OVERLOAD This LED lights up to tell you the Line Out is saturated If it illuminates simply roll back the signal level using the Level knob 47 48 LINE OUT STATUS This button selects the signal source for the Line Out signal routed to the XLR port 50 When set to OFF the line signal is tapped from the preamp When set to ON pushed in the line signal is tapped from the power amp At least one speaker must be connected for this option A tip from the designer The ENGL Sovereign s preamp and power amp supply two different signals The reason for this is that the Presence control the power tubes and output transformer all shape the power amp signal s tone You may have to adjust the voicing controls on your amp mixer desk or recorder to adjust the line out signal accordingly 49 XLR
54. wer amp output The green LED to the right of the knob lights up to indicate Master B is enabled and determining the master level You can also set the master level to 0 via MIDI controller 7 To learn howto do this see section 35 in the Rear Panel Features chapter Atip from the designer Remote control via MIDI footswitch is a nifty little utility You can dial in different levels for Master A and Master B and assign these settings to any channel and mode that the amp has to offer This gives you a range of variations that you can program for different playing styles and musical genres to great dramatic effect You can use main channel 1 Clean amp Crunch modes for rhythm or cleaner lead lines and the main channel 2 s overdriven preamp stage for power chords and soloing and go from soft to loud at the touch of a button You can also broaden the volume and tonal ranges by working your guitars volume knob If your arsenal includes MIDI gear for instance the ENGL Z 15 MIDI Footcontroller you can use the amp s master volume mute circuit to swiftly and conveniently set the power amp s level to 0 during short breaks or when switching axes 27 Master A B Switches back and forth between the Master A and Master B knobs The LEDs next to the knobs light up to indicate which Master knob is active the red LED for Master A the green LED for Master B MASTER A B can also be switched via MIDI program change or the ENGL Custom Z 9 Footswitch 28 S
55. will do to spare the tubes Tubes take some 20 seconds to warm up after you switch the power on and about 24 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 recommend that you drape a covering over it to prevent the intrusion of dust Even better keep it in a transport cover or flight case Never use caustic or scouring detergents to clean the amp s housing front or rear panels Use a soft damp cloth or sponge with diluted soapsuds or a standard brand of mild dishwashing liquid instead Never use solvents they can corrode the amp s vinyl skin and dissolve the front and rear panel labels Keep liquids well away from the amp particularly the interior of the housing Make sure air can circulate at the rear and top of the amp to allow for adequate cooling which increases component life Never operate the amp without an adequate load a speaker cabinet or suitable terminating resistor High ambient temperatures place an additional strain on diverse components so if at all possible avoid operating the amp at temperatures far higher than 30 C for longer periods Running the amp at mains voltages exceeding the nominal mains input voltage over longer periods can also shorten co
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