Operator`s manual

sufficient load, otherwise you may damage or destroy it!
Always check and verify that the amp's output impedance matches the connected
cabinets' impedance!
Cabinet options
An electronic surveillance system constantly monitors if a plug is inserted into the
speaker outputs (57, 58), (59, 60) and (61). If a plug is not
inserted into one 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 is actually connected to the other end of the cord. That's your job.
1. One 4-ohm cabinet connected to a 4-ohm jack;
Summary: 4 Z, -> connected to 4-ohm output.
2. Two 8-ohm cabinets connected to the 4-ohm jacks;
Summary: 8Z+8Z,->connected to 4-ohm + 4-ohm output.
3. One 8-ohm cabinet connected to an 8-ohm jack;
Summary: 8 Z, -> connected to 8-ohm output.
4. Two 16-ohm cabinets connected to the 8-ohm jacks;
Summary: 16 Z + 16 Z -> connected to 8-ohm + 8-ohm output.
5. One 16-ohm cabinet connected to the 16-ohm jack;
Summary: 16 Z -> connected to 16-ohm output.
6. An 8-ohm cabinet connected to one of the 4-ohm jacks in combination
with a 16-ohm cabinet connected to one of the 8-ohm jacks
Summary: 8Z+16Z->connected to 4-ohm + 8-ohm output.
4 ohms 8 ohms 16 ohms
A few words from the designer on your ENGL Special Edition 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 amp head; I
devoted particularly painstaking attention to the details: The four channels are
matched so that their Gain ranges overlap somewhat or are somewhat similar (
and ). This is intentional, and serves very sensible sound-sculpting purposes. For
instance, higher Gain settings (in the 12-to-3 o'clock range, depending on pickups)
push into moderate overdrive, and activating the feature propels
this channel into the dirt zone that much earlier. 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 knob to the sonic equation, you get a vast spectrum of
fine tonal distinctions in just this one channel. The same goes for Channel 2: Its
spectrum ranges from clean (when Gain is set no higher than about 10 o'clock,
depending on pickup) to a touch of vintage-style grit (when Gain is set no higher than
about 1 o'clock) and fat, wooly, and warm tube overdrive at higher Gain settings.
High-output pickups such as humbuckers will even serve up enough oomph for punchy
CH3
CH4
Channel 1 Hi Gain
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