Engl Marty Friedman Inferno Signature User manual

E766
Marty Friedman
Operator´s Manual

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Channel
1< >2
Middle Treble
Bright
BassGain Volume Middle Treble
Tone
BassGain Volume Master
Gain
Boost
PowerStand By
MARTY FRIEDMAN 100W
INFERNO
SERIAL AMP
CONTROL PORT
CAUTION:
CONNECT CUSTOM
FOOTSWITCH Z-9 ONLY!
CHANNEL
1 2
GAIN BOOST
FOOTSWITCH
MASTER
A/B
TONE
FX LOOP
SEND RETURN BALANCE
DRY EFFECT
POWERAMP OUTPUT
4 8
OR 8
AND Or ->
8 OHMS PARALLEL
1 x 8 OHMS
2 x 16 OHMS
4 OHMS PARALLEL
1 x 4 OHMS 2 x 8 OHMS
16 OHMS
8
16
OR
16
AND
16
OR ->
THRESHOLD
MIN. MAX.
NOISE
GATE
DO NOT OPEN !
RISK OF ELECTRIC SHOCK !
DO NOT EXPOSE THIS EQUIPMENT
TO RAIN OR MOISTURE !
CAUTION !
!
R
Amp
Tube
REPLACE FUSE
ONLY WITH SAME TYPE
AND RATING !
POWER
TUBE
FAILURE
FX LOOP
NOISE GATE
OFF-ON LEVEL
MIN. MAX.
MASTER
B
S.A.C. PORT
All-tube Guitar Amp Head
Marty Friedman Signature 100
Type E766
designed by Horst Langer
optically refined by
Saskia Schlossarek
MADE IN GERMANY
POWER TUBE V7
FUSE
DO NOT OPEN FUSEHOLDER
WHILE AMP IS SWITCHED ON !
REPLACE FUSES ONLY AGAINST
SAME TYPE AND RATING !
CAUTION !
POWER TUBE V8
FUSE
POWER TUBE V6
FUSE
POWER TUBE V5
FUSE
DO NOT OPEN FUSEHOLDER
WHILE AMP IS SWITCHED ON !
REPLACE FUSES ONLY AGAINST
SAME TYPE AND RATING !
CAUTION !
CHECK
FUSE
V5 TO V8 !
1
Seite: <----- 5 -----> <---------------------------- 6 ----------------------------> <-- 7 --> <--------------------------- 8 ---------------------------> <-- 9 --> <---- 10 ---->
10 11 13 17 18122 3 4 5 6 7 8 9 14 15 16
19
<-----10 -----> >11< <------ 12 ------> <-----------13 ----------> <---14 ---> <- 15 -> <----------------------------------------------------18 ---------------------------------------------------->
Seite:
20 21 22 23 27 28 29 30 35 36 37 38 3924 25 26 31 32 33 34

Table of Contents
page
A prologue from Marty Friedman
Features and Functionality at a Glance
special notes, Contents
Front Panel Features:
Rear Panel Features:
Troubleshooting
Technical Data,
Tube Map, Tube Exchange Service
Wiring of Principal Connectors
Front Panel Diagrams for Noting Settings
Note:
:
Handling and Care
Preamp section: Input, Channel 1 - Control Features
Preamp section: Channel 2 - Control Features
Gain Boost, Channel 1< >2 selection
Power Amp section: Master A and Master A/B feature, Stand By
(P.T.F.)
(P.T.F.)
Noise Gate: Threshold Level
FX Loop: Send, Return, and Balance
Power Amp section: Power Tube Fuse (P.T.F.)
Power Amp section: Poweramp Output 4, 8 16 Ohms
Poweramp Output: speaker options
Power switch
Mains connector (AC Power Inlet), Mains Fuse
Amp remote control: S.A.C. Port for Z-9, Footswitch Ports
Detailed Specifications and Ratings
You'll find an ancillary pamphlet accompanying this owner's manual entitled
Instructions for the Prevention of Fire, Electrical Shock and Injury.
Be sure to read it before you plug in and power up the amp!
Technical specifications are subject to change without notice.
Power Amp section: Power Tube Fuse
Power Amp section: Master B control
Power Amp section: Power Tube Fuse LED
Remote Control Options
Configuration table for Z-9 settings
CAUTION! Please read and heed the following:
4
4
5
5, 6
7, 8
8
8, 9
9
10
10, 11
12
12
12
13
14
14
15
15
16
17, 18
19
20
21
21
22
23
3

A few words from Marty Friedman to his ENGL Signature Amp:
Two voicing sections specially tuned according to Marty's sound ideas for
each channel
On every album and every tour I`ve done since I`ve started working with Engl, I`ve
used a combination of some of Engl`s most popular amps. Mostly the Steve Morse (for
leads) the Special Edition, Powerball and the Invader. I have never once had a single
issue with any of these!
During the recording sessions for my INFERNO album, the people at ENGL analyzed
how I used those amps, and got detailed information about what sounds I liked, what
my go-to settings seemed to be and what features of the amps I needed-and what
features I didn`t need.
The following INFERNO world tour gave the ENGL engineers a lot more time to find
out what I needed for live tones as well.
What this resulted in was all of that info was carefully combined to create an absolute
monster-one new amp with everything I wanted from all those amps and nothing I
didn`t need. This is the Marty Friedman INFERNO amp.
The amp was used as a guinea pig for the recording of my new album,
. On this album you can hear the thick, dense distortion carry the pitch of the
notes more melodically than typical distortion. This is a big point with me as I approach
many of my solo lines like a lead vocalist, so I need to hear uncompromised pitch at the
same time as a percussive aggressive punch.
By the time the album was finished recording, the prototypes were approved by me,
and ready for production.
I`m proud to commemorate my long and successful relationship with ENGL with my
first Signature amp ever!
WALL OF
SOUND
and , each channel
->
: One three-band EQ for and one three-band EQ for
.
Channel 1 Channel 2
Channel 1
Channel 2
Features and Functionality at a Glance
-> : with
separate Gain and Volume knobs.
-> . You can control the remotely via
a footswitch and use this circuit as a hardware bypass for connected FX.
Two channels
Switchable and adjustable
-> assigned to
; button for precice-tuning of the Mid frequency range
assigned to .
-> . You can footswitch these knobs to activate
two different power amp volume settings on the fly without twisting a knob.
It lets you select the two channels in
combination with , thereby affording you direct access to four gain
stages, and the means to control two additional (sound-shaping) features of
your choice. Three ¼" (6.3 mm) stereo jack plugs accept three dual footswitches
that let you remotely control the two channels; , , ,
(off/on), and the (off/on).
-> Activate it at the amp or via
footswitch to suppress excessive noise at very high gain settings.
Two sound switching options in the preamp section:
Two power amp Master knobs
-> The optional Z-9 Custom Footswitch.
A Noise Gate for the Channel 2 with Gain boosted.
Bright
Channel 1 Tone
Channel 2
Gain Boost
Gain Boost Tone Master A/B
FX Loop Noise Gate
FX Loop FX Loop
4

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 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
and are sure to delight you:
Though this amplifier is relatively easy to handle and you're probably raring to give it a
go, I recommend that you read the owner's manual thoroughly before you power it
up. It is equipped with several safety features that require further explanation to
prevent malfunctions.
1. ENGL Marty Friedman Signature Amp Head type E766 - 100 watts;
2. mains cord;
3. this manual;
4. a pamphlet entitled
.
¼" unbalanced input jack. Plug your guitar in here using a shielded cord.
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.
The Channel 1 Gain control knob determines the preamp's input sensitivity and
amplitude when Channel 1 is active.
Here's how this knob's settings relate to the type of guitar pickup. If you are using
single-coils, the preamp will start breaking up at about 7, and at around 5 or 6 with
more powerful humbuckers or an active pickup.
Marty Friedman Signature amp's
extraordinary versatility outstanding features Simply
plug in, play and be inspired by the tone of your new great ENGL Amp likewise
Marty!
A few words of wisdom from the designer:
A tip from the designer:
A tip from the designer:
Contents:
Instructions for the Prevention of Fire,
Electrical Shock and Injury
Front Panel Features
16.
On page 2 of the manual, you'll find diagrams of the front and rear panels.
1 Input
2Gain Channel 1
5

If you want a pristine clean sound, back off the Channel 1 Gain knob setting and switch
off (14).
If you want just a touch of preamp overdrive, I recommend the following settings for
single-coil pickups: Set the Gain knob between 8 and 10 and deactivate . For
humbuckers, set the knob between 6 and 9 to get moderate overdrive.
Then when you need a grittier tone perfect for playing rock riffs, all you have to do is
activate the in Channel 1.
This particular sound-shaping option (Channel 1 - activated) is comparable
to plugging an overdrive pedal into the amp's front end. This not only boosts the gain
level, it also re-voices the internal filter stages to boost the low mids and conjure a
more assertive tone.
Extremely high gain and volume levels 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!
This feature boosts the upper end of the high frequency range for Channel 1. Its
intensity decreases as gain settings increase.
For a crisp or glassy tone, activate the Bright boost. It brightens the sound of
humbucking or muddy pickups. Use it to tweak the amp's tone to taste, activating it to
boost top-end frequencies or deactivating it to dampen high end response.
This is the preamp voicing section's passive low-frequency EQ for
This is the preamp voicing section's passive midrange frequency EQ
This is the preamp voicing section's passive high-frequency EQ
The best way to get to know the amp and its fundamental sounds is to start out by
setting all tone knobs to the center position (means "5"). These are passive tone
controls selected and tuned specifically for the whole amp concept, so their control
ranges are narrower than those of active EQs.
Gain Boost
Gain Boost
Gain Boost
Gain Boost
CAUTION:
A tip from the designer:
A tip from the designer:
7 Volume Channel 1
3 Bright
4Bass
5 Middle
6 Treble
A Tip and Some Important Info from the Designer:
Channel 1.
for Channel 1.
for Channel 1.
Determines the level of Channel 1. Twist this knob to adjust Channel 1's volume and
dial in the desired balance of levels with Channel 2. Because this volume control is
located pre effects loop, it also determines the effects send level for Channel 1.
The inputs of modern effect devices can handle signal levels up to +10 dB, so it's a good
idea to dial up a higher send level for the FX loop. Do this by turning up the Channel 1
(7) and Channel 2 (13) preamp Volume knobs. Dial in settings higher than 5 to make
the most of the dynamic range between the preamp and power amp.
6

Once you have matched the preamp and effects device level, use the Master knob (16)
to adjust the amp's overall volume. If you insert older stomp-boxes devices into the
amp's FX loop, you can reduce the level at the FX Loop Send jack (30) to somewhere
between -20 dB and -10 dB by setting the two channel Volume knobs between 1 and 4.
Older effects pedals usually don't handle high input levels well. Even a -10 dB signal can
cause undesirable distortion.
Gain control for the Channel 2. This Control knob determines input sensitivity when
Channel 2 is active. Use it to dial in the desired amount of preamp saturation level.
Preamp Channel 2 is a lot hotter than Channel 1 because its baseline gain level is a lot
higher. However, its tonal structure is different, giving you yet another flavor of
overdriven tone to spice up your musical act.
Activating sends Channel 2 into very different sonic territory with
sustaining lead tone that is great for soloing.
If you push Channel 2 hard while is active, the preamp gain will be
substantial and noise such as hissing and any buzzing produced by guitar pickups will
be amplified considerably. If you wish to configure the preamp so that both Channel 2
and are on, you can activate the (see section 29) to largely
suppress such noise.
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 and Treble levels in order to prevent
unchecked feedback!
This sound-shaping button influences a broad midrange spectrum. When activated, it
boosts the level in a frequency range between 300 Hz and 1.5 KHz.
For more details see the chapter 21 and 23 on page 10 and 11 !
The Tone button voices specific midrange frequencies that are instrumental in fine-
tuning a guitar's sound. The amp's sound will be thicker when it is activated.
If you want a less dominant midrange, leave this feature deactivated; that is, don't
push this button. The Tone button also lets you adapt Channel 2's fundamental sound
to suit different types of guitar pickups.
8 Gain Channel 2
A tip from the designer:
CAUTION:
9 Tone
A Tip from the Designer:
10 Bass
11 Middle
Gain Boost
Gain Boost
Gain Boost Noise Gate
Tone
The LED above the button lights up to indicate is activated.
The Tone sound feature may also be switched using a Z-9 Custom Footswitch
connected to the S.A.C. Port (21) or a footswitch connected to jack (23).
This is the preamp voicing section's passive low-frequency EQ for Channel 2.
This is the preamp voicing section's passive midrange EQ for Channel 2.
7

12 Treble
A tip and important info from the designer:
14 Gain Boost
A tip from the designer:
15 Channel 1 < > 2
16 Master A
Determines the level of Channel 2. Twist this knob to adjust Channel 2's volume and
dial in the desired balance of levels with Channel 1. Because this volume control is
located pre effects loop, it also determines the effects send level for Channel 2.
see the chapter 7 on page 6!
Press this button to increases the in Channel 1 and
Channel 2 considerably. The yellow LED above the button lights up to indicate
is active. The button (14) on the amp's front panel is disengaged when you
switch via footswitch (21, 24). may also be switched via an ENGL
Z-9 Custom Footswitch connected to the S.A.C. Port (21) or via a footswitch connected
to jack 24. For more details, see chapters 21 and 24 on page 10 and 11 !
Activating Gain Boost in Channel 1 increases the gain level significantly, enough to push
the preamp into overdrive. This brings out and tightens up the middle frequencies to
conjure a more assertive sound for classic-style rhythm workouts. Activating Gain Boost
in Channel 2 kicks up the gain level considerably, saturating the preamp to give you far
more sustain and much thicker tone. This means you can coax blazing lead tone out of
the amp without having to connect an outboard gain enhancer or overdrive pedal. And
the sound quality may well send your stomp-boxes into retirement.
This channel switching button selects or . Press it to activate
. The red LED above the button lights up to indicate is active.
Channels may also be switched via the ENGL Z-9 Custom Footswitch connected to the
S.A.C. Port (21) or via a footswitch connected to jack 24. For even greater convenience,
you could also use the optional ENGL Z-9 Custom Footswitch to select the two channels
in combination with the two Gain Boost stages directly by simply tapping the Z-9's four
channel-switching buttons. For more details, see chapters 21 and 24 on page10 and 11 !
Gain
Boost
Gain Boost Gain Boost
Channel 1 Channel 2
Channel 2 Channel 2
This is the preamp voicing section's passive high-frequency EQ for Channel 2.
To help you get acquainted with the amp's fundamental sounds, I recommend that
you set all tone controls to the center position; that is, to around 5. For higher-gain,
high-volume lead sounds, your best bet is to turn the Treble knob down to prevent the
pickups and speakers from generating undesirable feedback. I'd recommend a setting
below 5.
Though this passive voicing section's control range is narrower than that of a
comparable active system, its EQ curve is tweaked specifically for its designated
purpose and will give you satisfying results, so you have heaps of voicing options for
tailoring your desired sounds to taste.
gain level (amplification factor)
Master A volume knob. Located post FX Loop, it adjusts the power amp's output level.
Master A is enabled and its setting determines the master level if you have not
A tip from the designer:
13 Volume Channel 2
8

connected a footswitch to the amp. If you have connected a footswitch you can use it
to activate another master level as determined by the Master B (27) knob setting.
You could use an ENGL Z-9 foot controller, for example, to remotely control Master A,
the default when you are not using a footswitch, and Master B, which is only accessible
via footswitch. Then you could dial in different levels for Master A and Master B and
combine these with the amp's various modes – very practical for shaping tone and
controlling volume on the fly at gigs. Note that the four channel switches on the ENGL
Z-9 foot controller let you access Channel 1 and Channel 2, and each directly in
combination with Gain Boost and Master A/B modes. This gives you a range of
alternatives that you can apply to different playing styles and situations to great
dramatic effect, for instance, to play rhythm and more restrained leads over Channel 1
and then kick up the preamp gain for playing high-octane rock riffs and leads over
Channel 2.
Beyond that, you can also broaden the volume and tonal ranges by working your
guitars' volume knob. If your arsenal includes MIDI gear - for instance, the Z11-S.A.C.
ENGL MIDI Switcher in combination with the Z-9 Custom Footswitch - you can use the
Master A/B switching function to call up different volume levels for the various
preamp setups.
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.
I suggest you get into the habit of using standby during short breaks. In this mode,
current is not piped through the power tubes, so they don't get as hot (due to the lack
of anode dissipation) and are spared considerable wear. The amp is ready to run when
you flip the Standby switch because the tubes are already warm and don't require time
to heat up. For breaks of 20 minutes and longer, I recommend that you switch the amp
off in order to conserve energy.
Mains power on/off.
ensure that the Stand By switch (17) is set to (0 position) before
you switch the amp on. Let the tubes heat up for about 30 seconds before you activate
the power amp. This procedure spares the tubes.
A tip from the designer:
17 Stand By
A tip from the designer:
18 Power
CAUTION: After an extended period of operation and higher ambient temperatures
the amps's chassis can become very hot, therefore avoid touching the rear panel
surface !
Stand ByPlease note:
9

Rear Panel Features
Mains Connector (
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 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,
.
20 Mains Fuse Box:
CAUTION: ALWAYS make sure replacement fuses are of the same type and have the
same ratings as the original fuse! Please refer to the fuse ratings table.
21 Footswitch: Serial Amp Control Port (S.A.C.)
Heads up:
CAUTION: Connect only the ENGL Z-9 Footswitch
to this 6.3 mm (¼") stereo jack! Connecting any other
switching device may damage it and/or the amp's circuitry!
Insert and remove the Z-9's cable to and from the S.A.C. Port only when the amp is
switched off!
Please note:
A tip from the designer:
Plug the mains cord in here. For European models, use a standard non-heating
equipment connector cable.
alongside
The rear chamber contains the mains fuse and in the front chamber, a spare fuse.
the two channels in
combination with
To learn if a given feature may be controlled remotely, refer to its description herein.
You'll find a configuration table showing the Amp's functions on
The ENGL Z-9 Custom Footswitch is optional.
Plugging a jack plug into the S.A.C. Port disables the Gain Boost and the
Channel switching functions controlled by the buttons (14, 15) arrayed on the amp's
front panel. What's more, it also disables the footswitch jacks' (24) remote-control
capability. In other words, when a Z-9 board is plugged in, it has priority over the amp's
Gain Boost and Channel switching controls as well as Gain Boost and Channel
switching via a footswitch connected to jack (24).
Never link two S.A.C. Ports of Engl amps via an Y-adaptor to a Z-9 Custom
Footswitch; this can cause ground hummming noise and damage the internal circuits!
Try out the ENGL Z-9 Custom Footswitch - chances are you'll love the remote-control
convenience for your Marty Friedman Signature amp. Based on a rather clever
switching concept, it features four switches that afford you direct access to
Instructions for the Prevention of Fire, Electrical Shock and Injury
Gain Boost
Channel 1
On page 2 of the manual, you'll find diagrams of the front and rear panels.
This serial data input serves to control six of the amp's switching functions remotely. It
accepts the optional ENGL Z-9 Custom Footswitch as well as the optional ENGL Z11-
S.A.C. MIDI Switcher for use as a MIDI interface. Use a cord equipped with stereo 6.3
mm (¼") jack plugs to connect this input to the S.A.C. Out on the Z-9 Footswitch or Z11-
S.A.C. MIDI Switcher. The custom-designed Z-9 and the MIDI Switcher (in MIDI
interface mode) let you switch every amp feature designated as footswitchable in this
manual. You can configure the Z-9 Footswitch to control
and and two further features directly.
page 22.
19 AC Power Inlet; IEC - C14 connector)
or the ENGL Z11-S.A.C. MIDI
Switcher (S.A.C. Out)
Master A/B
10