Engl SOVEREIGN 100 User manual

Operator´s Manual
Please, first read this manual carefully!
Tube Guitar Amplifier
with MIDI-Control
Sovereign 100

Tube
Amp
Technology
Tube
Amp
Technology

Table of Contents
page
Introduction
Features and Functionality at a Glance
Contents
Front Panel Features:
Rear Panel Features:
Practical Info and Tips
Glossary
Troubleshooting
Technical Data,
Tube Map, Tube Exchange Service
Wiring of Principal Connectors
Remote Control Options
Front Panel Diagrams for Noting Settings
Configuration Table Z-9 settings
Note:
:
Handling and Care
Input; Clean and Crunch Channel Control Features
Write/Copy
Stand By, Power
Reverb control CH1, Reverb control CH2
Poweramp Output 4, 8 16 Ohms
Poweramp Output: speaker options
A few comments on the Noise Gate
Electronic safety systems
Programming sounds (settings) to MIDI presets
Channel selection, Reverb, FX Loop 1/2
Lead I and Lead II Channel Control Features
Power Amp section: Master A/B
Mains, Mains Fuse
MIDI Section and 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.
Noise Gate, Threshold Level
FX Loop 1 and 2: Send, Return, and Balance
Balanced Line Out: Level, Overload LED, Line Out Status,
XLR Ground, Line Output Frequ. Comp.
Important note concerning the cooling fans
CAUTION! Please read and heed the following:
On the Subject of Sounds and Settings
Status-LED: Indications
4
4, 5
6
6 - 8
8, 9
9
10 - 12
12
12, 13
14
14 - 16
16, 17
17, 18
18
18, 19
19, 20
20
20, 21
22, 23
23
23
24
24, 25
25, 26
26
27, 28
28
29
30
31
32
33
35
3

Congratulations ! Sovereign 100
most advanced versatile tube amp combos
sophisticated guitar amp all-tube technology
state-of-the-art
microchip circuitry a vast range of
great fundamental tones
controlled remotely via MIDI
Four channels deliver different tonal
spectrums fast &
heavy riffs punchy lead tone assertive midrange kick
A/B Master switching
two switchable effect loops Accutronics spring reverb
system
vintage clean classic grind creamy rock
lead tone thick, lush tube overdrive aggressive hi-gain lead sound
contemporary heavy styles
MIDI foot controller
ENGL Z-15 ENGL Z-9 Custom Foot Controller
ENGL Z-4 dual footswitch
exterior's compelling visuals
ease of use remarkably intuitive
handling
excellent sound-shaping options greatest flexibility
a gigging workhorse
studio home recording
finely-tweaked, MIDI controllable sound-shaping functions
wealth of disparate sounds
tube tone connoisseur With the , you now own
one of the and available today!
This marries the unrivalled tone of to
the awesome sound-shaping might of control features powered by
. This elegant combination puts at your fingertips
and an all but inexhaustible reservoir of compelling
variations all of which may be .
What's more, the amp boasts a host of hip & practical features. To mention just a few,
these features include:
- Clean, Crunch, Lead I and Lead II tweaked to
for various styles and playing techniques, for instance, Lead I for
and Lead II for with an . 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 channels, you have at your
fingertips extremely precise tone-tweaking tools for those top-end frequencies that
are so important in shaping your sound. 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 and an
to round out its arsenal of sound-shaping tools.
The tonal palette ranges from to , and from
with to the kind of
it takes to cut through in . 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 such as the
, you can also plug in an and manipulate
key functions directly. What's more, the amp comes with a stereo jack designed to take
an or a switching system for selecting the four channels. And
the certainly match the interior's impressive
appointments. This amp's elegant and stylish look is sure to turn heads wherever you
play.
1. a logical control feature array, utmost and
;
2. and courtesy of the many
voicing options and 128 MIDI presets offering a bevy of programming options;
3. that also sports a precise tuned speaker simulation system,
making it a handy tool for and ;
4. a combination of
providing instant access to a ;
Your ENGL Sovereign 100 puts at your disposal:
4

5. :
, along with of that comes courtesy of
, a with Presence knobs for both Lead channels, as
well as for and enabling you to dial in
precisely the amount of high end you need ;.
6. further tone-tuning options such as an onboard featuring
for of the and a long Reverb
spring that conjures , as well as
that let you factor multi-effect processors into the sonic equation;
7. an that will give you years of
and .
-> : , , and with separate Gain
and Volume knobs, Clean and Crunch with a separate Treble control.
-> for the two Lead channels: let you active directly
two different gain settings for Lead I and Lead II, thereby extending the
number of potential Lead sounds to four.
> : one EQ for and
(main channel 1) and for and
(main channel 2). As a special feature, the Clean and Crunch channel
sports a dedicated Treble knob each.
-> for very natural-sounding reverb, with separate
knobs for the two main channels.
-> and are variable and switchable.
Each may be activated separately for every channel or one FX Loop may
be used as a hardware bypass.
four fundamental sounds in finest tube quality
total freedom tonal expression
Gain switching four-band EQ
two separate Treble knobs
to make your tone sparkle
reverb system
dedicated controls each two main channels
lush, deep and warm reverb two effect loops
ultra-advanced tone-generating machine
playing pleasure value to boot
Four basic channels
Two Gain options
Two dedicated and specially tuned voicing sections
Large spring reverb
Two effect loops:
Clean Crunch Lead I
Lead II
MIDI In Thru
, , and
a 4-band EQ with Presence control
-> , accessible via MIDI.
The amp can also be muted via MIDI controller 7.
-> for routing preamp or
power amp signals to mixers or recording gear, offering a precisely tuned
and very authentic-sounding speaker simulation.
-> and ports serve to integrate the amp into a MIDI system.
-> , accessible via 16 MIDI channels or OMNI.
-> The
The Serial Amp Control Port accepts the Custom Z-9 Footswitch (optional); use it
as a conventional switcher to select channels and two sound-shaping functions
directly. Then there's the MIDI In, which accepts the Z-9 for use as a simple MIDI
footcontroller or any other MIDI footcontroller. Finally, the amp is equipped with
a stereo jack that takes a dual footswitch, allowing you to switch the four
channels remotely.
-> for suppressing high-gain hiss in the Lead I and Lead II
channels.
-> the power amp section.
Clean Crunch
Clean Crunch Lead I Lead II
Hi Gain
Clean
Crunch Lead I
Lead II
FX Loop 1 FX Loop 2
Features and Functionality at a Glance
-
Balanced, frequency-compensated XLR line output
128 MIDI presets
Sovereign combo amp offers three different remote interface ports:
Noise Gates
Two fans for cooling
Two each power amp Master knobs
5

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
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 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
.
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!
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 (as a rule, the shorter the cord, the less susceptible it is to high-frequency
attenuation).
Clean channel Gain control. This knob determines the preamp's input sensitivity in
Clean mode; use it to set the desired input level.
Sovereign tube amp's extraordinary
versatility outstanding features Simply plug in, play and
be inspired by the tone of your ENGL amp!
A few words of wisdom from the designer:
A tip from the designer:
Contents:
Instructions for the Prevention of Fire,
Electrical Shock and Injury
Front Panel Features
1 Input
2 Clean Gain
6

A tip from the designer:
CAUTION:
A tip from the designer:
A tip from the designer:
The amount of distortion depends on your guitar's pickups. In Clean mode, single-coil
pickups 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.
Gain control for the Crunch channel. This knob determines input sensitivity in Crunch
mode; use it to dial in the desired amount of preamp distortion.
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!
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.
This feature boosts the upper end of the high frequency range in main channel 1,
and . 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.
For a crisp or glassy tone, activate the feature. This setting brightens the sound
of humbucking or muddy pickups. This 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.
This is the preamp voicing section's passive low-frequency EQ for main channel I's Clean
and Crunch modes.
This is the preamp voicing section's passive midrange frequency EQ for main
channel I's Clean and Crunch modes.
This is the preamp voicing section's passive high-frequency EQ for main channel I's
Clean mode.
This is the preamp voicing section's passive high-frequency EQ for main channel I's
Crunch mode.
Clean Crunch
Bright
3 Crunch Gain
4 Bright
5 Bass
6 Middle
7 Treble Clean
8 Treble Crunch
7

A tip from the designer:
12 Sub I/II
To help you get acquainted with the amp's fundamental sounds, I 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 programmable Bright (4)
button at your disposal for shaping the high frequency range. I 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.
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
channel is on.
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 channel is on.
Sub channel selector button; selects Sub Channel I or II: Depending on the main
channel settings (11), it activates the or and the or
channels. When the LED above the button is off, or (Sub Channel I) is
active. When the LED lights up, or (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 channel is currently active.
Channels may also be switched via MIDI program change, the ENGL Custom Z-9
Footswitch, or a dual footswitch.
Main channel selector button; selects main channel 1 or 2 and, depending on the sub
channel settings (12), activates Clean, Crunch, Lead I or Lead II channels. When the
LED above the button is off, main channel 1 ( or ) is active. When the LED
lights up, main channel 2 ( or ) is active.
Channels may also be switched via MIDI program change, the ENGL Custom Z-9
Footswitch, or a dual footswitch.
Clean Crunch
Lead I Lead II
Clean Crunch Lead I Lead II
Clean Lead I
Crunch Lead II
9 Clean Volume
10CrunchVolume
11 Channel 1/2
8

13 FX Loop 1/2
14 Reverb
This button switches to and fro between and . The red LED above
the button lights up to indicate is on. You can also select loops via MIDI
program change or Custom Z-9 Footswitch.
Both effect loops can be configured in series (that is, 100% processed signal when
is set to ) or in parallel (1% to 99% mix of preamp and effect signal
when is set somewhere between and ), or be bypassed altogether
(0 % wet balance when is set to ). 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 to activate the effect. In the latter case, serves
as a bypass (set its knob to the position). Note that in the signal path,
and are post the preamp and pre the two master knobs.
This button activates and deactivates the onboard spring reverb system. The red LED
above the button lights up to indicate 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. can also be
switched via MIDI program change or Custom Z-9 Footswitch.
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 and
: 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 . This
means that the given preset becomes the source, and its contents are dumped to
another preset and stored there.
The system quits 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.
FX Loop 1 FX Loop 2
FX Loop 2
Balance Effect
Balance dry Effect
Balance dry
FX Loop 1/2 FX Loop 1
Balance dry FX
Loop 1 FX Loop 2
Reverb
Reverb
Write
Copy
Copy
Copy
A tip from the designer:
15 Write/Copy
When you press this button, the Status LED lights up
continuously to indicate is activated.
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
Copy
9

successfully. You can cancel the copy operation by releasing the key, but only for as
long as the LED lights up continuously.
will flash in a pattern of
five short bursts. More info about the Status LED on page 26.
Further indicator functions: ; description in section 28, page 13.Power Tube Monitor
IMPORTANT note; please read and heed
More good-to-know info:
CAUTION:
A tip from the designer:
CAUTION:
A tip from the designer:
:
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 port (33) and use this outboard device to select the desired MIDI preset
on the amp.
Note that the Status LED also indicates the status of components unrelated to
and . 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
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.
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.
This knob determines the Lead I channel's input sensitivity and preamp saturation
level.
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!
The two Lead channels' fundamental tones are not worlds apart: 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 I channel is voiced with scooped mids, making
it an excellent choice for dialing in hip heavy metal sounds.
This knob determines the Lead II channel's input sensitivity and preamp saturation
level.
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!
The two Lead channels' fundamental tones are not worlds apart: boasts a bit
more gain and bottom end than , 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 , 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.
MIDI In
Write
Copy
Lead I
Lead II
Lead I
Lead I's
16 Lead I Gain
17 Lead II Gain
10

18 Gain Lo/Hi
19 Bass
20 Middle
21 Treble
22 Presence
23 Lead I Volume
Pressing this button ups input sensitivity, thereby increasing the amplification factor
and the amount of distortion in both main channel 2's Lead I and Lead II modes. The
LED above this button lights up to indicate is active. This feature can also be
switched via MIDI program change or Custom Z-9 Footswitch.
When activated, supercharges the amplification factor, switching from
to and putting both Lead channels into high gear. This doubles the
number of basic sounds in main channel 2. The Soft Lead setting suffices for high-
output pickups - even for playing leads - so you can choose if your guitar is
shred-approved. 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 (function activated).
This is the preamp voicing section's passive low-frequency EQ for main channel 2's Lead
I and Lead II modes.
This is the preamp voicing section's passive midrange EQ for main channel 2's Lead I
and Lead II modes.
This is the preamp voicing section's passive high-frequency EQ for main channel 2's
Lead I and Lead II modes.
This control defines the Treble response in the poweramp stage for main channel 2's
Lead I and Lead II modes.
To help you get acquainted with the amp's fundamental sounds, I 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
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.
Determines the Lead I channel's level. Use this knob to adjust the Lead I 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
Hi Gain
Hi Gain Soft
Lead Heavy Lead
Lo Gain
Soft Lead
Hi Gain
A tip from the designer:
A tip from the designer:
11

Lead I mode. The red LED to the right of the knob lights up to indicate the Lead I
channel is on.
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 II mode. The red LED to the right of the knob lights up to indicate the Lead II
channel is on.
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 is enabled and
determining the master level. You can also set the master level to 0 via MIDI controller
7. To learn how to do this, see section35 in the chapter.
Master B volume knob. Located post effect loops, it controls power amp output. The
green LED to the right of the knob lights up to indicate is enabled and
determining the master level. You can also set the master level to 0 via MIDI controller
7. To learn how to do this, see section 35 in the chapter.
Remote control via (MIDI) footswitch is a nifty little utility: You can dial in different
levels for and 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 & 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.
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 , the
green LED for . can also be switched via MIDI program change
or the ENGL Custom Z-9 Footswitch.
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.
On the one hand, the amp's surveillance system monitors if speaker cords are plugged
Master A
Rear Panel Features
Master B
Rear Panel Features
Master A Master B
Master A
Master B MASTER A/B
A tip from the designer:
28 Stand By
More good-to-know info:
24 Lead II Volume
25 Master A
26 Master B
27 Master A/B
12

into , or (51, 52, 53). If none of these ports
is in use, flipping the Standby switch will not activate the power amp. This ensures the
amp is not operated 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.
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 30 minutes and longer, I recommend that you switch the amp
off in order to conserve energy.
Mains power on/off.
Space for user notes:
Output Power Amp 4 ohms 8 ohms 16 ohms
A tip from the designer:
29 Power
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!
Plug the mains cord in here. For European models, use a standard non-heating
equipment connector cable.
The rear chamber contains the mains fuse and the front chamber a spare fuse.
:
This 5-pin DIN port patches incoming MIDI data from the (33) to any other
connected MIDI device.
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 or 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.
Before you connect any other MIDI footswitch or effects device, always
make sure that switch no. 34 is set to the right to avoid damaging the device.
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 power this foot board via the MIDI cable.
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 earns a living with a screwdriver!
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 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,
.
31 MAINS FUSE BOX:
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 MIDI THRU
33 MIDI IN
CAUTION:
34 POWER SUPPLY FOR THE ENGL MIDI FOOTCONTROLLER
Please read and heed:
Instructions for the Prevention of Fire, Electrical Shock and Injury
MIDI In
30
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35 MIDI CHANNEL & VOL.0
A tip from the designer:
36 FOOTSWITCH: SERIAL AMP CONTROL PORT
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: S 1 S 2 S 3 S 4 S5 S6
OMNI OFF XX XX XX XX XX
CH 1 ON OFF OFF OFF OFF XX
CH 2 ON OFF OFF OFF ON XX
CH 3 ON OFF OFF ON OFF XX
CH 4 ON OFF OFF ON ON XX
CH 5 ON OFF ON OFF OFF XX
CH 6 ON OFF ON OFF ON XX
CH 7 ON OFF ON ON OFF XX
CH 8 ON OFF ON ON ON XX
CH 9 ON ON OFF OFF OFF XX
CH 10 ON ON OFF OFF ON XX
CH 11 ON ON OFF ON OFF XX
CH 12 ON ON OFF ON 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
CH 16 ON ON ON ON ON XX
As the table indicates, encoding button 1 switches between Poly and OMNI mode.
Bear this in mind for practical applications, because this is a fast way to go from a
preset Poly channel to OMNI mode and vice versa.
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 ¼" 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
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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.
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!
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 provides direct access to the four channels Alongside selecting channels,
you can opt to control any other two switchable amp functions, for example,
, , , 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, I 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!
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 , , and
. One of the two switches activates main channel 1 and 2, while the other
activates the selected main channels two subordinate channels, and or
and , as the case may be. The onboard channel switching facility, is
disabled when you plug a footswitch into this jack.
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).
This knob activates an onboard Noise Gate serving to suppress excess noise in main
channel 2 (Lead I and Lead II) 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.
and generate different levels of noise, and I tuned the ENGL
Sovereign's accordingly. However, there is some minor matching variance
between the two. (Lead channel and activated) stands to benefit
most from the , so I suggest that you tweak its two knobs for this mode.
CAUTION:
A tip from the designer:
37 FOOTSWITCH: CH 1 /CH 2, SUB I/II
Note also:
38 NOISE GATE THRESHOLD LEVEL
A tip from the designer:
.
Master
A/B Reverb Gain Lo/Hi
Clean Crunch Lead I
Lead II
Clean Crunch
Lead I Lead II
Soft Lead Heavy Lead
Noise Gate
Heavy Lead Hi Gain
Noise Gate
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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 constituent 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
and therefore becomes audible. My advice is to stay as far away from
transformers and power units as space allows.
: The may open up inadvertently
when the 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 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 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!
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, is located post preamp and pre the two power amp Master knobs.
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, is located post preamp and pre the two power amp Master knobs.
FX mix control for . When the knob is set to , 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
Noise Gate
Noise Gate
Noise Gate
Noise Gate
Noise Gate
FX Loop I
FX Loop I
FX Loop 1 Dry
IMPORTANT note; please read and heed
39 FX LOOP 1 SEND
40 FX LOOP 1 RETURN
41 BALANCE
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wet signal (that is, the processed signal generated by the connected effect device) is
patched to the power amp (serial, 100% wet).
Set this knob to when this loop is not in use!
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, is located post preamp and pre the two power amp Master knobs.
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, is located post preamp and pre the two power amp Master knobs.
FX mix control for . When the knob is set to , 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).
Set this knob to when this loop is not in use!
Reverb intensity knob. Twist it to adjust the amount of reverb for main channel 1
. Activate (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 (14) is deactivated. The red LED
above this button lights up to indicate is on. In addition, it can be activated and
deactivated via MIDI program change or Custom Z-9 Footswitch.
Reverb intensity knob. Twist it to adjust the amount of reverb for main channel 2's
Lead I and Lead II modes. Activate (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 (14) is deactivated. The red
LED above this button lights up to indicate is on. In addition, it can be activated
and deactivated via MIDI program change or Custom Z-9 Footswitch.
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.
NOTE:
42 FX LOOP 2 SEND
43 FX LOOP 2 RETURN
44 BALANCE
NOTE:
47 LEVEL
Dry
FX Loop 2
FX Loop 2
FX Loop 2 Dry
Dry
Clean/Crunch Reverb
Reverb
Reverb
Reverb
Reverb
Reverb
45 REVERB CHANNEL 1
46 REVERB CHANNEL 2
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A tip from the designer:
OVERLOAD
48 LINE OUT STATUS
A tip from the designer:
49 XLR GROUND
IMPORTANT NOTE:
50 LINE OUT BALANCED & FREQU. COMP.
A tip 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 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 I 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.
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).
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!
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.
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.
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 to solve the problem!
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.
Dial in the desired signal level for the balanced
Line Out by adjusting the Level knob (47).
You can patch signals routed through these outputs directly to the balanced inputs a
Ground Lifted
The signal routed to this output
limits the response of an ENGL 412 cab.
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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 RCA connector or ¼" plug that
bridges the signal (pin 2 or 3) and ground circuits. Be sure to set the button to Ground
to Pin 1.
4 ohms speaker output jacks, internal connected parallel. For diverse cabinet options
see !
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 ! The impedance of a additional cabinet
should bear 8 ohms (for the Sovereign combo amp, type E365).
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 ! The impedance of a additional
cabinet should bear 16 ohms (for the Sovereign combo amp, type E368).
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 is
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!
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 -> 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 ->
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
51 POWERAMP OUTPUT, 4 OHMS PARALLEL
52 POWERAMP OUTPUT, 8 OHMS PARALLEL
53 POWERAMP OUTPUT, 16 OHMS
IMPORTANT NOTE, please read and heed:
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:
the last chapter on this page
see the last chapter on this page
see the last chapter on this page
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