Hagen Diezel User manual

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D
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se
r
D
ie
z
A
m
r
M
a
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el
H
m
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H
ag
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ier
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n

Table of Contents
Chapter One: Safety and Warranty
1.1 Safety Warnings
1.2 Warranty Information
Chapter Two: Using Your Hagen
2.1 Mains Connections, Power and Standby
2.1.1 Mains/connect to power outlet
2.1.2 Power up, Warm up, Standby off
2.1.3 Power tube caution
2.1.4 Operating Temperature
2.1.5 Power Tube Information
Chapter Three: Peripheral Connections
3.1 Front Panel Connections
3.1.1 Signal In
3.1.2 Connection Information
3.1.3 Cable Selection
3.2 Rear Panel Connections
3.2.1 Send/Return Loop
3.2.2 Parallel and Serial Return
3.2.3 Switch-able Loop as additional Volume Control
3.2.4 Switch-able Loop for external Pre-Amp
3.2.5 Switch-able Loop as switch for parallel Loop
3.2.6 Tuner Out
3.2.7 Compensated Out
3.2.8 Speaker Connections
3.2.9 Reasons for Dynamic Losses in the Effects Loop
3.3 MIDI Connections
3.3.1 MIDI In
3.3.2 MIDI Thru
Chapter Four: The Four Pre-Amplifiers
4.1 Pre-Amplifier Duties
4.1.1 Channel One
4.1.2 Channel Two
4.1.3 Channel Three
4.1.4 Channel Four
4.2 Pre-Amplifier Tubes
4.3 Noise and Microphonics

Chapter Five: Power Amplifier
5.1 Tone and Volume of the Power Amplifier
5.1.1 Master Volume
5.1.2 Presence
5.1.3 Deep
5.2 Power Amplifier Tubes
5.2.1 Function
5.2.2 Selection
5.2.3 Life Span & Tube Fuses
Chapter Six: Functions and Switches
6.1 Programming Hagen
6.2 Manual Channel Selection
6.3 Loop on/off
6.4 Mute on/off
6.5 Master 2
6.6 Store
Chapter Seven: Midi
7.1 MIDI
7.2 MIDI In
7.3 MIDI Thru
7.4 MIDI Communication
7.4.1 Omni Mode
7.4.2 Single Channel Mode – automatic Channel Recognition
7.4.3 Single Channel Mode – manual Channel selection
7.5 Program Information
7.6 Phantom Power
Chapter Eight: Columbus and FS7HA
Chapter Nine: Maintenance and Cleaning
9.1 Cleaning
9.2 Care
9.3 Tube Change

Chapter One: Safety and Warranty
1.1 Safety Warnings
We would like to stress the importance of the following points, for reasons of your
personal safety, product longevity and product liability.
Do not use the amplifier in or near wet locations
Do not store the amplifier in damp or wet locations
Do not operate the Amplifier on voltages other than those designated on the rear panel of
the amplifier.
Do not open the panels of the amplifier. No user serviceable parts inside.
Your Hagen operates on very high internal voltages, which may still be present after the
Amplifier has been turned off and disconnected for a while.
Do not use the Amplifier for anything other than its design purpose: To Amplify Electric
Guitar Signals!
Do not use fuses other than those intended and specified for the amplifier
Do not use 2-conductor extension cords or anything other than 3-pole g rounded outlets for
this Appliance. Your life may depend on it!
Please observe the following points when transporting your Hagen:
Hagen is a Tube Powered Amplifier; therefore it is sensitive to shock, especially after
playing the amplifier for a while. Please store and transport your amplifier gently, and try
and avoid temperature extremes in storage, which might cause condensation resulting in
moisture on internal components. Usually a 60 Minute acclimatization period is sufficient to
ensure safe operation.
The Amplifier should be stored in a controlled environment, and it should be transported in
a suitable flight case. Make sure the Amplifier gets transported in its normal operating
position, not upside down or on its side.
The Hagen’s Design incorporates a very potent power amplifier. It is configured to deliver
satisfying guitar tone at most volume levels, from a small bedroom to a large arena. In its
normal operational volume level (75-80dB) it will provide beautiful tones with very little
coloration. For reasons of your own personal health, please do not run the amplifier above
these levels for extended periods of time without wearing hearing protection. Hearing Loss
is a long -term problem, and is normally not curable.

1.2 Warranty
5 years to the original owner with proof of purchase. Power Tubes and Pre Amp tubes are
covered for 3 months to the original owner.
ALL REPAIR WORK MUST BE DONE BY A DIEZEL CERTIFIED TECHNICIAN. Not following this
procedure will VOID WARRANTY.
This will ensure the original owner and us at Diezel Amplification that the work is done
correctly and that there is knowledge of what is going on out there with each amp. To any
second owners or more, there is no warranty coverage nor is a warranty transferable. (This
policy is no different than before). Of course we at Diezel are happy to serve people who
purchase their amplifier on the used market should your amp ever need servicing. Parts and
labor charges will occur for our work on your amplifier as usual.

Chapte
r
2.1 Main
s
2.1.1 M
a
Ple
a
co
n
Ne
v
2.1.2 Po
w
Fir
s
he
a
op
e
“ru
n
tub
2.1.3
P
Tu
b
op
e
bul
bef
not
ca
u
the
hit
s
r
Two: U
s
s Conne
c
a
ins/Conn
a
se make
s
n
necting to
v
er start H
a
w
er up,
W
s
t turn the
P
a
ting proce
s
e
ration. Yo
u
n
” (also fa
c
e stress an
P
ower Tu
b
b
es are ele
c
e
rating tem
b. These fil
ore these
A
t
heated ev
e
u
ses undue
refore alw
a
s
with full f
o
s
in
g
Yo
u
c
tions, Po
w
ection to
s
ure that b
o
the Mains
c
a
gen witho
u
W
arm up,
P
ower swit
c
s
s. After a
b
u
r Hagen is
c
ing up). P
r
d subsequ
e
b
e Cautio
c
tronic com
peratures.
aments he
a
A
nodes hav
e
e
nly yet; t
h
stress on t
a
ys give th
e
o
rce.
u
r
Hagen
w
er and
S
Power O
u
o
th switche
s
c
ircuit. Veri
u
t speaker
s
Standby
c
h to on (f
a
b
out 40 sec
o
now read
y
r
emature a
c
e
nt reducti
o
n
ponents th
Each tube
a
t up the A
e
reached
t
h
e “operati
n
he tubes a
n
e
amp it’s
m
S
tandby
u
tlet
s
(Power a
n
fy line volt
a
s
being con
n
off
a
cing up).
T
o
nds, the t
u
y
for operat
c
tivation of
o
n of the p
o
at only fun
c
has one or
node of th
e
t
heir opera
t
n
g temper
a
n
d their rel
a
m
uch need
e
n
d Standb
y
a
ge before
n
ected to t
h
T
he indicat
o
u
bes have
s
ion and th
e
the stand
b
o
wer tube’
s
ction with
v
more heat
i
e
tube. If y
o
t
ing tempe
r
a
ture” of th
e
ated comp
o
e
d warm-u
p
y
) are in th
e
connectin
g
h
e proper
t
o
r will light
sufficiently
e
standby s
w
b
y switch w
s
life span.
v
acuum int
a
i
ng filamen
o
u switch t
h
r
ature then
e
tube is n
o
o
nents insi
d
p
time, eve
n
e
off positi
o
g
the powe
r
t
erminals.
(
up. This st
a
heated for
w
itch can
b
ill lead to
u
a
ct and un
d
ts, much li
k
h
e standby
the Anod
e
o
t reached
y
d
e the amp
n
if musica
l
o
n before
r
cord.
(
See 3.2.8)
a
rts the tu
b
normal
b
e turned t
o
u
nnecessar
y
d
er very hi
g
k
e a light
switch
e
surfaces a
y
et. This
. One shou
l
inspiratio
n
b
e
o
y
g
h
re
ld
n

2.1.4 Operating Temperature
It will take a little more time after warm-up until everything inside the amp is working in
sync and to it’s fullest potential. A trained ear will notice a slightly warmer tone and better
complexity in tone after playing the amp for a short while. It’s like warming up before
running a marathon. Get it?
2.1.5 Power Tube Life
The power tubes of your amplifier are subject to a certain aging process. Once one of the
tubes shows signs of aging, unreliability or unusual noise, then we suggest that you
replace all power tubes. Matched tube sets wear relatively even, or so our experience
suggests. This means if one goes, the others are not far from meeting the same fate.
The aging process manifests itself by a depletion of a thin layer of Wolfram on the Anodes.
This can take anywhere from 6 month to 3 years, depending on the amount of use of the
amplifier. The amount of wear is determined by the amount of performance that is asked
from the tube.

Chapte
r
3.1 Fron
t
3.1.1 Th
e
Th
e
1/
4
Yo
u
typ
tha
Thi
s
3.1.2 Ca
b
So
m
att
e
tal
k
div
i
to
a
ch
a
3.1.3 Ca
b
In
c
us
e
an
d
pla
y
co
m
pie
r
tha
hig
stil
l
r
Three:
P
t
Panel C
o
e
input
ja
e
input jac
k
4
” mono st
y
u
r guitar co
e clearly a
f
t you can
o
s
is where
t
b
le ABC
m
e cords a
n
e
nuate hig
h
k
ing about
?
i
de low an
d
a
certain d
e
a
racteristic
s
b
le Selec
t
c
ertain inst
a
e
the other
w
d
patience
t
y
ing with a
m
ponent’s
t
r
cing highs
t offers so
m
her levels
a
l
use reliab
l
P
eriphe
r
o
nnectio
n
a
ck (“IN”)
k
receives y
y
le plug.
rd is an im
p
f
fect the ov
o
r want to
a
t
he smart
“
n
d cables s
o
h
frequenci
e
?
OK. A cap
a
d
high freq
u
e
gree. Gen
e
s
will be au
d
t
ion
a
nces it is
d
w
ise undesi
t
o experim
e
band or w
h
t
rue advan
t
could the
o
m
e high-en
d
a
nd imped
a
l
e and goo
d
r
al Conn
e
n
s
our Electri
c
p
ortant pa
r
erall tone
o
a
fford. Call
“
weak link”
o
und very
n
e
s due to c
a
a
citor is us
e
u
encies. Ca
p
e
rally, the l
d
ible.
d
esirable t
o
rable quali
t
e
nt with dif
f
h
en you ar
e
t
ages until
i
o
retically b
e
d
attenuati
a
nces, whic
h
d
quality wi
e
ctions
c
Guitar sig
r
t of your s
i
o
f your rig.
us if you h
a
comment
c
n
eutral; ot
h
a
pacitance
ed in elect
r
p
acitance i
n
onger of a
o
match a
g
t
ies of a co
r
f
erent cord
e
recording
i
t is used i
n
e
tamed do
w
on. The lo
o
h
makes th
ring for all
nal by me
a
i
gnal chain
Try and b
u
a
ve doubts
c
omes in.
G
h
ers color
t
inside the
w
r
onic cross
o
n
a cable t
h
cord you u
s
g
uitar cord
r
d to one’s
s and guit
a
. Sometim
e
n
the right
c
w
n somew
h
o
ps of your
is section
o
loops and
i
a
ns of a shi
e
and its qu
a
u
y the best
and need
r
G
et it?
t
he sound
s
w
ire and s
h
o
vers, amo
n
h
erefore cu
t
s
e, the mo
r
to a specifi
advantage
a
rs. You sh
o
e
s it is diffi
c
c
ontext. A
g
h
at by the
u
Diezel Hag
o
f wiring le
s
i
nserts.
e
lded guita
a
lity and c
o
quality gui
t
r
ecommen
d
s
pectrum a
n
h
ield. What
n
gst other
t
t
s your gui
t
r
e of the c
o
c instrume
n
, if one ha
s
o
uld do thi
s
c
ult to tell
a
g
uitar that
u
se of a lo
n
en send si
g
s
s sensitiv
e
r cord with
o
nstruction
t
ar cord
d
ations.
n
d/or
are we
t
hings, to
t
ar’s high
e
o
rds inhere
n
n
t. One ca
n
s
the time
s
when
a
has very
n
g guitar c
o
g
nals at
e
. You shou
e
nd
n
t
n
o
rd
ld

3.2 Rea
r
3.2.1 Se
n
Th
e
pa
r
sig
n
kO
h
uni
t
eff
e
mu
pa
r
mo
3.2.2 Pa
r
Wh
Th
e
of
y
pro
dig
i
Thi
s
gui
t
un
d
ne
e
in
h
los
s
Wh
AD
A
ha
v
an
d
bei
n
al
w
Im
p
pa
r
ton
rea
r
Panel C
o
n
d/Retur
n
e
System c
o
r
allel, or sw
n
al strengt
h
h
m. If you
w
t
. Be sure
a
e
cts units h
st be conn
e
r
allel return
unted “Vol
u
r
allel or
S
ich is bett
e
e
re are 2 w
a
y
our Hagen
cessed, th
e
i
tize this si
g
s
is called
A
t
ar signal,
s
d
erstand. Y
o
e
ds to conv
e
h
ighest qua
s
of tonalit
y
en you us
e
A
converte
d
v
e hives de
v
d
the mix (l
n
g added t
o
w
ays an an
a
p
ortant: Yo
r
allel loop.
O
e. The sig
n
ch the am
p
o
nnection
s
n
Loop
o
nsists of 3
itched con
f
h
at the se
n
w
ant to us
e
a
nd adjust
t
ave led ba
r
e
cted to on
, then the
s
u
me” contr
o
S
erial
e
r for you?
R
a
ys to han
d
is interru
p
e
n sent ba
c
g
nal, then
p
A
DA conve
r
s
o that it b
e
o
ur tubes,
ert the sig
n
lity effects
y
and war
m
e
the serial
d
at least o
v
eloping b
y
abeled “Vo
o
the origi
n
a
log connec
u must set
O
therwise
t
n
al portion
t
p
lifier at a
d
s
separate
L
f
igurations.
n
d jacks. T
h
e
the loops
,
t
he input l
e
r
or other l
e
e of the re
t
s
ignal can
b
o
l.
R
ead on.
d
le effects
s
p
ted, the si
g
c
k to the se
p
rocess it,
t
r
sion. It is
n
e
comes a
d
however,
n
n
al back to
processor
s
m
th, also n
o
loop for an
nce. Tone
j
y
now. But,
lume”) con
n
al signal,
w
tion betwe
e
the mix c
o
t
here will b
e
t
hat is una
f
d
ifferent ti
m
L
oops. It al
l
The indivi
d
h
e range is
,
then con
n
e
vel of the
e
e
vel contro
t
urn jacks,
b
e mixed t
o
s
ignals. If
y
g
nal is sen
t
rial return
i
t
hen conve
n
ecessary f
d
igital code
,
n
eed an old
analog bef
o
s
, this caus
e
o
ticeable as
effects uni
j
unkies an
d
as always,
trol on the
w
hich now
s
e
n the sen
d
o
ntrol on th
e
e
nasty ph
a
f
fected by t
m
e due to t
h
l
ows creati
o
d
ual chann
e
- ... to +1
0
n
ect the “S
e
e
ffects uni
t
l devices.
T
parallel, s
w
o
the origin
y
ou use th
e
t
to the pro
c
i
nto the po
w
rt it back t
o
or digital e
f
,
which the
fashioned
o
re it goes
e
s a chang
e
a “harder
”
t like this,
t
d
vintage fr
e
,
there is a
back dete
r
s
till flows t
h
d
and retur
n
e effects u
n
a
sing probl
e
he mix con
h
e cabling,
o
n of effec
t
e
l volume
c
0
dB. The o
u
e
nd” to the
t
to the am
p
T
he Output
w
itched, or
al signal vi
a
e
serial retu
c
essor, get
w
er amp.
D
o
analog, t
h
f
fects units
processor
analog sig
n
back to th
e
e
in the ori
g
”
sound.
then your
s
e
aks alike
w
better way
r
mines how
h
rough the
n
jacks: a
p
n
it to 100
%
e
ms resulti
n
trol in the
e
and cause
t
s path in e
i
c
ontrols de
t
u
tput impe
d
input of th
p
lifiers lev
e
of the effe
c
serial. If y
o
a the rear
p
rn, then th
s more or l
D
igital effe
c
h
en send it
to do this
can read a
n
n
al, so the
p
e
amp. Ge
n
g
inal signal
s
ignal will
h
w
ill more t
h
. Using the
much effe
c
amplifier.
T
p
arallel loo
p
%
wet when
n
g in unsa
t
e
ffects uni
t
phasing c
a
i
ther serial
,
t
ermine th
e
d
ance is 4.
e Effects
e
l. Most
c
ts unit
o
u use the
p
anel
e signal pa
ess
c
ts units of
t
to the am
p
to your
n
d
p
rocessor
n
erally, eve
, typically
a
h
ave been
h
an likely
Parallel lo
o
c
t signal is
T
here is
p
!
using the
t
isfactory
t
would
a
ncellations
,
e
7
th
t
en
p
.
n
a
o
p
.

3.2.3 S
w
Th
o
sec
To
No
w
full
the
3.2.4 S
w
On
e
swi
ca
n
3.2.5 S
w
To
the
ret
u
sig
n
3.2.6 Tu
n
Yo
u
wit
h
w
itch-able
o
se of you
w
ond maste
r
do this, ju
s
w
you can
c
open, and
loop activ
a
w
itch-able
e
might ex
t
tch-able re
n
feed the
H
w
itch-able
route your
input of y
o
u
rn. Now y
o
n
al decayin
n
er Out
u
guessed i
t
h
out anno
y
Loop as
w
ho can liv
e
r
volume f
o
s
t loop a sh
c
hoose a s
e
push the ‘
a
ted, the
m
Loop for
t
end one’s
t
turn jack.
N
H
agen’s po
w
Parallel
L
effects sig
n
o
ur effects
o
u can swi
t
g naturally
t
– it’s for
a
y
ing your b
a
addition
a
e
without
p
o
r each cha
ort 1/4” ca
e
cond mast
e
Loop” butt
o
m
ix control
c
external
t
onal varie
t
N
ow the ex
w
er amp.
T
L
oop
n
al parallel
unit and g
o
t
ch the sen
d
when the
l
a
guitar tu
n
a
nd memb
e
a
l Volume
p
rocessors i
nnel.
ble from th
er volume
b
o
n to activ
a
c
an act as
a
pre-amp
t
y by hooki
n
ternal prea
T
o operate
a
to the orig
o
from the
o
d
to the ef
f
l
oop is tur
n
n
er. Stays l
i
e
rs, or the
a
Control
n the paral
e switch-a
b
b
y turning
t
a
te your se
c
a
nother wa
y
n
g up an e
x
mp, once
s
a
jack nee
d
inal signal,
o
utput of y
o
f
ects unit o
n
n
ed off.
i
t while mu
t
a
udience.
lel loop ca
n
b
le send to
t
he mix co
n
c
ond mast
e
y
to contro
x
ternal gui
t
s
elected via
d
s to plugg
e
connect t
h
o
ur effects
n
and off v
i
t
e is activa
t
n
use this l
o
parallel lo
o
n
trol past
1
e
r volume.
l volume.
t
ar pre-am
p
the “Loop
”
e
d into the
h
e switch-a
b
unit to the
i
a midi, wit
t
ed. So yo
u
o
op for a
o
p return.
1
:00 PM to
Now, with
p
to the
”
function,
input jack!
b
le send to
parallel
h the effec
t
u
can tune
t
s

3.2.7 Co
m
A f
r
de
v
sur
3.2.8 Sp
e
Ha
g
an
d
the
3.2.9 To
p
Ma
n
in
3
out
ca
u
los
t
det
ma
t
am
m
pensat
e
r
equency c
o
v
ice. Use it
e that you
r
e
aker Co
n
g
en has 5
s
d
2 for 2 8-
O
jacks, and
p
5 Reas
o
n
y differen
t
3
.2.2 (ADA
t
put level o
f
u
sed in the
t
easily in t
ermines th
e
t
ched to gi
v
p section.
H
e
d Out
o
rrected si
g
to quietly
c
r
amp is co
n
n
nection
s
s
peaker jac
k
O
hm loads
you’ll be f
i
o
ns for d
y
t
factors ca
conversion
f
an effects
power am
p
he band so
e
ultimate
d
v
e the bes
t
H
eadroom
a
g
nal will le
a
c
ompose o
r
n
nected to
s
k
s: 1 for a
or 1 4-Oh
m
i
ne
y
namic lo
s
n be respo
n
). A vital p
o
unit. If th
e
p
. If it is to
o
und. When
d
rive signa
t
possible s
o
a
djustmen
t
a
ve this jac
k
r
send an a
u
either a lo
u
16-Ohm lo
a
m
load. Co
n
s
ses in t
h
n
sible for l
o
o
int that o
f
e
output le
v
o
low, then
used in th
e
l strength
o
o
und with
a
t
s of 10% a
k
if you co
n
u
xiliary sig
n
u
dspeaker
o
a
d, 2 for 2
n
fusing? O
h
h
e effects
o
ss of dyna
f
ten leads t
o
v
el is too hi
the rig will
e
serial loo
o
f the pow
e
a
ll 3 chann
e
re usually
s
n
nect it to
a
n
al to a co
n
o
r a load (i
.
16-Ohm lo
h
, yes! Just
loop
mics, asid
e
o
frustratio
gh, then u
n
not sound
p, the outp
e
r amp. Th
e
e
ls without
s
ufficient.
a
mixer or
r
n
sole etc.
A
.
e. THD Ho
t
ads or 1 8
O
do what it
e
from thos
e
n is a mal
a
n
wanted di
s
punchy an
ut of the e
f
e
output le
v
over drivin
r
ecording
A
lways mak
t
Plate).
O
hm load,
says on
e
mention
e
a
djusted
s
tortion is
d might ge
f
fects unit
v
el should
b
g the pow
e
e
e
d
t
b
e
e
r

3.3 MID
I
3.3.1 MI
D
Mi
d
sys
mi
d
po
w
Pin
Th
e
po
w
av
o
3.3.2 MI
D
Thi
s
Ha
g
Se
e
I
Connec
ti
D
I In
d
i in receiv
e
tems. The
d
i cable. Th
w
er supplie
s
1 and 6 is
e
voltage is
w
er usage
o
o
id damage
D
I
Thru
s
jack rout
e
g
en gets lo
o
e
chapter 7
t
ions
e
s “progra
m
Hagen is a
b
is can help
s
.
ground (-)
9-12V AC
o
f the peda
to the MI
D
e
s the midi
o
ped throu
g
for MIDI p
m
change”
o
b
le to supp
unclutter
y
Pin 3 and
7
or DC, whi
c
l cannot e
x
D
I pedal.
signal to o
g
h this jac
k
rogrammin
o
rders from
ly phanto
m
y
our stage
s
7
is hot (+
)
c
h is accep
t
x
ceed 800
m
o
ther midi
p
k
.
g instructi
o
commonl
y
m
power to
y
s
ystem an
d
)
t
able for 9
8
m
A (0.8A) P
l
p
artners. M
I
o
ns
y
available
m
y
our midi
p
d
rids the a
r
8
% of all m
l
ease obse
r
I
DI data n
o
m
idi pedal
s
p
edal via a
7
r
tist of the
s
idi pedals.
r
ve proper
p
o
t addresse
d
s
and contr
o
7
-prong DI
s
e pesky
Maximum
p
olarity to
d
to the
o
l
N

Chapte
r
4.1 Pre-
A
Th
e
all
o
ch
a
gui
t
Thi
s
raz
o
a li
t
su
g
ma
4.1.1 Ch
a
Cle
a c
l
tha
ton
of
g
4.1.2 Ch
a
Thi
s
Th
e
at l
r
Four:
F
o
A
mplifier
s
e
Diezel Ha
g
o
ws the arti
a
nges to hi
s
t
ar tone fla
s
concept
d
o
r sharp e
q
t
tle adjust
m
g
gest you s
t
ster volum
e
a
nnel On
e
an Tone is
l
ean amp s
n distorted
es. Hagen
w
g
uitars and
a
nnel Tw
o
s
channel’s
e
gainpot
w
ower setti
n
o
ur Pre-
A
s
and the
i
g
en comes
st to play
e
s
or her am
vors: 1-Cl
e
d
elivers 4 s
t
q
ualization
m
ent goes
a
t
art explori
e
just sligh
t
e
(Clean
a very sen
s
hould soun
sounds. F
r
w
as design
pickups wi
o
(Crunc
h
main obje
c
w
ill adjust t
h
n
gs to a ho
t
A
mplifie
r
i
r Functio
n
equipped
w
e
very conc
e
plifier. The
e
an, 2-Cru
n
t
ellar guita
r
possibilitie
s
a
long way.
ng the cha
n
t
ly cracked
Tone)
s
itive subj
e
d like. Cle
a
r
om hard a
n
ed to offer
ll have a la
h
)
c
tive is to
c
h
e amount
o
t
rodded cr
u
r
s
n
s
w
ith 4 diffe
r
e
ivable mu
s
preamps
a
n
ch, 3-Hea
v
r
sounds w
i
s
. The tone
As with s
o
n
nels with
a
open. (To
e
ct, becaus
e
a
n tonal te
x
n
d percuss
i
as many o
f
rge part in
c
over soft
a
o
f distortio
n
u
nch soun
d
r
ent and to
s
ical style
w
a
re voiced
t
v
y 4- Lead
o
i
th excelle
n
controls w
o
many oth
e
a
ll controls
avoid hear
i
e
there are
x
tures requi
i
ve sounds
f
the clean
this equat
i
a
nd heavy
o
n
here, goi
n
d
when set
t
tally indep
e
w
ithout hav
t
o deliver t
h
o
r heavyie
s
n
t playabilit
y
ork in an u
e
r things -
set to 12:
0
i
ng damag
e
so many d
i
re much hi
to soft and
variety as
i
on.
o
verdrive a
n
n
g from a
v
t
o 100%.
e
ndent pre
a
ing to mak
e
h
e 4 most
w
s
t riffing.
y
, warm d
y
nusually w
i
less is ofte
n
0
0 o’clock,
e
)
ifferent ide
gher dyna
m
warm blo
s
possible. Y
o
n
d distorti
o
v
ery mild c
r
a
mps. This
e
major
w
anted
y
namics an
d
i
de range,
s
n
more. W
e
and the
as on how
m
ic range
s
soming
o
ur choice
o
n sounds.
r
unchy sou
n
d
s
o
e
nd

4.1.3 Channel Three (Heavy)
This channel is voiced for highly articulate single note lines or for very heavy and massive
rhythm guitar. Due to its slight midrange accent and very high gain structure, it possesses
good punch and will, with ease and authority, rule any stage or studio. The “less is often
more” rule applies here also.
4.1.4 Channel 4 (Lead or heavy riffing)
This channel either is suitable for lead and soloing with the gainpot between 11 and 12
o’clock, while further increase of it will give you monstrous distortion for the heaviest riffing.
4.2 Pre-amp Tubes
The pre-amps are equipped with 12AX7 tubes in all positions. The pre-amp tubes are not
used to make big power, but merely as pre-amplifiers. Therefore their life expectancy is
much higher than that of the power amplifier tubes.
This is not to undermine their utter importance in overall sound and response of the
amplifier. Also, many nuisance defects like crackling noises and low dynamics are directly
related to defective pre-amp tubes. Like all other tubes, 12AX7 tubes come in many
different gain stages, and offer a wide variety of tonal behavior. Our choice for production
was made to ensure a wide variety of tones, with low noise and, hopefully, excellent
reliability.
4.3 Microphonics and Bad Noises
The overall performance of pre-amp tubes is easily influenced by mechanical factors from
the outside. This would manifest itself by a sudden feedback sound with high pitch. The
input stage is especially suspect to this phenomenon. If one encounters microphonic tube
behavior, then the first tube should be checked as a rule. Pre-Amplifier tubes can also cause
hum or other bad noises, like crackling or ticking.

Chapte
r
5.1 Ton
e
5.1.1 M
a
As
t
enj
vol
u
tha
Wi
t
an
d
via
5.1.2 Pr
e
Thi
s
be
a
wh
e
5.1.3 De
Th
e
co
n
po
w
r
Five: P
o
e
and Vol
u
a
ster Volu
t
he name
s
oyment, th
u
me adjus
t
t even a lo
w
t
h the swit
c
d
adjust th
e
midi.
e
sence
s
knob con
t
a
m from th
e
e
n making
ep
e
Deep con
t
n
trols the f
r
w
er amplifi
e
o
wer A
m
u
me of th
me
s
uggests, t
h
ere is also
t
ments via
r
w
-perform
a
c
h “Mas2”
y
e
loudness
w
t
rols frequ
e
e
speaker,
adjustmen
t
t
rol is an a
c
r
equencies
a
e
r. Diezel
C
m
plifier
e Power
A
h
is controls
a second p
r
emote co
n
a
nce effect
s
y
ou can sel
e
w
ith it. Of
c
e
ncies over
so be sure
t
s.
c
tive bass
c
a
round 12
0
C
o. is not r
e
A
mplifier
the overal
rogramma
b
n
trol while
y
s
unit can
b
e
ct the sec
o
c
ourse (as
m
3KHz. Tre
b
to position
c
ontrol, co
n
0
Hz withou
t
e
sponsible
f
l, global vo
b
le master
y
ou are pla
y
b
e used an
d
o
nd master
m
ost functi
b
le is prod
u
yourself in
n
trary to co
n
t
influencin
g
f
or disinteg
r
lume of th
e
volume co
n
y
ing. Both
c
d
amplified
volume (“
M
ons of Hag
u
ced and di
s
the proje
c
nventional
g
the over
a
r
ating spea
e
amplifier.
n
trol, whic
h
c
ontrols ar
e
in the loop
M
aster 2”)
f
en) it can
b
s
persed in
c
tion area o
bass contr
o
a
ll dynamic
ker cabine
t
For your
h
allows
e
laid out s
o
s.
f
or soloing
b
e switche
d
a very sm
a
f the spea
k
o
ls. It
range of t
h
t
s.
o
d
a
ll
k
er
h
e

5.2 Pow
e
5.2.1 Fu
n
As
t
out
am
se
v
the
be
h
5.2.2 Se
l
Die
suf
f
pro
ins
t
tub
5.2.3 Lif
e
Po
w
am
p
Re
a
ag
e
ke
e
cle
a
A f
a
po
w
whi
Ple
a
e
r Amplifi
e
n
ction
t
he name
s
t
put power,
plifies this
s
v
eral differ
e
tube type
h
avior.
l
ection
zel Co. ins
t
f
icient qua
n
duction. Y
o
t
alled, how
e
es, organi
z
e
Span
&
w
er tubes l
a
p
lifier. If y
o
a
lly… We h
a
e
in a very
s
e
p things fr
e
a
ning and
b
a
ilure of th
e
w
ertubes.
O
ch need to
a
se note th
e
r Tubes
s
uggests, t
h
measured
s
ignal to a
e
nt types o
f
power am
p
t
alls the m
o
n
tities. So i
t
o
u can fine
-
e
ver, it is i
m
z
ed in 2 pai
r
Tube Fu
s
a
st 1 to 3 y
o
u use you
r
a
ve heard t
s
low mann
e
e
sh and to
b
iasing onc
e
e
tube fuse
O
nce the LE
be rebiase
at not all f
a
h
e power a
m
in watts.
P
level that i
s
f
power am
p
lifier for it
s
o
st reliable
t
is possibl
e
-
tune your
H
m
perative
t
r
s with dou
s
es
ears, depe
n
r
amp only
ubes that
a
e
r, slow en
o
keep your
t
e
a year if
t
is indicate
d
D is lit, yo
u
d by a tec
h
a
ilures will
m
p section
P
reamp sig
n
s
acceptabl
ps, which
d
s
tried-and
t
and best s
o
e
that tube
H
agen by
h
t
hat the a
m
ble bias p
o
n
ding on c
a
once a mo
n
a
re over 10
o
ugh for th
t
ube deale
r
t
he amp is
d
on the a
m
u
need to r
e
h
.
be shown
b
is the part
n
als are se
n
e for louds
d
iffer in out
t
rue perfor
m
o
unding tu
b
brand and
h
aving diffe
m
p is biased
o
ssibility.
a
re, volum
e
n
th, then t
h
years old,
e artist to
g
r
in busine
s
used frequ
e
m
p’s back
w
e
place the
f
b
y these LE
of the am
p
n
t to the p
o
peakers. G
put power
a
m
ance and
b
es that ar
e
tube type
w
rent type a
properly.
H
e
and frequ
e
h
e tubes w
i
but it was
g
et used to
s
s, we reco
m
e
ntly.
w
ith two LE
D
f
use and m
Ds.
p
lifier that
p
o
wer amp(s
uitar ampli
f
a
nd tone.
W
familiar to
n
e
currently
w
ill change
nd brands
H
agen utili
z
e
ncy of us
e
i
ll obviousl
y
not a good
the chang
i
m
mend re-
D
s for eac
h
ost probab
p
roduces
), which
f
iers utilize
W
e chose
n
al
available i
n
during
of tubes
z
es 4 powe
e
of the
y
last longe
thing. Tub
e
i
ng tone. T
o
tubing,
h
pair of
ly the tube
s
n
r
r.
es
o
s
,

Chapte
r
6.1 Pro
gr
It i
s
“St
o
clic
k
me
m
is d
6.2 Man
u
Th
e
ch
a
Ch
a
thi
s
pro
thi
s
pro
OK
,
Sel
e
Voi
to
c
pro
All
t
Re
m
pro
r
Six: Fu
n
r
ammin
g
s
quite eas
y
o
re” toggle
k
, the sele
c
m
ory. Each
esired.
u
al Chan
n
e
4 channel
a
nnel’s gain
a
nnel one
s
s
channel’s
gramming
s
informati
o
grammed,
,
here it is
a
e
ct 01 on
y
la, it’s a M
I
c
hannel tw
o
gram chan
g
the other f
u
m
ember:
p
gram on t
h
n
ctions
a
the
Ha
ge
y
to progra
m
switch twi
c
c
ted blue L
E
h
of the 12
8
n
el Selec
ti
s of the Ha
pot, or ca
n
s
witch func
t
switching
v
and the pe
o
n and deci
it will then
a
gain:
y
our MIDI
p
I
DI progra
m
o
, hit “Stor
e
g
es. Conti
n
u
nctions of
p
ush “Sto
r
h
e pedal to
a
nd Swit
c
e
n
m
your Die
c
e must fol
E
D lights w
8
programs
ti
on
gen can b
e
n
be progr
a
t
ion to a M
I
v
ia your MI
dal will se
n
de whethe
r
switch on
c
p
edal. Sele
c
m
! Now sel
e
e
” twice, a
n
n
ue on until
the amp c
a
r
e” twice
t
recall the
s
c
hes
zel Hagen
a
low each c
h
ill blink. Cli
(patches,
p
e
selected
m
a
mmed via
I
DI progra
m
DI pedal.
P
n
d digital in
f
r
or not it i
s
c
hannel on
e
c
t channel
o
e
ct progra
m
n
d suddenl
y
l
you run o
u
a
n be prog
r
t
o finalize
a
s
etting fro
m
a
nd, also,
e
h
ange in th
ck on the
s
p
rogram c
h
m
anually b
y
the midi c
o
m
(for exa
m
P
ush “01” o
n
f
ormation
t
s
supposed
e
.
o
ne of the
H
m
change “
0
y
you have
u
t of chann
r
ammed in
a
MIDI pro
g
m
the amp.
e
asy to exp
e MIDI pro
g
s
witch agai
n
h
anges) ca
n
y
activating
o
ntrol syst
e
m
ple “01”),
n
your MID
t
o the ampl
to respon
d
H
agen. No
w
0
2” on you
r
a MIDI pe
d
els, about
the same
e
g
ram proce
d
lain. Pushi
n
g
ram. Afte
r
n
and your
n
be chang
e
the switch
e
m. If you
a
then you c
a
I pedal aft
e
ifier. The a
d
. When pr
o
w
push “St
o
r
pedal, swi
d
al controll
e
1 more tim
e
xact way.
d
ure. Selec
n
g the
r
the first
program is
e
d as often
left of the
a
ssign the
a
n initiate
e
r
mp will re
a
o
perly
o
re” twice.
tch the am
e
r with 2
e.
t the
in
as
a
d
p

6.3 Loop On/Off
This function activates a device that is connected to the switch-able loop.
6.4 Mute On/Off
“Mute” silences the beast. “Tuner Out” stays active. Makes sense, no?
6.5 Master 2 On/Off
Master 2 can be used for all channels.
6.6 Store
As discussed earlier, this is the universal programming button. Activating this button twice
will verify an intended program procedure. In case you have pushed this button once by
accident, or if you have started to program and don’t want to anymore for whatever reason,
then you can push any other switch (any switch but the “Store” switch) to cancel the
programming procedure. The previously established program will be preserved. On models
equipped with GPS, this will call out the quickest way to a near by music store.

Chapter Seven: MIDI
7.1 MIDI
MIDI is an acronym for Musical Instruments Digital Interface and is an internationally
accepted communications system between musical instruments (and processors and
computers) of all kinds. We will only need to learn a small portion of this “language” to use
the Hagen and its peripheral MIDI partners. We are going to learn only about “program
change”.
7.2 MIDI In
MIDI In is a 7-pole DIN jack. It must be connected to the MIDI Out jack of your foot
controller (or MIDI pedal), or the MIDI Out of any effects unit connected to the pedal
directly.
7.3 MIDI Thru
Connect this port to the midi in of other units to continue the MIDI chain
7.4 MIDI Communication
7.4.1 Omni Mode
The Omni mode will allow reading of MIDI information on all 16 channels. It is an easy way
to get into the MIDI system but it is not advisable if more MIDI partners on different
channels are in the same system. Then a certain MIDI channel should be assigned to the
Hagen and its program changes should be restricted to this channel (See 7.4.2). To put the
amp into the Omni mode, hold the “Mute” switch down and activate the “Master 2” switch
quickly and then release the mute switch. The Mute, Master 2, Loop and Store LED’s will
now blink to verify that the Omni mode is being accepted. This function needs to be
disabled under some circumstances in order to use single mode automatic or single mode
manual.

7.4.2 Single Channel Mode – Automatic Channel Recognition
Your Hagen can automatically recognize the pedal’s send/receive channel. To get your amp
into the mood (or mode) for this, push and hold “Mute” and then activate any program
change button on your MIDI pedal. The amp will look for a program change and recognize
the channel it is being sent on. Then it will switch to this channel and stay there as soon as
you let go of “Mute”.
7.4.3 Single Channel Mode – Manual Channel Selection
If you would like to have your Hagen on a certain MIDI channel, then we can
accommodate you here as well. Here is how this works:
Push and hold “Mute” and then turn on the preamp channels in the order that corresponds
to your midi channel preference. For example: if you want to have your Hagen to respond
only to MIDI information that is being sent on channel 7, then you must hold the “Mute”
button down and turn the Preamp channel one selector off, channel two selector on,
channel 3 selector on, channel 4 selector off. If you let go of “Mute” now, then your Hagen
is set to respond to MIDI channel 7 only. Get it? The table below gives you the sequence for
all 16 MIDI channels.
Midi Channel Ch1 CH2 CH3 CH4
1 off off off off
2 on off off off
3 off on off off
4 on on off off
5 off off on off
6 on off on off
7 off on on off
8 on on on off
9 off off off on
10 on off off on
11 off on off on
12 on on off on
13 off off on on
14 on off on on
15 off on on on
16 on on on on