Hughes & Kettner TRIAMP MK II User manual

DEUTSCH
ENGLISH
BEDIENUNGSANLEITUNG
100 WATT TUBE AMPLIFIER
1.2
www.hughes-and-kettner.com

IMPORTANT:
Before powering up please read
the Important Safety Instructions
on page 29 - 31!
WICHTIG:
Bitte lesen Sie vor der Inbetriebnahme
unbedingt die Sicherheitshinweise
auf Seite 29 - 31!
TRIAMP MK II - MANUAL
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When the first TriAmp®debuted in 1995, it wasn’t
long until it garnered a reputation as the Holy Grail
of amplifiers. And with good reason, for it was the
first time that a design featuring three totally inde-
pendent, dual channel, all-tube amplifiers was
shoehorned into a single device. Tube tone purists
were ecstatic. Its state-of-the-art handling and
switching logic – optionally controllable via MIDI -
enabled direct access to six of the most sought-
after tonal flavors. And that put at players’ finger-
tips a sonic spectrum with a breadth unrivalled by
any all-tube amp. The TriAmp®MK II was truly a
milestone in amp history.
Then the engineers at Hughes & Kettner®decided
to play matchmaker, marrying the qualities of this
milestone to the latest innovations in tube amp
technology. They named the progeny of this union
TriAmp®MK II. The findings of modern research
flowed into the revamped six fundamental sounds.
By the same token, the power amp circuit was
redesigned from the bottom up, resulting in an
even bigger, even more open sound.
Next to a variable effects loop (serial/parallel),
the TriAmp®MK II was endowed with a Half Power
switch. Now you can halve its output power from
100 watts to 50 watts whenever the mood strikes.
This lowers the power amp saturation threshold.
The flagship of the Hughes & Kettner®Tube
Custom Series, the TriAmp®MK II is exclusively han-
dcrafted, bar a few exceptions.
Every device is put through the paces of numer-
ous load and safety trials before it is subjected to
ultimate test – the ears of experienced guitarists,
the most sensitive gauge of them all.
When you chose the TriAmp®MK II, you opted for
a top-drawer tool built by pros for pros. Courtesy
of its versatility, professional-quality features,
impeccable workmanship, and, above all,
stunning sound quality, it truly merits the moniker
“state of the art”, setting standards for generations
of tube amps to come.
HERE’S WISHING YOU LOTS OF FUN AND JOY
WITH THE TONE OF YOUR TRIAMP®MK II!
YOUR HUGHES & KETTNER®TEAM.
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THANK YOU FOR CHOOSING THE TRIAMP®MK II !

CONTENTS
1.0 TRIAMP®MK II: THE THREE AMPS . . . . . . . . . . . 4
2.0 CONNECTIONS AND CONTROL FEATURES . . . 6
2.1 AC POWER AND THE GLOBAL
CURRENT ADAPTER . . . . . . . . . . . . . . . . . . . . . 6
2.2 OVERVIEW OF CONTROL FEATURES . . . . . . . . 7
3.0 STANDARD SETUP/CABLE CONNECTIONS . . . . 9
4.0 TRIAMP®MK II OPERATION . . . . . . . . . . . . . . . 9
4.1 CHANNEL SELECTION . . . . . . . . . . . . . . . . . . . 9
4.2 TRIAMP®MK II AND SIGNAL PROCESSORS . . . 9
4.3 RED BOX®DI OUT -
ALL-TUBE TONE TO THE MIXER . . . . . . . . . . . . 10
4.4 TRIAMP®MK II AND MIDI . . . . . . . . . . . . . . . . .11
5.0 REPLACING TUBES, SERVICE AND
PREVENTIVE MAINTENANCE . . . . . . . . . . . . . 12
6.0 TROUBLESHOOTING . . . . . . . . . . . . . . . . . . . . 14
7.0 TECHNICAL SPECIFICATIONS . . . . . . . . . . . . 27
Important Safety Instructions . . . . . . . . . . . .29 - 31
CAUTION!
TO PREVENT THE RISK OF FIRE AND SHOCK HAZARD
DON´T EXPOSE THIS APPLIANCE TO MOISTURE OR
RAIN. DO NOT OPEN CASE; NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED
SERVICE PERSONNEL.
BEFORE POWERING UP
• Check that the local current and the amp's AC
power rating are identical before you plug the
TriAmp®MK II's mains cord into an AC outlet.
• Ensure that air can circulate freely around your
amp's ventilation ducts.
• Place the amp on a stable platform where it
is not exposed to mechanicall shocks and tem-
perature extremes which may damage the amp
or endanger the safety of bystanders.
• Hughes & Kettner®is not liable for any damage
to the amp due to improper use.
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1.0 THE THREE AMPS IN THE TRIAMP®MK II
Three totally different amps in a single housing?
Until the mid-‘90s, this was thought to be an
impossible dream.
The Hughes & Kettner team was undeterred:
Years of intense development efforts and research
culminated in the TriAmp®, and this magical
combination debuted in 1995. To make the
dream reality, we developed an unprecedented
switching technology that delivers totally indepen-
dent fundamental sounds of the highest quality.
Each of the three preamps is dual-channel
in design so a total of six sounds are available
at the touch of a button.
How does TriAmp®MK II produce such funda-
mentally different sounds with just one power amp
and a common master section?
TriAmp's tonal potential lies primarily in its puristic
tube design. Highly advanced new switching
technology developed by Hughes & Kettner for
this amp reconfigures the multiple tube stages
with each new sound you select. This new design
pulls every drop of tone out of the all-tube
circuitry, lending TriAmp®MK II incredible tonal
flexibility without any reliance on solid-state
compromises. The power amp design further
supports TriAmp®MK II's vast range of tones:
In each channel, the Presence attenuation factor
is switched automatically via a special capacitor.
This lends each channel its trademark power amp
characteristics and explains why they are so easily
adjusted using just one Presence knob in the
MASTER section.

AMP 2 – CLASSIC BRITISH DRIVE
What will strike you about the second amp is its
extraordinary dynamics at every level of distortion.
This responsiveness opens up enormous expressive
possibilities by reacting sensitively to the subtleties
and nuances of different playing styles.
This amp conveys every detail of your attack –
this is as honest as an amp gets.
CHANNEL A cranks out the brand of overdriven
tone that graced almost every rock production
in the ‘80s. It has an open, British flavor that works
great for raw-edged riffing and aggressive
chord work.
The more you crank CHANNEL B, the bolder it gets,
going from gritty and fat to singing with days of
sustain at the twist of a knob. It features a special
circuit that injects a very desirable sonic additive
into your sound - the kind of power amp distortion
that players loved about the old Plexis .
AMP 1 – CHUNKY CLEAN
+ FAT DRIVE CLEAN
The first amp is dedicated to delivering classic
clean sounds.
CHANNEL A sounds full and expansive in the great
American tradition. It’s forte is classy clean tone
that remains unadulterated by distortion even at
high gain settings. It delivers the kind of twang
that makes you want to put cow horns on the
Toyota. This channel’s low end is like a good
burger - big, beefy and served up hot.
CHANNEL B cranks out British-approved class A
tone with the trademark shimmering top end and
extremely subtle harmonic distortion courtesy of
EL84 power amp tubes. Even at lower GAIN
settings you get pronounced overtones in the high
mids. Pushing the AMP 1 TIGHT button cuts mushy
bottom end frequencies hard. These indistinct
bass frequencies commonly rear their ugly little
heads when clean sounds are dialed in. By their
very design, combos’ housings tend to suppress
these frequencies. Chances are that you will run
the TriAmp®MK II into a 4x 12" cabinet.
If you want to simulate the response of a combo,
activate this frequency “correction” button.
The AMP 1 MASTER knob affects Channel B only.
Channel A, on the other hand, operates much
like vintage amps that were not equipped with
master knobs. Twist the GAIN A knob to control
the volume and saturation level of Channel A.
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AMP 3 – MODERN GAIN
'Truth in distortion' is a major consideration when
buying an amp. An absolute prerequisite for any
top amp is that it preserves the guitar's own
characteristic sound - rather than making all
guitars sound more or less alike - and the tone
must remain well defined no matter how high you
set the gain. Only a handful of amps make the
grade, and AMP 3 is certainly a leading member
of this elite club.
CHANNEL A is based on the Hughes & Kettner®
Duotone’s Overdrive channel. Brutally honest
and direct, its hair-trigger response reacts instantly
to even subtle changes in your picking attack
and the slightest twist of your guitar’s volume
knob. Though this lead channel was built for the
veteran axe slinger who believes great tone is
well worth fighting for, it’s also the bee’s knees
for pounding out big & beefy power chords.
110% rock ‘n’ roll indeed!
CHANNEL B pumps out high-gain American-style
sound of the more merciless variety. New Metal
merchants and Drop-D acolytes will swoon at
the sound of this channel’s hot, huge and
downright nasty distortion, while well-rounded
players will appreciate the extra hues in their lead
tone palette.
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2.0 CONNECTIONS AND CONTROL FEATURES
2.1 MAINS CONNECTION AND
MAINS INPUT VOLTAGE SETTING
TriAmp®MK II ships in two versions rated for 110/120V and
220-240V, respectively. The rating stamped on the mains
socket (figure) indicates the version type. Both models offer
two operating voltages that are selected using the voltage
selector integrated in the mains socket. Before connecting
TriAmp®MK II to the mains power supply, ensure that the
mains voltage matches the voltage rating
appearing in the voltage selector window.
This value is legible when the amp is in the
standard operating position, that is, placed
right side up. The upright number indicates
the currently selected voltage, and the
inverted number indicates the
alternative voltage.
Check also the fuse ratings to ensure
they match the ratings indicated on the rear panel.
NOTE:
Voltage selection and fuse replacement may be
performed by experienced service technicians only.
Accordingly, the following notes are addressed
exclusively to service technicians!
• Use a small flat screwdriver to remove the voltage
selector from the mains socket.
• If the fuse is defective, replace it with a fuse bearing
the specified rating.
• Turn the voltage selector and insert it back into the
port so that the desired mains voltage rating is legible
and appears at the top left (next to the "Voltage
Setting" arrow).

FRONT
INPUT: Input jack for guitars.
PREAMP SECTION:
The three preamps’ controls are largely compar-
able. The functions of their knobs are explained in
the following using AMP 1 as an example.
CHANNEL BUTTON: Push these to select the desired
fundamental sound (channel A or B) directly. The
buttons also serve as indicator LEDs, illuminating
to call attention to the active channel.
GAIN A, GAIN B: Twist these to dial in the desired
amount of distortion for channels A and B.
EQ SECTION: Common BASS, MID and TREBLE pots
for CHANNEL A and CHANNEL B.
TIGHT: Cuts muddy low end
frequencies that may occur when
clean sounds are rendered by
a 4x 12" cabinet. This frequency
“correction” feature lets the
TriAmp®MK II respond like a combo.
MASTER: Turn this knob to dial in the desired level
for AMP 1B relative to the two other preamps’
levels.
The AMP 1 MASTER knob affects Channel B only.
Channel A, on the other hand, operates much
like vintage amps that were not equipped with
master knobs. Twist the GAIN A knob to control
the volume and saturation level of Channel A.
MASTER SECTION
FX ON SWITCH: Turns TriAmp®MK II's FX LOOP on or
off. If you want to switch the FX LOOP on and off
via the Stageboard or MIDI, set this switch to the
'off' position.
LEARN: Installation of the MSM-1 MIDI Module is a
prerequisite for MIDI capability. With the module
installed, a press on the MIDI LEARN button will
save the current CHANNEL/FX LOOP combination.
MASTER: Determines overall TriAmp®MK II output.
PRESENCE: Determines presence levels for all three
amps. The PRESENCE circuit is automatically
reconfigured with each change of channel to res-
pond optimally for each basic sound. Try it. In
each channel, turn the PRESENCE control all the
way up and back down again to hear how it
affects each channel differently.
STANDBY: Mutes the amp during breaks.
The voltage to the power amp tubes is reduced
but not turned completely off to extend tube life;
when you turn the amp back to full power, they
are still warm and don't need to be reheated
from a cold start.
MAINS: Power ON/OFF switch.
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2.2 OVERVIEW OF CONTROL FEATURES

REAR
MAINS IN: Socket for the included Euromains
power cable. Before plugging into the wall socket,
make certain the amp's voltage rating as dis-
played in the VOLTAGE SELECTOR window
matches your local AC voltage rating.
VOLTAGE SELECTOR: If you need to change
TriAmp®MK II's voltage to your local AC voltage
rating, pull out this cartridge and see Section 2.1
for further details.
ANODE FUSE: Fuse holder for the power amp's
anode fuses. Be sure you only use fuses rated to
the indicated specifications.
HALF POWER: This power soak switch cuts the
TriAmp®MK II’s output power in half from
100 watts to 50 watts.
PREAMP OUT, POWER AMP IN: The TriAmp®MK II
sports an ancillary serial FX loop that lets you
control master volume via a volume pedal.
The preamp signal is patched out via PREAMP OUT
jack and in again via POWER AMP In.
STAGEBOARD: Input jack for TriAmp®MK II
STAGEBOARD. The length of the cord can be
extended using standard computer cables
(equipped with 9-pin SUB-D connector).
FX LOOP
FX SERIAL/PARALLEL: An innovative new feature
of the TriAmp®MK II, it lets you select the desired
type of effects loop, parallel or serial, at the touch
of a button. The FX loop setting may be stored
and switched via MIDI using the optional
MSM-1 MIDI module.
LEVEL: Determines the relative levels of the
TriAmp®MK II’s preamp signal and the signal
routed into the FX RETURN jack as sent from a
connected effects device and the like. In other
words, use it to set the desired wet/dry mix.
FX SEND: Connect this jack to your effects
processor's input jack.
FX SEND LEVEL: This damping switch allows you
to adapt the signal level to lower-level effects
devices. Press this switch in for instrument level
processors (e.g. stomp boxes).
FX RETURN: Connect this jack to your effects
processor's output jack.
RED BOX®DI OUT: This is a balanced output
featuring the RED BOX®Cabinet Simulator.
It enables you to feed the TriAmp®MK II signal
directly to a mixing console for stage and
recording purposes. Refer to Section 4.3 for details.
SPEAKER: The TriAmp®MK II features 4-, 8- and
16-ohm speaker outs for perfect impedance
matching. Its minimum impedance is 4 ohms.
NOTE:
Never operate the TriAmp®MK II without
a loudspeaker connected!
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3.0 STANDARD SETUP/CABLE CONNECTIONS
4.0 TRIAMP MK II OPERATION
4.1 CHANNEL SELECTION
The TriAmp®MK II’s six fundamental sounds may
be accessed via the channel selector buttons on
the front panel or the TriAmp®MK II Stageboard
are called up.
You can also execute switching functions via MIDI
using the MSM 1 MIDI Module (refer to Section 4.4).
If you want to use an external MIDI switcher, you
will need to make an adapter cable that acces-
ses the Stageboard jack, wiring it according to
the pin assignments shown in Diagram below.
Channel selection is executed via momentary
contact; FX LOOP activation is executed by
switching, namely by applying pin 8 to pin 5 (gro-
und).
Stageboard jack pin assignments:
4.2 TRIAMP®MK II AND
SIGNAL PROCESSORS
The TriAmp®MK II is equipped with a variable
effects loop (serial/parallel). In parallel mode,
the effect signal is added to the original preamp
signal so that you can dial in a setting where the
dry signal remains audible during the brief delays
that multieffector switching is prone to cause.
This face-saving feature prevents glaringly evident
and potentially embarrassing sonic drop-out the
LEVEL knob controls the mix. The passive nature
of the mix guarantees that the original signal is
not sent through any solid-state circuitry. When the
FX LOOP is deactivated, the buffer stage for the
effects side is switched off via a relay, thereby
ensuring that the FX LOOP never compromises
the amp's sound quality.
NOTE:
As a rule of thumb, the best method for using sig-
nal processors is to set the output of the processor
itself to maximum effect (balance = 100%), and
then mix the processed signal with the original
signal via the LEVEL control to avoid the sound
degradation an effects device might otherwise
introduce. Switch the FX LOOP button on the front
panel to OFF if you want to switch the FX LOOP via
the Stageboard or MIDI commands.
Amp 2B
Amp 2A
Amp 1B
Amp 1A
Ground/Masse
Amp 3A
Amp 3B
FX-LOOP
+ 22 V Output

Connecting signal processors:
• Connect the device's INPUT to the FX LOOP
SEND jack and its OUTPUT to the RETURN jack.
• Activate the FX LOOP via the FX ON button on
the front panel or the Stageboard.
• Adapt the FX loop level to the signal processor's
level, if necessary. Press the FX SEND LEVEL
button for effects devices like stomp boxes that
are designed for guitar signals. If the button
is not depressed, the signal level remains at
standard line level, appropriate for most
rack-mounted multi-effects processors.
• In parallel mode, use the LEVEL knob to set
the volume of the effect signal.
NOTE:
Some signal processors introduce phase cancel-
lations that are detrimental to the overall sound.
In this case, set the effects loop to FX SERIAL.
The effects loop now operates like a conventional
serial loop – in other words, you'll have to adjust
the balance of levels between the original and
processed signal at the processor.
TIP: If you choose not to connect a signal
processor or effects device to the FX loop, you
may connect another instrument or audio source.
When you use the RETURN circuit as a second
input channel in this way, the FX-MIX knob
becomes a balance control to determine
he relative volumes of the guitar signal and
the other sound source.
4.3 THE RED BOX®DI OUT -
ALL-TUBE TONE TO THE MIXER
The balanced RED BOX®DI OUT allows you to
connect TriAmp®MK II's output signal directly to
a mixing console, for the smooth, rich sound of
a miked-up cabinet without the hassles of actually
using a microphone. The integrated RED BOX®
circuitry is in-line with the speaker output for
optimum audio results, allowing the character
of the connected speaker to come through to
as great a degree as possible.
WARNING:
Never run the amp without a load (a connected
speaker cabinet), even in a recording situation.
Doing so risks serious damage to the amp's
all-tube output stage.
NOTE:
Speakers, in combination with a tube amp's
output transformer, may demonstrate microphonic
properties. If your amp's master setting is extreme-
ly low and the PA is very loud, you may encounter
feedback through the DI OUT circuit.
This effect does not occur at normal stage
volumes. However, we do recommend you use
the STANDBY switch rather than turning the MASTER
down to silence your amp during breaks. If this
feedback problem does occur at some point,
simply turn the amp's master volume up.
The speaker then loses the microphonic
properties and the feedback will stop.
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4.4 TRIAMP®MK II AND MIDI
With the MSM-1 MIDI Module
installed, you can use your
multieffects processor to sel-
ect TriAmp®MK II channels
and turn the FX LOOP on or
off via MIDI.
Installing the MSM-1 MIDI Module
NOTE (VERY IMPORTANT):
The following instructions are intended solely for
a factory authorized technician.
• Unplug the amp's mains cord from the wall
socket and remove all connected cables
(e.g. to the spring reverb or speakers).
• Remove the amp's rear panel cover so you can
access the tubes.
• Prepare a suitable spot to set the amp chassis
(for instance two books placed the same
distance apart as the two transformers),
or remove the power amp tubes.
• Remove the four retaining screws that hold the
chassis in place, and carefully pull the amp
chassis out of the wood housing.
• Remove the MIDI Module port cover plate from
the rear panel of the chassis.
• Insert the included flat cable connector plug in
the MSM-1's socket so that the color-coded wire
faces the notch on the socket.
MSM-1 socket and indicator notch.
• Insert the MSM-1 into the module port, and affix
it in place using the same four screws you just
removed a moment ago. Make sure the writing
on the MSM-1 reads in the same direction as
that on the rest of the chassis back.
Location of the sockets.
• On the control circuit board you will find the
socket for the connector on the other end of
the ribbon cable. Also insert this connector in
the socket so that the color-coded wire faces
the notch on the socket.
• Double-check that the module and the
connectors are seated correctly.
• Replace the chassis in the housing and, if you
removed the tubes, the tubes in the chassis.
• Replace the amp's rear panel, and reconnect
the cables to the reverb and speakers.
• To use the MIDI LEARN function with the
TriAmp®MK II, please refer to the instructions
included with the MSM-1 MIDI Module.
The moment power is applied to the amp,
the MIDI functions of the TriAmp®MK II are
immediately available. Please check all
switching functions of the amp.
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MIDI IN MIDI THRUMIDI
RECEIVE
CHANNEL
ON
OFF
1234 OMNI
CHANNELS 5-16: SEE MANUAL
FX OUTPUT
MSM-1

The TriAmp®MK II ships with EL34 and 12AX7 tubes.
Once they’ve been burned in (initial continuous
operation under a load), these undergo an
indepth selection process where their electrical
values and mechanical status (microphonics)
are checked. Beyond that, they’re installed in
a finished amp and their sound is auditioned
in a listening benchtest.
One of the most important steps is power tube
matching, a process whereby tubes with the same
characteristics are selected and combined to
make matched sets.
When is it a good idea
to replace tubes?
The tubes in the TriAmp®MK II are exemplary in
terms of quality, workmanship and long service
life. If you nevertheless come across a problem,
please be sure to run down the following checklist
before you swap out your old tubes for new ones:
Was the fault or failure of the power tube caused
by the tube itself or a flawed peripheral device or
component, perhaps a defective speaker cable?
(If you don’t get to the bottom of the problem
and remedy it, it may crop up again even after
you replace the tubes.)
Did the mains voltage fluctuate or spike while
the amp was on? In all-tube amps, over-voltage
surges in the mains net can certainly blow fuses
or even the amps. Over-voltages are often
caused by generators or improperly installed
high-current power circuits.
Did a fuse blow even though none of the tubes is
actually defective? An old fuse, tube de-ionization
or mains voltage power surges could conceivably
have caused it to blow. In this case, replacing
tubes of course is a waste of money and time.
Tubes definitely show signs of wear when their
service life is coming to an end, such as increased
microphonics, noise, muddier tone through loss of
high-end frequencies, degraded performance,
etc. You should take these indications seriously
and replace old tubes because not only do these
side effects take their toll on sound quality, they
also indicate the affected tube is about to fail.
NOTE:
Although it may be tempting to find out what
an amp sounds like with different tubes,
we urgently recommend that you refrain from
replacing tubes for experimentation purposes.
Handled improperly, this will damage the amp
and lead to incredibly steep repair costs.
What should you keep in mind
when you’re replacing tubes?
The golden rule: Replacing tubes is a job best left
to qualified professionals.
Accordingly, these guidelines are addressed to
reputable technicians who earn their living with
a screwdriver:
Pull the mains plug of the TriAmp®MK II and
allow for a discharge time of at least two minutes
before removing the sheet metal panel on the
rear of the amp. Once the panel is off, you can
cautiously ease the tubes out of their sockets.
A single power tube may only be replaced if the
replacement tube is precisely matched to the ori-
ginal, in other words, it has the same characteristics.
As a rule, if you are replacing power tubes,
use matched sets only.
If you’re installing a new set of power tubes with
characteristics identical to the old set, it is not
absolutely necessary to re-bias the amp.
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5.0 REPLACING TUBES, SERVICE
AND PREVENTIVE MAINTENANCE

If, on the other hand, you install a new set with
characteristics that deviate from the old set,
you definitely should re-bias the amp.
Again, biasing an amp is not a DIY task. It takes
experience and a extensive working knowledge in
measuring techniques, which is why this job should
be carried out exclusively by qualified technicians
with tube amp tuning experience.
• A hum adjustment must be made every time
tubes are replaced. Activate AMP 2, CHANNEL B
and AMP 3, CHANNEL B and set the lowest noise
levels via the trimmer.
• Select input tubes with minimal microphonic
properties and lowest noise levels by conducting
a simple listening test.
• As a rule, the amp will not absolutely need to be
re-biased with each new set of tubes, assuming
you use a matched set. Biasing is complex
procedure requiring special tools and should
only be done by a qualified amp specialist.
How can you extend the service life
of tubes?
Never operate the TriAmp®MK II without connec-
ting a load (loudspeaker)! With this in mind,
you should always use high-quality, heavy-duty
speaker cables that won’t crimp or snap.
Use the STAND BY switch! Warming tubes up
unnecessarily wears them out that much quicker.
Make a habit of shutting down the anode voltage
via the Standby function and you’ll enjoy many
more hours of operation.
Avoid exposing the amp to vibrations, especially
when it’s powered up. Switch the amp off a good
while before moving the amp so that the tubes
can cool off completely first.
Proper biasing and trimming extend service life.
Whenever you feel that tube wear is on the rise,
be sure to have a technician check the amp’s
bias and trim settings.
All other TriAmp®MK II components do not require
maintenance. Use a soft slightly damp cloth for
all exterior parts. Avoid exposure to mechanical
shocks, extreme heat, dust and moisture. Ensure
the cooling vents at the top of the housing are
not obstructed during operation.
Here are a few more basic rules that will extend
the service life of your amp enormously if you
follow them:
• Make sure all peripheral devices and connec-
ting cables are in a state of good repair! –
Ensure plenty of air can circulate around
the amp’s ventilation slots at all times – your
TriAmp®MK II’s life depends on it.
• Definitely avoid exposure to mechanical shocks
and extreme heat, dust and particularly moisture.
• Be very careful about the kind of peripheral
devices you connect to your amp and always
check out their specs before you plug them in.
Never connect speaker cabinets with an
impedance (ohm) rating lower than the
TriAmp®MK II is designed to handle. Under no
circumstances should you connect devices with
high output signal levels (e.g. power amps) to
your amp’s input.
• Be sure the AC power source delivers the current
that your amp is designed to handle before you
plug it in. When in doubt about the local rating,
ask the venue’s sound technician or a stage hand.
• Refrain from DIY repairs! To be on the safe side,
you should also have a qualified technician
replace internal fuses.
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TriAmp®MK II is not getting
any power:
• Check the mains cable to see if it is
connected properly.
• The mains fuse is defective. Replace the fuse
with another identical fuse.
TriAmp®MK II is connected properly,
but no sound is audible:
• The amp is set to STANDBY.
• One or several GAIN and MASTER controls are
turned all the way down. Dial in a higher setting.
• The anode fuse is blown. Before you replace the
fuse, examine whether the power amp tubes
are defective.
• The fuse for the tube heater blew (the tubes
don’t glow). Make absolutely certain to check
the rating when replacing this fuse. It is a super-
slo blo TT 15 A fuse. This type of fuse is relatively
uncommon and may be hard to find in your
area. That’s why your TriAmp®MK II shipped with
a replacement fuse. Be sure to have a service
technician replace the fuse.
Fuse keeps on blowing:
• After replacing the fuse, with standby off,
turn on the power. Watch the power tubes,
turn standby on. Look for tube “flash” before
fuse blows, indicating excess oxygen within the
tube. This will show which power tube needs to
be replaced.
The FX LOOP is on when
it shouldn’t be:
• The FX LOOP is deactivated when the front
panel button, the Stageboard button and the
MIDI module switching function are off. If any of
these three switches is on, the circuit is active.
The sound is thin and muddy when
the effects processor is active:
• The effect device routes back a dry signal that is
added to the original dry signal in the parallel
effects loop. Depending on the type of em-
ployed effect device, the phase position of the
dry return signal can lead to cancellations when
the return and original signals are mixed. To fix
this problem, switch the effects loop to SERIAL
or turn the dry signal all the way down on the
effect device.
When in use with a loud PA,
the RED BOX®DI OUT circuit is causing
feedback even though the amp is set
to a low MASTER volume:
• Speakers connected to a tube amp may have
microphonic properties. Turn TriAmp®MK II’s
Master VOLUME up and the circuit will stop
feeding back. In extreme cases of microphonic
speakers, you would either turn the PA down
or mic the cabinet.
Your amp is producing ringing noises
or tends to feedback:
• One or several tubes are microphonic.
Replace the appropriate tube with another
of the same type.
After just a few hours of operation,
your amp is displaying the typical
characteristics of old tubes (increased
microphonics and noise, treble loss,
weak power output, muddy sound).
• You have installed the wrong tubes or the bias is
not adjusted properly. Take the amp to a profes-
sional amp technician to correct the problem.
TRIAMP MK II - MANUAL
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6.0 TROUBLESHOOTING

TRIAMP MK II - MANUAL
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DEUTSCH
Als 1995 der erste TriAmp®auf dem Markt erschien,
gelangte er schnell in den Ruf des „Holy Grail
of Amplifiers“. Zum ersten Mal bot sich dem
Röhrenpuristen eine Konzeption, die drei völlig
unabhängige, zweikanalige Vollröhrenverstärker
in einem Gerät integrierte. Die moderne Bedien-
und Schaltlogik, die optional auch per MIDI
steuerbar ist, erlaubte unmittelbaren Zugriff
auf sechs der begehrtesten Toncharaktere
und schuf somit eine Soundvielfalt, die für einen
Vollröhrenamp vorher absolut unerreichbar war.
Der TriAmp®setzte einen Meilenstein in der
Ampgeschichte.
Mit dem TriAmp®MK II haben die Hughes & Kettner®
Ingenieure die Qualitäten dieses Meilensteins in
die Moderne übertragen. Die sechs Grundsounds
wurden überarbeitet auf den neuesten Stand
gebracht. Ebenso wurde die Endstufenschaltung
völlig neu designed - mit dem Resultat eines noch
offeneren Sounds. Neben einem umschaltbaren
Effektweg (seriell/parallel), wurde der Triamp®MK II
mit einem Half Power Switch ausgestattet.
Damit lässt sich die Ausgangsleistung auf Wunsch
von 100 Watt auf 50 Watt umschalten und somit
die Endstufe früher in die Sättigung bringen.
Als Flaggschiff der Hughes & Kettner®Custom Tube
Series wird der TriAmp®MK II fast ausschließlich
in Handarbeit gefertigt. Jedes Gerät wird einer
Vielzahl von Belastungs- und Sicherheitstests unter-
zogen, bevor es vor den Ohren eines erfahrenen
Gitarristen den abschließenden akustischen Test
bestehen muss.
Mit dem TriAmp®MK II haben Sie ein absolutes
Profi-Werkzeug erworben. Durch seine Flexibilität,
seine profigerechten Features und seine tadellose
Verarbeitung, vor allem aber durch seine über-
ragende Soundqualität setzt er in der Klasse
der Röhrenamps den Maßstab für die Spitze
des Machbaren.
WIR WÜNSCHEN IHNEN VIEL SPASS UND FREUDE
AM „TONE“ MIT IHREM TRIAMP®MK II !
IHR HUGHES & KETTNER®-TEAM.
WIR FREUEN UNS, DASS SIE SICH FÜR DEN
TRIAMP MK II ENTSCHIEDEN HABEN.

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INHALT
1.0 DREIZEHN RÖHREN FÜR DEN GUTEN TON . . . 16
2.0 ANSCHLÜSSE UND BEDIENELEMENTE . . . . . . . 18
2.1 NETZANSCHLUSS
UND WELTSPANNUNGSADAPTION . . . . . . . . 18
2.2 ÜBERSICHT DER BEDIENELEMENTE . . . . . . . . . 19
3.0 STANDARD SET UP/VERKABELUNG . . . . . . . . 21
4.0 BEDIENUNG DES TriAmp®MK II . . . . . . . . . . . 21
4.1 DAS ANWÄHLEN DER KANÄLE . . . . . . . . . . . 21
4.2 DER TRIAMP®MK II MIT EFFEKTGERÄTEN . . . . 21
4.3 RED BOX®DI OUT -
VOLLRÖHRE AM MISCHPULT . . . . . . . . . . . . . 22
4.4 DER TRIAMP®MK II UND MIDI . . . . . . . . . . . . 23
5.0 RÖHRENTAUSCH, WARTUNG UND PFLEGE . . . 24
6.0 FEHLERBESEITIGUNG/TROUBLESHOOTING . . . 26
7.0 TECHNISCHE DATEN . . . . . . . . . . . . . . . . . . . 27
WICHTIGE SICHERHEITSHINWEISE . . . . . . . . . . .29-31
VOR DER INBETRIEBNAHME
• Vergewissern Sie sich vor dem Anschluss des
TriAmp®, dass der nahe der Netzbuchse ange-
gebene Spannungswert mit der vorhandenen
Netzspannung übereinstimmt.
• Stellen Sie eine ausreichende Luftzufuhr durch
die Kühlschlitze des Gerätes sicher.
• Achten Sie auf einen festen Stellplatz, der
mechanische und thermische Fremdein-
wirkungen, welche die Betriebssicherheit des
Gerätes oder die Sicherheit von Personen
beeinträchtigen könnten, ausschliesst.
• Für Schäden am Gerät, die durch unsach-
gemäßen Betrieb entstehen, wird seitens des
Herstellers keine Haftung übernommen.
1.0 DREIZEHN RÖHREN FÜR DEN GUTEN TON
Drei grundverschiedene Verstärker in einem Gerät
– ein Wunschtraum, der bis Mitte der 90´er Jahre
unerfüllbar erschien. Nach Jahren intensiver
Entwicklungsarbeit und Soundforschung wurde
diese Kombination mit dem TriAmp®1995 zum
ersten Mal Wirklichkeit. Dazu entwickelte das
Hughes & Kettner Team eine neue Schaltungs-
technologie, die vollkommen eigenständige
Grundsounds in höchster Qualität ermöglicht.
Jeder der drei Preamps ist zweikanalig aufgebaut
und so stehen insgesamt 6 Sounds auf Knopfdruck
zur Verfügung.
Wie realisiert der TriAmp®so verschiedene
Grundsounds mit nur einer Endstufe und einer
gemeinsamen Mastersektion?
Sein Soundpotential schöpft der TriAmp®zum
grossen Teil aus seiner puristischen Röhrentechnik.
Eine hochentwickelte Verschaltung der Röhren-
stufen - bei jedem Soundwechsel in neuer
Konfiguration - ermöglicht diese enorme
Soundflexibilität ohne Einsatz von Halbleiter-
schaltungen, die den Sound verfälschen könnten.
Auch das Endstufenkonzept trägt entscheidend
zur Klangvielfalt des TriAmp®bei: Bei jedem Kanal
wird der Presence-Dämpfungsfaktor über einen
speziellen Kondensator automatisch umge-
schaltet. Dadurch erhält jeder Kanal seine
typische Endstufencharakteristik und ist daher
mit nur einem Presence Regler in der MASTER-
Sektion bestens regelbar.

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DEUTSCH
AMP 2 – CLASSIC BRITISH DRIVE
Hohe Dynamik und völlige Kontrolle bei jedem
Übersteuerungsgrad bietet der zweite Amp.
Detailgetreu überträgt er jeden Anschlag und
selbst kleinste Verzierungen – weshalb der Begriff
“ehrlich” als besonders treffend erscheint.
CHANNEL A hat den Overdrive Sound, der auf
nahezu jeder Rockproduktion der 80´er Jahre zu
hören ist. Jenen offenen, britischen Charakter,
der rauhe Begleitung und durchsetzungskräftiges
Akkordspiel wirkungsvoll unterstützt.
CHANNEL B klingt mit zunehmender Übersteuerung
“fetter” und trägt den Ton mit mehr Sustain –
der Amp “singt”.
Eine Spezialschaltung verleiht dem Sound
die Endstufenübersteuerung, die man von
alten „Plexis“ kennt.
AMP 1 – CHUNKY CLEAN
+ FAT DRIVE CLEAN
Klassische Cleansounds sind die Hauptaufgabe
des ersten Amps.
CHANNEL A klingt voll und rund in bester
amerikanischer Manier. Er übersteuert auch bei
hohen Gain Einstellungen kaum und bietet den
begehrten „Twang“ in Vollendung. In der Bass-
wiedergabe zeichnet sich dieser Kanal durch
enormen Druck und Wärme aus.
CHANNEL B liefert britischen Class-A Ton mit
glockigen Höhen und äusserst feiner harmonischer
Übersteuerung, so wie es für Amps mit EL84 End-
stufenröhren typisch ist. Schon kleinere GAIN
Einstellungen liefern prägnante Obertöne
im Hochmittenbereich.
Der TIGHT Schalter in AMP 1 bewirkt eine steil-
flankige Absenkung „mulmiger“ Bassfrequenzen,
wie sie bei Cleansounds in Verbindung mit 4x 12”-
Boxen leicht auftreten können. Bei einem
Gitarrenamp-Combo wird diese Absenkung
automatisch durch die Konstruktion des Gehäuses
bedingt. Da an den TriAmp®MK II in der Regel
eine 4x 12“ Box angeschlossen wird, kann über
die Frequenzanpassung wahlweise das Wieder-
gabeverhalten eines Combos gewählt werden.
Der MASTER in AMP 1 wirkt nur auf Kanal B. Kanal
A hingegen funktioniert wie bei alten Vintage-
Amps, die über keinen MASTER-Regler verfügten.
Übersteuerungsgrad und Lautstärke werden hier
ausschliesslich mit GAIN A geregelt.

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AMP 3 – MODERN GAIN
Präzise Distortionsounds spielen bei der Ent-
scheidung für einen Verstärker eine besonders
große Rolle. Ein verbindliches Kriterium für Top-
Class-Gitarrenverstärker: selbst bei extremen GAIN-
Einstellungen sollte der Gitarrencharakter hörbar
und der Ton definiert bleiben. Nur wenige
Verstärker können diesen Anspruch erfüllen.
AMP 3 gehört sicherlich zu den Anführern
dieser Elite!
CHANNEL A ist an den Overdrive Kanal des
Hughes & Kettner®DUOTONE angelehnt.
Er ist sehr ehrlich und direkt. Dynamisch reagiert er
auf Anschlagstärke und Volumenpoti der Gitarre.
Ein exzellenter Solokanal, selbst bei hohen GAIN-
Einstellungen und gleichzeitig optimal für druck-
volle Powerchords mit “Brett”. 110% Rock ´n Roll!
CHANNEL B liefert gnadenlosen amerikanischen
High-Gain Sound. Die heisse und böse Verzerrung
dieses Kanals bedient die New Metal und Drop-D
Fraktion ebenso wie den Allrounder, der sich
ab und zu den etwas anderen, ultrafetten
Leadsound wünscht.
2.0 ANSCHLÜSSE UND BEDIENELEMENTE
2.1 NETZANSCHLUSS UND
WAHL DER NETZSPANNUNG
Der TriAmp®MK II ist in zwei Modell-Varianten lieferbar:
110/120V und 220V-240V, zu erkennen am Gehäuse-
aufdruck über der Netzbuchse (Abb). Beide Modelle bieten
je zwei wählbare Betriebsspannungen, deren Anpassung
mittels des in die Netzbuchse integrierten Voltage-Selectors
erfolgt. Bitte stelle vor dem Anschluss des TriAmp®MK II an
das Stromnetz unbedingt sicher, dass die vorhandene Netz-
spannung mit dem im Sichtfenster des
Voltage-Selectors angegebenen
Spannungswerts übereinstimmt. Der in
Betriebsposition (Amp steht „auf den Füßen”)
lesbare Wert zeigt die aktuelle Spannung
an, der auf dem Kopf stehende
die alternative Anpassung.
Überprüfe auch die Sicherungswerte entsprechend den
Angaben des Aufdrucks auf der Geräterückseite.
HINWEIS:
Die Spannungsanpassung und der Austausch der
Sicherungen darf nur von einem erfahrenen Service-
Techniker vorgenommen werden.
Die nachfolgenden Hinweise sind für den Service-
Techniker gedacht!
• Mittels eines kleinen flachen Schraubendrehers den
Voltage-Selector aus der Netzbuchse lösen
• Falls defekt, Sicherung herausnehmen und durch eine
Neue mit entsprechendem Wert ersetzen
• Der Voltage-Selector wird so gedreht und wieder ein-
gesteckt, dass der Aufdruck der gewünschten
Netzspannung nach oben links zeigt (neben Pfeil von
Gehäuseaufdruck „Voltage-Setting”).

TRIAMP MK II - MANUAL
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DEUTSCH
VORDERSEITE:
INPUT: Eingang zum Anschluss der Gitarre.
PREAMP SEKTION:
Die Bediensektionen der 3 Preamps sind
miteinander vergleichbar . Die Funktionen
der Regler werden hier anhand von AMP 1
beispielhaft erläutert.
KANAL SCHALTER: Wählt direkt den gewünschten
Grundsound (Kanal A oder B) an. Die Schalter
fungieren gleichzeitig als Indikator LED´s.
Sie zeigen den aktiven Kanal an.
GAIN A, GAIN B: Regeln den Übersteuerungsgrad
von Kanal A und B.
KLANGREGELUNG: Gemeinsame BASS, MID und
TREBLE Regler für Kanal A und B.
TIGHT: Bewirkt eine Absenkung
„mulmiger“ Bassfrequenzen, wie
sie bei Cleansounds auftreten kön-
nen, wenn die Wiedergabe über
eine 4x 12“ Box erfolgt. Durch die
Frequenzanpassung bekommt der TriAmp®MK II
das für Combos typische Wiedergabeverhalten.
MASTER: Regelt die Lautstärke von AMP 1B im
Verhältnis zu den beiden anderen Preamps.
HINWEIS:
Der MASTER in AMP 1 wirkt nur auf Kanal B. Kanal
A hingegen funktioniert wie bei alten Vintage-
Amps, die über keinen MASTER-Regler verfügten.
Übersteuerungsgrad und Lautstärke werden hier
ausschließlich mit GAIN A geregelt.
MASTER SEKTION:
FX ON SCHALTER: Aktiviert den Effektweg
des TriAmp®MK II. Soll diese Schaltfunktion via
Stageboard oder MIDI erfolgen, ist der Schalter
in Position “aus” zu bringen.
LEARN: Erst mit der Installation des MSM-1 Moduls
wird der TriAmp®MK II midifähig. Die MIDI LEARN
Taste speichert dann auf einfachen Knopfdruck
die aktuelle Kanal / FX LOOP Kombination.
VOLUME: Kontrolliert die Gesamtlautstärke des
TriAmp®MK II.
PRESENCE: Regelt Presence für AMP 1, AMP 2,
und AMP 3. Die grundsoundspezifische Um-
schaltung des PRESENCE bewirkt eine für alle
Kanäle optimierte Soundbeeinflussung. Dies ist
am besten nachvollziehbar, wenn einmal in
jedem Kanal PRESENCE voll aufgezogen und
wieder abgedreht wird – die unterschiedliche
Wirkungsweise wird so hörbar.
STANDBY: Dient zur Stummschaltung des Gerätes
in Spielpausen. Die Endstufenröhren werden im
Standbybetrieb geschont, ohne dass bei Wieder-
inbetriebnahme die Röhren erneut aufgeheizt
werden müssen.
POWER: Netzschalter des TriAmp®MK II.
2.2 ÜBERSICHT DER BEDIENELEMENTE

RÜCKSEITE:
MAINS IN: Netzbuchse für das mitgelieferte
Euronetzkabel. Bevor der Netzstecker eingesteckt
wird, vergewissern Sie sich bitte, dass die
vorhandene Netzspannung mit dem im Fenster
des VOLTAGE SELECTORS angegebenem
Wert übereinstimmt.
VOLTAGE SELECTOR: Steckeinsatz zur Anpassung
des TriAmp®MK II an die vorhandene Netz-
spannung. Beachten Sie hierzu auch Kapitel 2.1!
ANODE FUSE: Sicherungshalter für die Anoden-
sicherung der Endstufenröhren. Den aufgeruckten
Sicherungswert unbedingt beachten!
HALF POWER: Schaltet auf Wunsch die Ausgangs-
leistung des TriAmp®MK II von 100 Watt auf
50 Watt herunter.
PREAMP OUT, POWER AMP IN: Für die Steuerung
der Gesamtlautstärke mittels Volume-Pedal wurde
dem TriAmp®MK II ein zusätzlicher serieller Effekt-
weg spendiert. Das Vorstufensignal wird an
PREAMP OUT abgegriffen und in POWERAMP IN
wieder zurückgeführt.
STAGEBOARD: Anschlussbuchse für das TriAmp®MK II
Stageboard. Das Kabel kann mit handelsüblichen
Computerkabeln (9-pol Sub-D) verlängert werden.
FX LOOP
FX SERIAL/PARALLEL: Eine Innovation am
TriAmp®MK II. Der Effektweg kann auf Knopf-
druck parallel oder seriell geschaltet werden.
Die Umschaltung ist bei Verwendung des
optionalen MSM-1 MIDI Moduls auch per
MIDI speicher- und schaltbar.
LEVEL: Bestimmt das Lautstärkeverhältnis zwischen
dem Vorstufensignal des TriAmp®MK II und dem
Signal an der FX RETURN Buchse - z.B. von einem
eingeschliffen Effektgerät.
FX SEND: Verbinden Sie diese Buchse mit dem
Eingang Ihres Effektgerätes.
FX SEND LEVEL: Dämpfungsschalter zum Anpassen
des Effektweges an den Eingangspegel
des Effektgerätes. Bei Verwendung von Effekt-
geräten, deren Eingang für Instrumentenpegel
ausgelegt ist, diesen Schalter bitte in gedrückte
Position bringen.
FX RETURN: Verbinden Sie diese Buchse mit dem
Ausgang des Effektgerätes.
RED BOX®DI OUT: Symmetrischer Ausgang der
integrierten RED BOX®Lautsprechersimulation
zum Mischpult für Live- und Recordingzwecke.
Beachten Sie hierzu auch Kapitel 4.3!
SPEAKERS: Der TriAmp®MK II verfügt über 4, 8
und 16 Ohm Anschlüsse zur optimalen Impedanz-
anpassung. Anschlussminimum sind 4 Ohm.
HINWEIS:
Betreiben Sie den TriAmp®MK II bitte niemals
ohne angeschlossenen Lautsprecher!
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