Egnater Vengeance Amp Head Manual
Owner’s Manual
120-watt
Tube Amplifier
Greetings………..
I would like to personally thank you for choosing Egnater as your “Tone Partner”. Our
goal is to provide you with the best tools we can to help you express yourself to the
fullest. Your amplifier is an integral piece in your never ending “Tone Quest”. Our
commitment to helping you achieve that goal is our passion. Our hope is that you will
take advantage of the years of innovative tube amp designs we offer and use it to find
the sound that is “in your head”.
Thank you for putting your trust in Egnater.
Best Regards,
Bruce Egnater
INSIDE THIS OWNER’S MANUAL
Greetings from Bruce Egnater.......................................... 2
Rock is back with a Vengeance......................................... 3
Important Information...................................................... 4
Safety Precautions.............................................................. 5
Front Panel Explained....................................................... 6-7
Finding the Sound You Want............................................ 8-9
The Rear Panel Explained................................................. 10-11
Power Tube Bias Explained............................................... 12-13
Tech Talk: Sound Dispersion............................................ 14
Tech Talk: Identifying Problems...................................... 15
Connecting your speakers................................................. 16
Vengeance footswitch......................................................... 17
Vengeance Specifications / Tube Chart............................ 18
Your Settings....................................................................... 19
Warranty & Contact.......................................................... 20
2
ROCK IS BACK WITH A VENGEANCE!!
Vengeance is now yours! This versatile high-gain, all-tube
amp with 120 relentless watts gives you the power to take
revenge on lacklustre tone.
Channel 1 takes you from lush, organic cleans to heavy
crunchy rhythm while Channel 2 goes from serious classis rock overdrive to extreme modern metal. Our signature
Tight & Bright voicing switches and Mid Cut / Boost
switch on each channel further customizes your tone. Independent reverb on each channel has our innovative “spillover” design, allowing natural decay when switching channels.
The foot-switchable secondary master volume pushes solos
to harrowing heights. A balanced speaker-emulated output
goes directly to the board live or in the studio. The 6-button
footswitch connects via any standard XLR cable. Standard
1/4” jacks for external control of the switching functions
provide increased flexibility.
There is a ton of useful information in this manual.
Please take the time familiarize yourself with some of the
cool features and tones. You won’t regret it.
3
IMPORTANT INFORMATION
Please keep this instruction manual for future reference and for the duration of owning this Egnater
Tweaker. Please carefully read and understand the instructions inside this user’s manual before attempting to
operate your new amp. This instruction manual includes essential safety information regarding the use and
maintenance of the Tweaker. Take special care to heed all warning symbols and signs inside this manual and
those printed on the amplifier itself.
WARNING
WHAT’S THE MEANING OF THIS?
The lightning flash with an arrow triangular symbol is intended to alert the user to the presence of non-insulated
“dangerous voltage” within the products enclosure, and
may be of sufficient magnitude to constitute a risk of
electric shock
TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THE AMPLIFIER
TO WATER OR MOISTURE. DO NOT
OPERATE NEAR ANY WATER SOURCE
1. Read these instructions – All the safety and operating
instructions should be read before this product is operated.
2. Keep these instructions – The safety and operating instructions should be retained for future reference.
3. Heed all warnings – All warnings on the appliance and in
the operating instructions should be adhered to.
4. Follow all instructions – All operating and use instructions should be followed.
5. Do not use this apparatus near water – The appliance
should not be used near water or moisture – for example, in a
wet basement or near a swimming pool, and the like.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the manufacture’s instructions.
8. Do not install near any heat sources such as radiators, heat
registers, stoves, or other apparatus (including amplifiers) that
produce heat.
9. Do not defeat the safety purpose of grounding plug. A
grounding plug has two blades and a third grounding prong.
The third prong is provided for your safety. If the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.Protect the power cord from being walked on or pinched
particularly at the plugs, convenience receptacles, and at the
point where they exit from the apparatus.
11.Only use attachments/accessories specified by the manufacturer.
12.Use only with the cart, stand, tripod,
bracket, or table specified by the manufacturer, or sold with the apparatus. When
a cart or rack is used, use caution when
moving the cart/apparatus combination to
avoid injury from tip-over.
13.Unplug the apparatus during lightning storms or when
unused for long periods of time.
14.Refer all servicing to qualified personnel. Servicing is
required when the apparatus has been damaged in any way,
such as power supply cord or plug is damaged, liquid has
been spilled or objects have fallen into the apparatus has been
exposed to rain or moisture, does not operate normally, or has
been dropped.
15.CAUTION: These servicing instructions are for use by
qualified service personnel only. To reduce the risk of electric
4
WHAT’S THE MEANING OF THIS?
!
The exclamation point triangular symbol is intended
to alert the user to the presence of important operating
and maintenance (servicing) instructions in the user
manual accompanying this amplifier
shock, do not perform any servicing other than that contained in the operating instructions unless you are qualified to do so.
16.WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus
to rain or moisture. The apparatus shall not be exposed to dripping or splashing and that
objects filled with liquids, such as vases, shall not be placed on apparatus.
17.WARNING: For the terminals marked with symbol of “ ” may be of sufficient
magnitude to constitute a risk of electric shock. The external wiring connected to the
terminals requires installation by an instructed person or the used of ready-made leads
or cords.
18.WARNING: The mains plug and ac connector is used as disconnect device, the
disconnect device shall remain readily operable
19. This lightning flash with arrowhead symbol within an equilateral triangle is intended
to alert the user to the presence of non-insulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock.
- Warning: To reduce the risk of electric shock, do not remove cover (or back) as there
are no user-serviceable parts inside. Refer servicing to qualified personnel.
- The exclamation point within an equilateral triangle is intended to alert the user to the
presence of important operating and maintenance instructions in the literature accompanying the appliance.
Ensure that the ventilation is not impeded by covering the ventilation opening with
items such as newspapers, table-cloths and curtains etc.
WARNING
Handle the power supply cord
with care. Do not damage or deform; it may cause electric shock
or malfunction when used. Hold
plug attachment when removing
from wall outlet. Do not pull on
the power cord.
FOLLOW THESE SAFETY PRECAUTIONS
1. READ INSTRUCTIONS – All the safety
and operating instructions should be read
before this product is operated.
2.RETAIN INSTRUCTIONS – The safety
and operating instructions should be retained for future reference.
3.HEED WARNINGS – All warnings on
the amplifier and in the operating instructions should be adhered to.
4.FOLLOW INSTRUCTIONS – All
operating and use instructions should be
followed.
5.WATER AND MOISTURE – The amplifier should not be used near water - for
example, a bathtub, washbowl, kitchen sink,
laundry tub, wet basement, or near a swimming pool, and the like.
6.CARTS AND STANDS – The amplifier
should be used only with a cart or stand that
is recommended by the
manufacturer.
An amplifier and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause the amplifier
and cart combination to overturn.
7.WALL OR CEILING MOUNTING
– The product should never be mounted to a
wall or ceiling.
8.HEAT – Amplifier should be situated
away from heat sources such as radiators,
heat registers, stoves, or other amplifier
(including amplifiers) that produce heat.
9.POWER SOURCES – This product
should be operated only from the type of
power source indicated on the rating label.
If you are not sure of the type of power
supply to your home, consult your product
dealer or local power company.
10. GROUNDING OR POLARIZATION
– This product may be equipped with a polarized alternation-current line plug (a plug
having one blade wider than the other). This
plug will fit into the power outlet only one
way. This is a safety feature. If you are unable to insert the plug fully into the outlet,
try reversing the plug. If the plug should
still fail to fit, contact your electrician to
replace your obsolete outlet. Do not defeat
the safety purpose of the polarized plug.
11. POWER-CORD PROTECTION
– Power-supply cords should be routed so
that they are not likely to be walked on or
pinched by items placed upon or against
them, paying particular attention to the cord
in correspondence of plugs, convenience
receptacles, and the point where they exit
from the amplifier.
12. CLEANING – The amplifier should
be cleaned only as recommended by the
manufacturer. Clean by wiping with a cloth
CAUTION: To reduce the risk of electric shock, do not
remove any cover. No user-serviceable parts inside. Refer
servicing to qualified service personnel only.
The lightning flash with arrowhead symbol within the equilateral triangle is intended to alert the use to the
presence of un-insulated “dangerous voltage” within the product’s enclosure that may be of sufficient
magnitude to constitute a risk of electric shock.
The exclamation point within the equilateral triangle is intended to alert the user to the presence of important
operation and maintenance (servicing) instructions in the literature accompanying this amplifier.
CAUTION
To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades
can be fully inserted to prevent blade exposure.
slightly damp with water. Avoid getting
water inside the amplifier.
14. NON-USE PERIODS – The power
cord of the amplifier should be unplugged
from the outlet when left unused for a long
period of time.
15. OBJECT AND LIQUID ENTRY
– Care should be taken so that objects do
not fall and liquids are not spilled into
the enclosure through openings.
16. DAMAGE REQUIRING SERVICE
– The amplifier should be serviced by
qualified service personnel when:
A. The power-supply cord or the plug
has been damaged; or
B. Objects have fallen, or liquid has been
spilled into the amplifier; or
C. The amplifier has been exposed to
rain; or
D. The amplifier does not appear to
operate normally or exhibits a marked
change in performance; or
E. The amplifier has been dropped, or the
enclosure damaged.
F. The amplifier needs tube replacement
or biasing
17. SERVICING – The user should not
attempt any service to the amplifier beyond
that described in the operating instructions.
All other servicing should be referred to
qualified service personnel.
18. VENTILATION – Slots and openings
in the cabinet are provided for ventilation and to ensure reliable operation of the
product and to protect it from overheating,
and these openings must not be blocked
or covered. The openings should never be
blocked by placing the product on a bed,
sofa, rug, or other similar surface. This
product should not be placed in a built- in
installation such as a bookcase or rack.
19. ATTACHMENTS – do not use attachments not recommended by the product
manufacturer as they may cause hazards.
20. ACCESSORIES – Do not place this
product on an unstable cart, stand, tripod,
bracket, or table. The product may fall,
causing serious injury to a child or adult,
and serious damage to the product. Use
only with a cart, stand, tripod, bracket, or
table recommended by the manufacturer,
or sold with the product.
21. LIGHTNING – For added protection
for this product before a lightning storm,
or when it is left unattended and unused
for long periods of time, unplug it from
the wall outlet. This will prevent damage
to the product due to lightning and powerline surges.
22. REPLACEMENT PARTS – When
replacement parts are required, be
sure the service technician has used
replacement parts specified by the manufacturer or have the same characteristics as
the original part. Unauthorized
substitutions may result in fire, electric
shock, or other hazards.
23. SAFETY CHECK – Upon completion
of any service or repairs to this product,
ask the service technician to perform
safety checks to determine that the product
is in proper operating condition.
24. FUSES – Always use the correct rating and type of fuse as indicated on the
rear panel. Note the proper rating fuse is
determined by the AC line voltage in the
country this unit is being operated.
25. AC SELECT SWITCH: This switch
must be set to match the AC line voltage
in the country this unit is being operated.
To change the setting, loosen (do not
remove) the two screws above and below
the slide switch. Temporarily move the
protective cover strip and slide the actuator to match the voltage in your country.
Place the protective cover strip back over
the switch and tighten the two screws.
5
1
2
3
4
5
6
9
7
S erial number s tic ker
1) GUITAR INPUT: Plug your guitar in
here using a high quality, shielded instrument cable.
2) CHANNEL
1 SELECT:
2 The pushbutton
switch to select CHANNEL 1 or CHANNEL 2.
3) CHANNEL 1 TIGHT SWITCH: This
switch is really useful for tightening up
the low end, especially 115when pushing the
gain. It works by cutting the deep bass
at the beginning of the preamp. Setting
the TIGHT switch up (+) will result in a
clearer, tighter tone. Down (-) retains a
full, big low end that is great for a really
robust, fat rhythm sound.
4) CHANNEL 1 BRIGHT SWITCH: As
expected, the (+) setting boosts the high
end. Do experiment with different combinations of the BRIGHT on and TREBLE
knob down compared to the BRIGHT off
and the TREBLE up. You will find that
with the BRIGHT on and the TREBLE
down, the tone will be a little less midrangy compared to the BRIGHT off and the
TREBLE turned up.
5) CHANNEL 1 GAIN SWITCH: In the
down (-) position, the gain is normal and is
best for really clean tones. The up (+) setting increases the GAIN making it easy to
dial in some excellent rock and roll crunch
rhythm sounds.
6) CHANNEL1 MIDS SWITCH: Now
this is cool. The MIDS switch allows you
to preset either a mid cut (-) or mid boost
(+) and switch it on and off from the footpedal. Some players prefer to keep the mid
cut on for their “normal” pristine clean
tone and switch it off when the rhythm
needs to jump out. Others keep it off on
6
8
the pedal and switch in the cut or boost for
an alternate tone.
7) CHANNEL 1 ON (GREEN) LEDS:
Tells you CHANNEL
3 1 is active.
8) CHANNEL 1 GAIN: This controls the
amount of “drive” in the CLEAN channel. Low settings of the GAIN knob (with
higher settings of the VOLUME knob) will
keep the sound big, full and beautiful. You
can also use higher settings of the GAIN
knob, along with the GAIN boost switch,
to push the channel into overdrive for
some really raucous rock & roll tones.
9) CHANNEL 1 TONE CONTROLS:
This
a channelb features ca variation of thed
familiar passive tone control designs of
many revered classic tube amps. Dial in
beautiful, pristine clean sounds to bold,
powerful overdrive tones. Don’t hesitate to
turn the knobs. You’ll find a vast array of
stellar sounds.
10)CHANNEL 1 REVERB: Adjusts
the amount of REVERB on CHANNEL 1
only. A unique feature of our reverb is the
“spillover” effect. This allows the Reverb
to trail off naturally after you switch channels.
11)CHANNEL 1 VOLUME: Adjusts the
loudness of CHANNEL 1.
12)CHANNEL 2 TIGHT SWITCH:
This switch is really useful for tightening
up the low end, especially when pushing
the gain. It works by cutting the deep bass
at the beginning of the high gain preamp.
Setting the TIGHT switch up (+) will
result in a clearer, tighter tone. Setting the
switch to (-) will create a fuller, fatter tone
but can tend to get a little muddy with very
high gain settings, especially with hum-
10
11
12 13 14
15
bucking type pickups. Find the setting that
suits your style.
13)CHANNEL 2 BRIGHT SWITCH:
As expected, the up (+) setting
4 boosts
the high end. Do experiment with different combinations of the BRIGHT on and
TREBLE knob down compared to the
BRIGHT off and the TREBLE up. You
will find that with the BRIGHT on and the
TREBLE down, the tone will be a little
less midrangy compared to the BRIGHT
off and the TREBLE turned up.
14)CHANNEL 2 GAIN SWITCH: In
the down (-) position, the gain is reduced
to make the overdrive a bit more manageable. Set the GAIN switch to (+) for the
maximum overdrive.
15)CHANNEL 2 MIDS: The MIDS
switch allows you to preset either a mid
cut (-) or mid boost (+) and switch it on
and off from the footpedal. Some players prefer to keep the mid cut on for their
“normal” heavy rhythm tone and switch
it off when the guitar needs to jump out
for solos. Others keep it off on the pedal
and switch in the cut or boost for alternate
sounds. This tiny switch opens a whole
new world of tones.
16)CHANNEL 2 ON (RED) LEDs: Tells
you CHANNEL 2 is active.
17)CHANNEL 2 GAIN: The gain knob
controls the amount of overdrive (distortion). Use the least amount of gain to get
“your tone”. As always, lower gain settings will result in a tighter, more defined
sound. Higher gain settings are more fun
and make an amp easier to play but can get
more compressed and muddy. Remember,
to try the TIGHT switch with high gain.
Vengeance 7-5-1 1
QUICK START GUIDE
17
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19
20
21
22
16
Also, there is a lot of gain on tap here. Use
it sparingly to prevent your guitar pickups
from squealing and feeding back. If you do
find
5 you have pickup
6 feedback
7 problems,
and turning the gain down is NOT an option, try moving away from the speakers.
Also, ask you guitar tech about options to
reduce pickup squeal. Thirdly, consider
using a gate in the loop to “cut off” the
feedback when you are not playing.
18)CHANNEL 2 TONE CONTROLS:
The Vengeance overdrive channel features
a tone control circuit reminiscent of many
classic British amps. The range and feel
should be familiar to most players and
makes it really easy to dial in some great
tones with minimal knob “twiddling”. Our
advice is to always “use your ears, not
your eyes” to find your TONE.
19)CHANNEL 2 REVERB: Adjusts
the amount of REVERB on CHANNEL 2
only. A unique feature of our reverb is the
“spillover” effect. This allows the Reverb
to decay naturally after you switch channels.
20)CHANNEL 2 VOLUME: Adjusts the
overall loudness of CHANNEL 2.
21)DENSITY: This control varies the
amount of deep, low end in the power amp
section and affects both channels. Higher
settings create a really big, full low end.
Use this control sparingly at high volumes.
Excessive bass boost at high volumes can
cause some speakers to break up (technical
term is “fart out”). This is a cut or boost
type control so start with the knob at 12:00
and adjust from there.
22)PRESENCE: Adjusts the amount of
overall “brightness” in the power amp
23
24
25
26
section and affects both channels. Use this
knob sparingly, also. To much PRESENCE
boost, especially at high volumes, can
8create the dreaded ice pick tone. Also, it is
a cut or boost control like the DENSITY.
Start with the knob at 12:00.
23)2ND MASTER: A second overall
master control for a solo or volume boost
that is controlled from the footpedal. Set
the MAIN MASTER first to get your
normal playing volume. Next, switch the
2nd MASTER on with the pedal and set
your boost volume. NOTE: The 2nd MASTER does not function unless the pedal is
plugged in.
24) MAIN MASTER: Control the overall
volume of both channels simultaneously.
Use this knob for a rhythm volume and the
SECOND MASTER as a bumped up solo
volume. Both controls are after the effects
loop. Adjustments made to the MAIN and
SECOND MASTERS will not affect the
loop levels.
25)ON/OFF SWITCH: Turns the main
power On and Off.
26)STANDBY/PLAY SWITCH: When
in the STANDBY position, the amp is
warmed up and waiting to play. To play,
switch the STANDBY switch to 60W or
120W. Placing the switch in the STANDBY position when you are not actually
playing will help extend tube life in the
long run. Note that the STANDBY (OFF)
position is in the center. When switching to
PLAY you can select the full 120 watts by
switching to the right to the 120W setting.
Or, you may choose the use the 60 watt
position (LEFT) for reduced power and a
little power tube compression (technical
term is squish). Only the two outer power
tubes (1 & 4) are active in the 60 watt
mode.
NOTE: The correct
9 procedure for turning your amp ON and OFF is as follows. When first powering the amp on,
always have the STANDBY switch in the
STANDBY (center) position. Turn the
POWER switch ON. Wait about 30 seconds or longer before moving the STANDBY switch to 60W or 120W. Reverse the
procedure when shutting the amp off. Turn
the STANDBY switch off (center position) first, wait about 30 seconds, then turn
off the power. By following these steps
you will, once again, help extend tube life
by not “slamming” the tubes with high
voltage while they are cold. This also allows the high voltages inside to properly
“drain off” preventing clicks or pops at
power down.
7
V e n g e a n c e s u g g e s te d s e ttin g s
C hannel O ne
TONE SETTINGS: CHANNEL 1
+
+
+
-
-
-
-
+
A L M O S T A C O U S T IC ...C L E A N
+
+
+
-
-
-
-
+
C A L IF O R N IA C L E A N
+
+
+
-
-
-
-
+
B R IT IS H C L E A N
+
+
+
-
-
-
-
+
A M E R IC A N B L U E S
+
+
+
-
-
-
-
+
B R IT IS H R O C K R H Y T H M
+
+
+
-
-
-
-
8
+
H O N K IN ’ M ID D R IV E
V e n g e a n c e s u g g e s te d s e ttin g s
C hannel T w o
TONE SETTINGS: CHANNEL 2
+
+
+
-
-
-
-
+
C L A S S IC B R IT IS H R O C K
+
+
+
-
-
-
-
+
A M E R IC A N R O C K & R O L L
+
+
+
-
-
-
-
+
M E T A L C H U G
+
+
+
-
-
-
-
+
S C O O P E D M E T A L
+
+
+
-
-
-
-
+
S C R E A M IN ’ S O L O
+
+
+
-
-
-
-
+
S C R E A M IN ’ M ID D R IV E
9
6
7
15
REAR PANEL
2
115
3
a
1) AC INLET and FUSE: Connect a
universal IEC type power cord. Be sure the
proper value fuse is installed that matches
the ratings as indicated for your country on
the rear panel.
2) AC VOLTAGE SELECTOR: Makes
the Vengeance compatible with the line
voltage in many countries. Proper setting
of this switch is absolutely critical. Be
sure the switch position matches the line
voltage in your country. Severe damage
will result from improperly setting this
switch and will void your warranty, as well
as destroy your amp. To change the setting, loosen (DO NOT REMOVE) the two
screws securing the plastic safety cover
strip over the switch. Swing the cover
aside. Using a small screwdriver, slide the
switch to the proper setting. Replace the
cover and retighten the screws. Be sure to
install the proper value fuse.
3) FOOTSWITCH SECTION: These
three jacks can be used to control the
indicated functions when using an external
device such as a loop switcher or MIDI
controller. The jacks are all latching (not
momentary) logic and switch either tip to
sleeve or ring to sleeve. The amp is not
designed to use both the ¼” switching
jacks and the Vengeance footpedal at the
same time.
a) MIDS JACK: This is a two conductor tip/sleeve jack that simultaneously can
turn the MID function on/off on both channels.
b) CHANNEL=TIP/MAIN=RING:
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4
S erial number s tic ker
1
b
c
d
A three conductor T/R/S connector. Short
or open the tip to sleeve changes channels.
Short or open the ring to sleeve turns the
2nd master on/off.
c) REVERB=TIP/EFFECTS=RING: A
three conductor T/R/S connector. Short or
open tip to sleeve turns the REVERB on/
off. Short or open the ring to sleeve turns
the loop on/off.
d) FOOTSWITCH: The proprietary
Vengeance footpedal plugs in here using a
standard XLR male to female microphone
cable. A T/R/S ¼ cable could also be
used but certainly is not as common. Any
normal microphone cable can be used up to
about 100 feet maximum in length.
4) BIAS SECTION: See more detailed
information elsewhere in this manual.
5) IMPEDANCE SWITCH: Set this
switch to match the IMPEDANCE of your
speaker cabinets.
6) MAIN SPEAKER OUTPUT: Labeled
“USE FIRST” because you must use this
jack….FIRST. There is a special circuit
inside the Vengeance that helps protect the
amplifier from damage in case you forget
to plug in the speakers and attempt to play.
As we all know, NEVER operate a tube
amplifier without a proper speaker load
connected …….but we didn’t have to tell
you that did we ?
7) EXTENSION SPEAKER OUTPUT:
Used to connect an external speaker when
a second speaker cabinet is used with the
head. Since the MAIN speaker output in
labeled USE FIRST, it would reasonable
to assume this jack could be labeled USE
SECOND, which would be correct. See
the section later in this manual for proper
connection and IMPEDANCE SWITCH
settings for different speaker arrangements.
NOTE: The two speaker output jacks are
in parallel.
8) RECORD LINE OUT: This is an active, balanced “cabinet simulated” output
for direct connection to the balanced mic
or line input on your mixer for recording
or live sound. It effectively eliminates the
need to place a microphone in front of the
speaker. The frequency response of this
output closely mimics the sound of a mic’d
4x12 speaker cabinet. Using this output
is great for getting a consistent recording
or live output from your rig regardless of
what mics are available and how competent the person setting up your gear is.
Often setups on stage are done in a hurry
and the mic is just hung from the top of the
cabinet or stuck right in the middle of the
speaker (the worst location) or even forgotten. By supplying a predictable, consistent
output to the PA or recorder, you are never
at the mercy of any of these issues.
NOTE: This is not a silent recording
output. You must have a speaker or suitable load connected at all times.
9) EFFECTS LOOP: Basically a series
insert patch point between the preamp and
power amp. With the pushbutton IN, the
loop is always active. With the pushbutton
in the OUT position and the footswitch
connected, the loop can be controlled by
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26
REAR PANEL
5
6
7
the pedal. If the footpedal is not connected, having the pushbutton OUT
bypasses the loop. When an external
effects gadget is patched into these
jacks, and the loop is turned on, the path
is interrupted and 100% of your signal
is routed through the effects. This puts
some special demands on the effects
unit. First is must be essentially transparent, meaning at can’t mess with your
tone. Second, the input and output levels
must be properly set for lowest noise and
maximum headroom. Proper setting of
these controls can be achieved using the
following method:
a) Set your amp/preamp volume
levels for normal playing levels. Connect
a high quality shielded cable from the
series send jack to the effect input.
b) Adjust the send level to “just
peak” while playing your most aggressive licks.
c) Now connect another high quality
shielded cable from the effect output to
the return jack.
d) Adjust the RETURN level to
match the volume you heard before connecting the return cable. You can check
this by turning the loop on and off while
playing and verifying there is no substantial volume difference. This is called
“unity gain”. A cool “techie” phrase for
“you get out what you put in”. If your effects gadget does not have level controls,
it can be assumed you will get unity gain
when plugged in.
8
e) If your effects unit does not have any
sort of level indicators (LEDs, VU meter
etc.) you would likely not know what
the proper setting for the SEND and
RETURN levels might be. If this is the
case, please follow these instructions:
1) Connect your effect to the SEND
and RETURN jacks and turn the effect on. Switch the loop off and listen
carefully to the clean channel. Set the
RETURN level to about noon and the
SEND to ‘0’. Turn the loop on. Now
increase the SEND level knob until you
start to hear clean, undistorted sound.
Continue to increase the SEND level
knob until you start to hear distortion
9
or loss of tone/high end. You have
now identified the overload point for
that pedal. Now back the SEND level
down until the distortion disappears.
Lastly, while switching the loop in/
out, adjust the RETURN level until
the volume is equal with the loop
switched in and out.
NOTE: Depending on how loud you
play, the level at the loop can vary
wildly. Though many floor type and
tabletop effects may work, some may
tend to overload. You will know an
effect is not made for higher levels
if, when you plug it the effect into
the loop, you notice distortion and/
or a loss of volume. Most modern
effects (including many pedals) can
operate just fine in an effects loop.
We have gone to great lengths to make
the Vengeance loop compatible with as
many different effects gadgets as possible. Of course, you still may occasionally encounter a device that simply
won’t cooperate in the loop. This is one
of the reasons we discourage players
from using crappy pedals in a loop. You
just spent a considerable amount of your
hard earned dollars to get this awesome
sounding amp. Sticking a mediocre
pedal in the loop of your amp seems to
be “counter-tone”. Remember what we
said about the effect being transparent.
Most pedals color your sound and not
always in a good way.
11
POWER TUBE BIAS
4
WHAT IS BIAS?
Simply put, it is a circuit inside the power
amplifier section that controls the “idle current” that flows through the power tubes.
Much like the idle speed on a car. There is
an optimum setting where the engine (amplifier) is running (idling) fast (hot) enough
to keep it from stalling (distorting) but not
too fast (hot) to cause excessive wear and
overheating. Get it?
WHY DON’T ALL AMPLIFIERS
HAVE BIAS OR IDLE CURRENT
ADJUSTMENTS?
Most do have some provision for that but
typically involve removing the amp chassis
from the box, exposing you to very dangerous high voltage. Special test equipment
and knowledge of amp circuits and tubes
is also needed. Not a skill most musicians
possess and shouldn’t need to.
WHY WOULD I WANT TO ADJUST
THE BIAS?
All power tubes are different. They each
have unique sonic and electrical characteristics. The Vengeance amplifier is shipped
12
with a matched quartet of EL34 tubes, but
is designed to accept a variety of different tube types. EL34, 6L6, 5881, 6CA7,
6550, KT66 and KT77 are among the
many possible choices. Because they are
all different, each requires different bias
settings for safety, reliability and optimum
performance.
Please read the following instructions on
how to use this cool feature…….
You will need a decent quality digital
voltmeter capable of measuring in the 100
to 200 millivolts DC range. This is a very
basic type of meter available at any electronic supply house or Radio Shack. They
typically cost anywhere from $10 to $25,
about the cost of one bias adjustment from
your local amp tech.
You will also need a small, flat blade
screwdriver to turn the adjustment controls that are recessed inside the grommets
below each tube label on the rear panel.
1) Turn the amp on, standby switch
in the 120W/PLAY position. All controls
all the way down. Turn the meter on and
set for reading DC millivolts. Consult
the meter instructions for how to do this
properly. Since all meters are different, it
is extremely important that you thoroughly
understand what you are looking at on the
meter display.
1) Insert the black (negative) test lead
into the panel hole labeled (-) COMMON.
2) Notice there are two identical sections to the left and right of the common
terminal labeled 1&4 and 2&3. These
correspond to the power tube numbers
designated on the rear panel.
3) First step is to insert the red (positive) meter lead into the left test point (+)
hole.
4) With your flat blade screwdriver,
turn the BIAS ADJUST control to obtain a
correct reading from the chart below.
5) Repeat this procedure for the other
pair of tubes.
6) Now allow the amp to warm up
for about 10 minutes and retweak so the
readings are within the range of the recommended reading.
RECOMMENDED BIAS SETTINGS
6L6/5881..................................... 60mV to 70mV
EL34/6CA7................................ 65mV to 75mV
E34L........................................... 70mV to 80mV
6550............................................ 70mV to 80mV
6V6 (JJ ONLY !!!!!!!)................ 30mV to 40mV
KT66........................................... 60mV to 70mV
KT77........................................... 65mV to 75mV
Displays differ from one meter to the next.
Some may indicate, for example, 60.0 for
60 millivolts. Others may show .060 for 60
millivolts. Knowing how your meter works
if of the utmost importance.
You should always check the bias readings
whenever you replace output tubes and
readjust if needed. Since we’ve made it so
simple, there is no reason to not.
Additional features of the “POWER
TUBE BIAS SECTION”
Fast Blo fuses. One per output tube pair.
In the event of a power tube failure, the
corresponding fuse will open protecting the amp from additional damage by
effectively removing the failed tube from
the circuit. You can keep playing with just
a small reduction in performance and still
get through the gig. If this happened in the
past, you would need to take the amp to a
repair shop. They would then hold it for
ransom while you figured out how to raise
enough money to pay them to fix it. No
more. The amp will protect itself from the
potential damage and you can continue to
play.
Read the quick trouble shooting procedure below if you suspect a tube failure:
If you notice a sudden loss of power/
volume or degradation in tone, you may
have a blown power tube. Not really that
uncommon these days. You now need to
“check” the fuses located in the BIAS
section. Often you cannot verify if a fuse
is blown visually. Learn how to use your
meter to check for continuity. A good fuse
will indicate at or near ‘0’ ohms. An open
fuse will read many meg ohms. If you do
find a blown (open) fuse, this is a pretty
sure bet one of the power tubes in that pair
have failed. Note the left side of the BIAS
section is for power tubes 1&4, the outside
pair. The other fuse is for power tubes 2 &
3, the inside pair. Remove the suspect pair
of tubes and replace the fuse with a 750mA
(3/4amp) fast blo type fuse. Install a new,
matched pair of tubes, plug the power cord
back in and turn the power on and standby
to 120W. Check the bias reading. If you
get a reading that is reasonably close to the
proper setting, you have just repaired your
own amp. Simply readjust the bias control
according to the chart and you are on your
way. You can thank us later for saving you
a bunch of money and a trip to the repair
shop.
SPECIAL NOTE:
Obviously for this to work, you MUST
carry spare power tubes, fuses, a flat blade
screwdriver and your voltmeter with you.
If a tube fails at a gig, you could be back
up and running in a matter of minutes.
You wouldn’t drive your car without
a spare tire, right? In a pinch you may
continue to use your Vengeance with
somewhat reduced performance, even
with shorted tubes. No additional damage
to the amp will occur. Do service the amp
as soon as possible, of course. Because
the BIAS readings are actually the sum of
the currents for each tube in the pair, we
highly recommend replacing power tubes
in matched pairs. If your tubes are not
matched, one tube could be running very
hot while the other is barely on but you
would still read the sum of the pair. This is
not a good thing.
ADVANCED THEORY
(FOR THOSE WHO CARE):
Those of you with electronic knowledge
may notice we are referring to current draw
but are making measurements in millivolts.
Ohms law states that I=E/R or current (I)
equals voltage (E) divided by resistance
(R). Inside the amp are one ohm resistors
in the cathodes of the output tube pairs.
The external test points allow access to
those resistors. When you measure across
those resistors at the rear panel test points,
you are reading the DC voltage drop across
a one ohm resistor. Referring to ohms
law, if R=1 in the formula, then I = E or
current equals voltage. So when you read
for example, 60mV you are also seeing the
equivalent numerical value of current or
60mA. You may have also figured out by
now that since you have separate adjustments for each tube pair, it may be possible
to use alternate tube types at the same time.
Your suspicion is correct. You “tweakers”
can combine different types by installing
one type in the outside (1 & 4) sockets and
another type in the inside (2 & 3) sockets.
Be sure to adjust each pair for the proper
range. This way you can combine the characteristics of the different types. The range
of the bias adjustments are such that you
should have not problem adjusting for just
about any type of compatible tubes.
WARNING: DO NOT be tempted to run
your tubes hotter than the maximum values
in the chart. You may find it sounds really
cool as you destroy your expensive tubes
and possibly damage your amp, of course
voiding your warranty! Also, in case you
haven’t found out the hard way yet, power
tubes get extremely hot (as high as 800
degrees)!!!! NEVER touch the tubes while
the amp is on. Always allow at least 5 minutes for the tubes to cool before touching
them after turning the amp off.
13
Tech talk tips: SOUND DISPERSION
Ever wonder why your 4x12 cabinet sounds better when
you stand off to the side? Did you consider why the pros
mic a speaker from the edge instead of in the center?
Ever have people in the audience tell you your guitar
tone is really loud and shrill but it sounds great to you onstage? This is a result of the directionality of loudspeakers.
Speakers inherently do not project all frequencies equally.
As the frequency increases, the dispersion decreases.
In non technical terms, this means the higher you play
on your guitar neck, the more directional your sound will
be. By nature, speakers tend to be somewhat non-directional at lower frequencies. This means you can stand off
to the side of your cabinet and you will hear basically the
same bass and lower mids as your audience is hearing right
in front of your speakers.
On the other hand, and this is where the trouble starts,
higher frequencies tend to “beam” from the speaker. While
you are standing off axis from your cabinet (not directly in
front of it) you are hearing an even balance of lows, mids
and highs and feeling pretty pumped about your awesome
tone. Unfortunately, unbeknownst to you, the listeners directly in front of your cabinets are being killed by the high
end that is “beaming”. FYI, contrary to what one might
deduce, having more speakers in a 2 by 2 arrangement, as
in a 4x12 cabinet compounds the problem and makes the
beaming even worse. Next time you play take a moment
to walk from side to side and squat down in front of your
speakers. You will be amazed at the difference between listening off axis (to the side) and listening on axis (directly
in front).
Have you ever seen a band in a small place where you
are hearing the stage volume and wonder why the guitars sound so bright? Doesn’t that guitar player hear that
obnoxious high end? That knucklehead must be deaf!?!?
More likely he is standing close to his cabinets and all that
high end is just blowing past his/her legs so he/she doesn’t
even hear it.
OK..so now I’ve pointed out how we’ve all been playing for years believing everyone in the crowd thinks our
tone is as awesome as we think……or is it? Great, so what
can you do about it? The key is to place your speakers so
you are hearing the same thing as everyone else.
If you can get the cabinets far enough behind you, you
probably will pretty much hear everything just fine. If that
is not possible, try placing the cabinets pointing across the
stage sideways instead of forward at the audience. At least
then you will only be killing your other band members
instead of the audience. Chances are you often want to kill
14
the drummer or bass player anyway, right? The best thing
you can do is to tilt your cabinets so that they are pointed
at your head. I guarantee you will set your controls way
different from what you normally do.
There are a number of possible options to combat the
beaming problem. A few companies make a solid disc that
you install in front of the speakers to help disperse or attenuate the high end.
These discs have met with some success though they
do introduce some phasing issues. Also, because there is a
solid piece in front of the speaker, if one places a microphone in front of the disc (which happens quite often at
shows), it can sound weird because the disc is altering the
sound into the mic. There are some other smart people attempting to address the problem.
Most involve using some form of foam piece in front
of the speakers. The method we find works best for both
live, and when placing a mic in front of the speakers,
utilizes a sound absorbing 4” x 1” foam disc placed on the
back side of the grill cloth directly in front of the speaker.
The discs are made of an acoustical foam material that attenuates the beaming highs instead of blocking them.
I’m always surprised whenever this subject is discussed and many guitar players make the statement “I
hate the way my guitar sounds when I stand in front of my
speakers”. The answer is not to simply stand off to the side
so it only sounds good to you because everyone else is still
hearing the sound that you hate. Remember why we play
music? It is for others to enjoy.
We should always make a conscious effort to think
about what the audience is hearing, too.
On that happy note……………
Be the one who makes the shovels, not the one who digs
the ditches
- Ed Kreske
tech talk: identifying speaker or tube problems
So you’re band is going on in an hour.
You’re setting up your gear and something
is wrong with your amp…maybe? The following is a systematic troubleshooting guide
for when this happens.
1) DON’T PANIC!
Here are the items you should carry with
you in case of trouble.
1) Spare guitar cables
2) Spare speaker cables
3) Spare fuses for everything
a. Look at the fuse holders on
all your gear and get
replacement fuses for each one.
4) A spare preamp tube and
power tubes.
5) A new 9 volt battery even if
you don’t use pedals (you’ll see why later)
6) A reliable digital multimeter.
Doesn’t need to be fancy or
expensive.
7) A small flat blade screwdriver
for bias adjustment.
8) Band Aids. In case of injury.
Has nothing to do with fixing
your gear but they sure come in
handy when you are bleeding.
9) A spare tire for your car. You
wouldn’t go anywhere without a spare tire would you? Same
goes for your gear that you
count on to work every time. Stuff goes wrong. If you are prepared,
you won’t need to freak out.
Your “rig” is just a combination of
“sub-systems” consisting of, but not limited
to, your guitar, cables, effects, amp and
speakers. The trick is to quickly and accurately eliminate each component to narrow
the trouble down to one part of the “system”. A systematic approach using process
of elimination will quickly tell you which
component in your “system” has failed.
SYMPTOM = NO SOUND:
1) The first quick check is obviously to
make sure everything is securely plugged in
and all power indicators are lit on everything and the amp is not in STANDBY. I
can’t tell you how many times something
didn’t work simply because a plug was
not fully inserted. Also, many amps have a
MAIN and an EXTENSION speaker output.
Verify you are using the MAIN output first.
I’ve made that mistake myself.
2) Accurately verify if everything is absolutely, 100% dead or can you near some tiny
sound (hum, hiss, a little guitar, anything
at all) coming from the speakers. This is
important information because there are two
different approaches to troubleshooting depending on which symptom you encounter.
3) If you are sure there is absolutely no
sound at all, do this:
a.
This tells you either the amp or
the speakers are dead. Here is a simple and
quick speaker test. Get your 9 volt battery
that you, of course, have in your emergency
kit. Pull the speaker cable end out of your
amp and hold it in one hand. Take the 9 volt
battery and touch the two battery terminals
to the tip and body of the plug simultaneously. You will hear a fairly loud “thump”
noise from your speaker cabinet each
time you touch the battery. If you hear the
“thump”, you just verified the speakers and
speaker cable are good and can be removed
from the list of possible problem components. If you don’t hear the “thump” either
your cable or your speaker cabinet is at
fault. By the way, you can use this same test
for your combo amp speakers.
b. A special note is in order here. If
you are having the “no or very little sound”,
do not…I repeat DO NOT just turn everything up louder or, worse, full up and try to
play. This is not an acceptable repair technique. If your speaker cable or cabinet is
bad, doing this will quite possibly blow up
your tube amp that was probably not broken
until you did this. Plus, if you have everything cranked and, by some chance things
suddenly start working, you will probably
damage your amp, speakers or hearing.
c. Next is the amp itself. First unplug
everything from the amp except for the
power cord. One very common failure is a
shorted power tube. Many amps have a fuse
that is dedicated to protecting the power
tubes and transformers.
It is usually on the rear panel labeled
something like HT or High Voltage or
Power Tubes. Remove and inspect this fuse.
If it looks burned inside, this is pretty much
a sure indication of a shorted power tube.
Often a fuse “looks” fine but can still be
open (blown).
Learn how to measure continuity with
your multitmeter and use it to verify if the
fuse is open or not. If the fuse reads just
a couple of ohms on your meter, it is not
blown and power tubes are not likely the
problem.. If you get no reading, infinite or a
very high ohm reading, it is blown.
If you do have the misfortune of blowing a power tube, which of course will only
happen at the most importune time, there is
a way out. It does require you carry a couple
of extra power tubes and at least four of the
correct value HT fuse for your amp. If you
do find the fuse is open, your amp will not
produce any sound which is why we are
talking about this here.
Follow this procedure to get your self
out of trouble and back “up and running”:
1) Turn the amplifier power off.
2) Replace the blown HT/Power
tubes fuse.
3) Remove all the power tubes
4) Turn the amplifier power on and
wait 30 seconds.
5) Move the STANDBY switch to the PLAY position.
6) Wait 30 seconds again and now
turn the amp off.
7) Remove and recheck the HT/
Powertubes fuse.
8) If the fuse is blown, you are
screwed. Nothing you can do
right now will make it work….
sorry. Hope you brought a
backup amp. If the fuse is not
blown, one of your power tubes
is shorted, which is good news.
9) Put one, and only one of the
power tubes back in.
10) Turn the POWER switch on,
wait 30 seconds and now turn
the STANDBY on.
11) Next POWER and
STANDBY off.
12) Recheck the HT/Powertubes fuse. If it is not blown, that tube
is good. If it is blown, the tube
is bad so get rid of it.
13) If the fuse is good, leave that
tube in and install another one.
Same drill, blown fuse=Bad
tube, good fuse=Good tube.
See the pattern? If you install the tubes
one at a time like this, when you put the
shorted one in, the fuse will blow. Once you
determine that a tube is, in fact, shorted you
have options. If the amp only has two power
tubes, you will want to put one of your
spare tubes in. Of course you brought them
with you right? One note here, I suggest
you buy a matched set of four power tubes
for your amp. Use two and keep two for the
spares. If they are from the same set, you
won’t need to rebias them and you are good
to go. If your amp has four power tubes, you
have two choices.
You can get through the show with just
two power tubes with somewhat reduced
power and headroom and not worry about
replacing any tubes. To do this, simply leave
in only two of the known good tubes. Install
them as one on each end of the row of tubes
and leave the center pair out or, put the good
pair in the center sockets and leave each end
out. Doesn’t matter which way.
15
Vengeance Head
Speaker
Hookup
CONNECTING
YOUR
SPEAKERS
To 8 ohm
mono input
Set impedance
switch to 8 ohms
2x12
To 16 ohm
input jack
4x12
16
Set Impedance
switch to 16 ohms
Always set the impedance switch to match
the cabinet impedance. Here is some handy
information.
To determine the proper setting using multiple cabinets of the same impedance,
simply take the impedance of one cab divided
by the number of cabinets. For
example, if you have two 16 ohm cabs, simply
divide 16 by 2 for a total load of 8
ohms.
The MAIN (USE FIRST) and the EXTENSION speaker outputs are in parallel. This
means if you connect one cabinet to each
speaker jack on the amp, you will use the
example above to calculate the proper setting
for the impedance switch. For example, if you
connect one 16 ohm cabinet to each output, the
load the amp see is 8 ohms … 16 ohms divided
by two equals 8 ohms.
SIX-BUTTON FOOTSWITCH
CHANNEL: Selects either CHANNEL 1 (no light
on) or CHANNEL 2 (RED light on)
CH1 MIDS: Activates the MIDS switch on CHANNEL 1. Preset the switch on the front of the amp
for CUT (-) or BOOST (+). You can now switch the
CUT or BOOST on and off “on the fly” with the
footpedal. Typically players leave this function off
on the pedal and switch on for a different
sound. Others prefer to leave the pedal MIDS on for
a mid scoop or mid boosted sound and then
switch off for an alternate sound. Try it both ways.
CH2 MIDS: Same as CH1 above but only works on
CHANNEL 2. Again, you may find you prefer
the MIDs on and set to cut for your heavy rhythm
tone and switch off to make your solos cut
through with a little more midrange.
LOOP: This is a cool Egnater thing. The small
toggle switch above the LED allows you to preset
the loop to come on automatically with CHANNEL
1 or CHANNEL 2 and turn off automatically
when going over to the opposite CHANNEL. For
example, suppose you have a favorite compressor
that you only want to use with your clean sound.
You can connect it to the loop, set the level controls per the instructions elsewhere in this manual,
and set the toggle switch to CH1. When you select
CHANNEL 1, the compressor will automatically be
switched into the loop. When you go to CHANNEL
2, the compressor will automatically switch out.
You can also do the opposite with CHANNEL 2.
If you have an effect that you just always want on,
set the switch to BOTH and turn the loop on. Note:
when you are in any of the three modes of the toggle
switch, you can still turn the loop on/off manually
with the pushbutton.
REVERB: This pushbutton simply turns the internal reverb on and off.
2nd MASTER: Pressing this pushbutton activates
the 2nd MASTER on the amp. This gives you
another control to use for a preset volume boost. Set
the MAIN master for your normal“ playing volume.
Then turn on the 2nd MASTER for a preset solo
boost level. You can now alternate between the two
settings with the pushbutt on. This function also
features the CHANNEL preset mode switch. This
switch operates a bit differently than the effects
switch. You simply set the toggle switch for the
channel that you want the pushbutton to work with
or, set to BOTH to be able to turn the 2nd MASTER
on/off at will. Let’s say you want to use the 2nd
MASTER for a boost on CH2 only. By setting the
toggle to CH2, the pushbutton will only function on
CH2. The advantage here is .... let’s say you have
just finished your solo in the boosted (2nd MASTER
on) mode and you want to go back to the CLEAN
(CH1) channel. You would normally need to turn
the boost (2nd MASTER) off and then switch to
CHANNEL 1. By setting the toggle to CH2 only,
you can instantly go to CHANNEL 1 and the boost
(2nd MASTER) will be off. NOTE; It will still be
on next time you go to CHANNEL 2 but you can
simply turn it off while in CHANNEL 1 so CHANNEL 2 is back to normal before going there. The
last great thing about the Vengeance pedal is that it
connect s to the amp using a standard 3
pin microphone cable. No more worries about having a special cable for your footpedal.
17
FEATURES AND SPECIFICATIONS
• 120-Watt All Tube Head
• Premium Tubes:
• 4 x EL34 & 6 x 12AX7
• Selectable Full/Half Power
Switch (120/60-Watts)
• Two Independent Channels
each With:
• Volume, Gain and 3-band EQ
• Tight and Bright Voicing Switches
• Mid Cut/Boost Voicing Switch
(Footswitchable)
• High/Low Gain Switch
• Independent Reverb Controls
with “Spillover”
• Master Controls:
• Presence & Density
• Main and Secondary Master Volumes
• Six Button Footswitch for Channel
Select, Channel 1 Mids, Channel 2 Mids,
Effects Loop, Reverb and 2nd Master Volume
• Assign the Effects Loop and 2nd Master to Channel 1, Channel 2 or Both
• Connects to Amp Via a Standard
XLR Cable
• Additional ¼” Jacks for External Control
of Switching Functions
• Simple Bias Adjust with External
Test Points
• Balanced XLR Cabinet Voiced Line /
Recording Output
• Buffered Effects Loop with Send and
Return Levels
• 117VAC//230VAC Voltage Selector
V1 - V6 = 12AX7
PTV1 - PTV4 = EL34
V5
V6
V4
PT
V1
V3
PT
V2
V2
PT
V3
V1
PT
V4
ODS
ODV
Egnater Amplification is dedicated to product excellence and therefore continuously attempts to improve each and every model we
manufacture. This ongoing process includes refinements in design, materials and workmanship which may result in products which
differ than those described in our literature. All features, specifications, prices and terms are subject to change without notice.
18
PERSONALIZE YOUR SETTINGS
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19
LIMITED WARRANTY
Thank you for choosing Egnater. Egnater manufactures
some of the world’s most innovative all-tube amplifier,
combos and speaker cabinets. Egnater takes great pride in
thoroughly testing each product prior to shipment.
AMPLIFIERS, COMBOS AND SPEAKER
CABINETS: Egnater offers a three (3) year warranty
to the original purchaser that an Egnater product will be
free from defects in material and workmanship. A dated
sales receipt will establish coverage under this warranty.
This warranty does not cover service or parts to repair
damage caused by accident, neglect, abuse, normal &
wear, disaster, misuse, abuse, over-powering, negligence,
inadequate packing or shipping procedures and service,
repair or modifications to the product which have not
been authorized or approved by Egnater. If this product
is defective in materials or workmanship as warranted
above, your sole remedy shall be repair or replacement as
provided below.
TUBES: Egnater warrants the original purchaser that the
tubes used in an Egnater amplifier/combo will be free
from defects in material and workmanship for a period of
90 days from the original date of purchase. A dated sales
receipt will establish coverage under this warranty. This
warranty will automatically terminate 90 days after the
original retail sales date. This warranty is in lieu of all
other expressed warranties. If tubes fail within the 90 day
warrant period your sole remedy shall be replacement of
tubes as provided below.
RETURN PROCEDURES: In the unlikely event that a
defect should occur, follow the procedure outlined below.
Defective products must be shipped, together with proof
of purchase, freight pre-paid and insured to the Authorized Egnater Service Center or directly to Egnater. If a
product must be returned to Egnater for warranty replacement/repair, a Return Authorization Number must be
obtained from our Customer Service Department prior to
shipping the product.
Please contact our Customer Service Department for the
Authorized Egnater Service Center nearest you. Products
must be shipped in their original packaging or its equivalent; in any case, the risk of loss or damage in transit is
to be borne by the purchaser. The Return Authorization
Number must appear in large print directly below the
shipping address. Always include a brief description of
the defect, along with your correct return address and
telephone number.
When calling to inquire about a returned product, always
refer to the Return Authorization Number. If Egnater determines that the unit was defective in materials or workmanship at any time during the warranty period, Egnater
has the option of repairing or replacing the product at no
additional charge, except as set forth below. All replaced
parts become a property of Egnater. Products replaced or
repaired under this warranty will be returned via ground
shipping within the United States-freight prepaid. Egnater
is not responsible for costs associated with expedited
shipping, either to Egnater or the return of the product to
the customer.
INCIDENTAL OR CONSEQUENTIAL DAMAGE:
In no event will Egnater be liable for any incidental or
consequential damages arising out of the use or inability
to use of any Egnater product, even if an Egnater dealer
has been advised of the possibility of such damages, or
any other claim by any other party. Some states do not allow the exclusion or limitation of consequential damages,
so the above limitation and exclusion may not apply to
you. This warranty gives you specific legal rights and you
may also have other rights which may vary from state to
state.
FOR YOUR PROTECTION: Please complete and mail
the Purchase Information Card within (10) ten days of the
date of purchase so that we may contact you directly in
the event a safety notification issued in accordance with
the 1972 Consumer Product Safety Act.
CUSTOMER SUPPORT: Our dedicated staff is ready
to help you with any warranty or product questions you
may have. Please call 1-877-EGNATER (9:00AM to
4:00PM Pacific Standard Time).
Egnater Custom Amplification
Boutique Amps Distribution
3383 Gage Ave, Huntington Park, CA 90255
Phone: 877-EGNATER - Fax: 323-277-4110
www.EgnaterAmps.com
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