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esponding to buttons one through four on the EGNATER pedal or program patch numb ers one through four on a midi controller. This can be easily changed. To do so, simply select the desired program or patch number on your pedal. Next, select t he module/channel using the CHANNEL button. Now press and hold the CHANNEL butto n for three seconds. The channel on LEDs will flash indicating the new setting i s & PHANTOM 7 1 now pin 6 and stored. FOOTSWITCH 9VAC@1amp POWER: 3 & 7. This IN Please power can jack. be is refer repeated The supplied power to your for to ismidi the up to active pedal 128 on through midi patches. pins manual to the verify your pedal is compatible MASTER DENSITY These with knobs AND thePRESENCE: provide suppliedBASS power. and TREBLE boost in the power amp section of th e MOD 50. Similar in effect to the loudness contour on your home stereo, at low v olume, fullness and clarity is enhanced. These powerful controls should be used sparingly at high volumes. At higher volume, if overused, the sound can get mudd y or brittle. Tighter, punchier bass will be achieved with the lowest possible s ettings This STANDBY/HI-LO of the three POWER density position SWITCH control. switch on the MOD50 performs two functions. It acts as a conventional standby switch. In the center position, the power tubes are wa rmed up and ready to play. The other two positions set the maximum output power. In the left (low power) position, the output power is approximately 10 watts. T his is great for a softer feel at lower volumes. In the right (high power) positio n, the full power of over 50 watts is produced for maximum punch and headroom. W hen playing at moderate volumes, you may not notice much difference between the low and high power settings. This is because, even though you may be switched to the low power, 10 watts is still quite loud, especially through an efficient sp eaker cabinet. To really hear the difference, you must play loud enough to actua lly use up the 10 watts. Play the amp fairly loud and clean on the high power sett ing. Then switch down to low and you will immediately hear (and feel) the differ ence. You may notice that the low power setting may even appear to be louder tha n the high power. This is because when the tubes are biased towards Class A, as in the low power mode, the power amp will have more gain. Don t confuse this with power. PAGE Effects MOD50 2 This The Loop Egnater is Operation normal. effects Itinterface is still is only the 10most watts. versatile loop system you will fi nd anywhere. There are two totally independent, tube buffered loops, each optimi zed forLoop: Series Basically specific an insert applications. patch point. When an external effect is patched into the ser ies send and return jacks, the path is interrupted and 100% of the signal is rou ted through the effect. This puts some special demands on the effects unit. It m ust be essentially transparent, meaning it shouldn t mess with your tone. The input and output levels must be properly set for maximum headroom and lowest noise and it needs to operate at line level. Proper setting of the levels can be achieved Set using your the amp/preamp followingvolume method. levels for normal playing levels. Connect a high qual ity shielded Adjust the effects cable unit from input the series levelsend to jack just to peak thewhile effect playing input.your most aggressiv e licks. Now connect another high quality shielded cable from the effect output to the re turn jack. Adjust the effects unit output level to the match the volume you heard before co nnecting the return cable. You can check this by pulling the cable in and out of the return jack while playing and verifying there is no substantial volume diff erence. This is called unity gain . A cool techie phrase for you get out what you put Parallel This in . is aLoop: more specialized loop. It has the advantage of maintaining your dry si gnal (it doesn t mess with your tone), while allowing you to mix in the amount of effect you want. The MOD100 parallel loop is a bit different than most. Typicall y, parallel loops found on guitar amplifiers have a wet/dry mix control that tur ns down the dry signal (messing with your tone) while simultaneously turning up the effects level. The MOD100 parallel loop is unique in that it never messes wi th your dry tone. It simply mixes in the amount of effects using the effect knob on the front panel, much like the effects buss on a mixing console. The direct signal remains unaltered and the effects are simply mixed back in. There are a f ew basic rules that must be adhered to. This also puts some limitations on the u ses for Your effects the parallel unit must loop. be set for 100% wet. This means to set the mix levels on the effect so that there is no dry signal passing through the unit. Think of the mixing console again. You would not want to have any dry signal going through t he effects buss because you would then be mixing in not only the effect but also the unwanted dry signal that comes out of the effects unit. This can even be de trimental to your tone because the dry output signal of many effects units is ou t of phase with the input. Consequently, as you turn up the effects return knob, you may actually be mixing the icky out of phase signal back in with your awesome dry signal and you guessed it .messing with your tone. Often loops on guitar amps a

re said to suck tone . This tone sucking is more likely caused by improperly setting Now the let PAGE Effect effects 3 ssloops address mixcontinued: than thethe specific loop design. uses, advantages, disadvantages and limitations of eachseries The loop. loop, by nature of the fact that it breaks the direct path and proces ses 100% of the signal, makes it so that essentially any line level gadget will work. You can use echo, reverb, noise reduction, tremolo, equalizers etc in this Basically Disadvantage Advantages Works No loop. special fine Remember Plug are: with requirements, isand to that just follow Play. your about other the entire anyprocedure effect. than signal the for passes unity setting through gain for settings, the unity effects are gainunit needed. . and may mes s with The parallel your tone. loop, on the other hand, has more limited uses but has the distinct advantage of not messing with your tone. This loop is ideally suited for what a re called time based effects . This includes echo, reverb, chorus, flanging. These types of effects work in parallel with your direct signal (think about the mixer again). Now the bad news remember the dry signal is always present. You cannot us e effects that require processing 100% such as equalizers, noise reduction/gates Easy Disadvantage , tremolo Advantages Doesn to t mess adjust or are: with is compressor/limiters. the the your effects limited tone. level uses and withmay therequire front panel reprogramming knob. your effects unit Special . A concern Notes: is the fact that many multi-effects units have a combination of all of the different effects. This means, using the parallel loop, you must be aware o f which effects can and can t be used. For ease of operation, we recommend using t he series loop if you intend to use a mix of different time based and non-time bas ed Both effects loopsin are one designed unit. for line level operation. Though some floor type and ta bletop effects may work, the loops are designed basically for rack mount type ef fects units. Not guitar level floor pedals. You will know an effect is not made for line level if, when you plug it into the loop, you notice distortion and a l oss of volume. If you do experience a distortion problem with effects, this can often be remedied by reducing the master controls on the modules and increasing the main PAGE Power What 4Tube is bias? master Bias: Simply setting. put, it is a circuit inside the power amplifier section tha t 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 run ning (idling) fast (hot) enough to keep it from stalling (distorting) but not to Most o fast Why don do(hot) t have allsome to amplifiers cause provision excessive have for bias that wear orbut and idle typically overheating. current adjustments? involve Get it? removing the amp chas sis from the box, exposing you to very dangerous high voltage. Special test equi pment and knowledge of amp circuits and tubes is also needed. Not a skill most m usicians Why power All wouldpossess I wantare tubes and to different. adjust shouldn the t They bias? need each to. have unique sonic and electrical charac teristics. The MOD50 amplifier is designed to accept a variety of different tube types. EL34, 6L6, 5881, 6CA7 and 6550 are among the possible choices. Because t hey are all different, each requires different bias settings for safety, reliabi You litywill Please and read need optimum the a decent following performance. quality instructions digital voltmeter on how to capable use thisof cool measuring featurein.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 t o $25, You will about alsothe need cost a small, of oneflat biasblade adjustment screwdriver from your to turn local the amp adjustment tech. contro l that Turn the isamp recessed on, standby insideswitch the grommet in theon HIGH thePOWER rear position. panel. All controls all the way down. Turn the meter on and set for reading DC millivolts. Consult the mete r 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 t he meter Insert Each First tube step the display. has black is itsinsert to (negative) own fuse, the red test(positive) tube lead into failure indicator the panel meter lead and hole into test labeled the point. TUBE COMMON. 1 test point With hole. your flat blade screwdriver, turn the BIAS ADJUST control to obtain a corre ct reading from the chart below. Write down the reading. NOTE: The bias adjustme nt control Now move the isred active meter ONLY lead into the the HIGH other POWER testpoint. mode. The reading should be withi n +/- 3mVDC of the reading from the previous tube. This would be considered a ma tched pair. If you find a difference in readings of more than 4mVDC between the two, this would be an indication that the tubes may not be closely matched. Thi s is not a confirmation of defective tubes and is not a cause for alarm. Rather it is simply that the tubes may not be perfectly matched and, consequently, you may not (JJ RECOMMENDED 6L6/5881 EL34/6CA7 E34L/E34Ls 6550 6V6 Displays achieve differ ONLY BIASfrom maximum !!!!!!!!!!!) SETTINGS oneperformance. meter to the next. 18mV 35mV 28mVSome 32mV to 22mV 42mV 35mV 40mV 45mV may indicate, for example, 30.0 for 30 millivolts. Others may show .030 for 30 millivolts. Knowing how your met er works You should ifalways of thecheck utmost the importance. bias readings whenever you replace output tubes and readjust if needed. Since we ve made it so simple, there is no reason to not do it Fast . Additional PAGE Blo 5 fuses. features One per of the output POWER tube. TUBE InBIAS the event SECTION of a power tube failure, the c orresponding fuse will open protecting the amp from additional damage and effect ively removing the failed tube from the circuit. A red LED next to the fuse will indicate that the fuse is blown. The amp will continue to function, only with m uch reduced performance. If this happened in the past, you would need to take th

e 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 now tell you if there is a shorted output tube and which one it is! With the power off, simply remove the power tube and replace the indicated fuse with a FAST BLO 400m A or 315mA. NEVER EVER use anything but a FAST BLO 400mA or 315mA fuse. If you d o have the misfortune of blowing an output tube, we strongly suggest replacing the pair. Remember, your amp will only perform as well as your weakest tube. You sh ould always carry spare power tubes, fuses, a flat blade screwdriver and your vo ltmeter 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? Try that with any other amp. Do service the amp as soon as possible, of course. For optimum Advanced Those ofperformance, theory you with (for electronic we recommend those who knowledge care): replacing may notice power we tubes arein referring matched to sets. current dr aw but are making measurements in millivolts. Ohms law states that I=E/R or curr ent (I) equals voltage (E) divided by resistance (R). Inside the amp are one ohm resistors in the cathodes of the output tubes. The external test points allow a ccess to those resistors. When you measure across those resistors at the rear pa nel 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 volta ge. So when you read for example, 30mV you are also seeing the equivalent value of current WARNING: DOor NOT 30mA. be tempted to run your tubes hotter than the maximum values in t he 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 yo u haven t found out the hard way yet, power tubes get extremely hot (as high as 80 0 degrees)!!!! NEVER touch the tubes while the amp is on. Always allow at least 5 minutes Internal Inside the DIP for MOD switch the 50 chassis, tubes settings: to you coolwill before find touching a dip switch them after for setting turningup the the amp midi/ch off. annel switching parameters. The amplifier is shipped set up to receive program c hange data on midi channel one. This setup is compatible with most standard setu ps. Should you have some specialized needs, the following paragraphs should prov ide MOD The the 50 information reads the youDIP need. switch positions only on power up. Whenever a change is m ade to any dip switch, the MOD 50 must be powered off and back on to read the chan DIP SWITCH ge. Using a penSETTINGS: or similar pointy device, move the eight small switches ON or OFF ac cording EMBED CorelDraw.Graphic.7 to your specific needs. See below for the switch functions. Internal S1 through dip S4switch are used settings to setcon thet: midi channel PAGE(1 6 -16) that the MOD50 will recei CHAN. S5 ve is data S1 used S2 on. S3S4 to See 1OFF activate the OFFOFF chart OFF the2 below. ON omni OFFOFF mode. OFF3OFF Omni ONOFFOFF is a 4ON special ONOFFOFF mode 5OFFthat OFFONallows OFF6ONOFF the ONMOD50 OFF7OFF tONONO o receive data on all 16 midi channels simultaneously. Turning the omni mode on overrides S1 through S4. Set actuator 5 down to turn the omni mode on or up for of f. S6 is the Program change enable function. This is the most common mode of operatio n that allows the M4 to receive program change (patch) commands from your midi c ontroller. S7 is the Controller Set this switch data enable down forfunction. on or up Activating for off. this mode allows the MOD50 t o respond to instant access data from midi controllers. Below are the note / cont ~ j i _ ] \ O > 1 0 * % # " Note #56 roller #58 #57has #59 #60 #61 #62 #63 #64 S8 PAGE END 7 no numbers uoaSaB4 ... function that Module MUTE h'] 1B 1A 2A 2B 3A 3B 4A 4B at B*CJ will ALL this OJturn QJ time. phff on!the h,h_mY modules. B*CJOJQJphff h YB*CJOJQJphff h_mYB*CJOJQJphff h YCJ(hB@h YB*CJ(ph%hB@h YB*CJ(OJQJ^JphhB@h YB*phh{ h YB*CJ,aJ,phh{ hmB* hs CJ( OJ h QJ Yph B*U phhsh YB*phjhsh YB*U V phh YB* CJ h CJ( OJ j _ ^ ] O > 1 * ) ( ' & Y QJ OJ CJ ph QJ ph h h h Y B* Y h B* Y CJ OJ QJ ^J $aJ a$# gd h rY YB*CJ gd Y OJ $QJ a$^J gd_mY aJphff $a$dO )h, hn B*CJOJQJ |k]OA3/ ^JaJphff h ) Y h, h h YY B*B*CJ CJOJOJ QJQJ ph3 ^ )k J

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