Engl INVADER II Operator's Manual page 26

elicits moderate preamp clipping to conjure dynamic,
Channel 1 in High Gain mode
slightly distorted sounds.
is a bit hotter than Channel 1. It starts clipping at lower
Channel 2 in Low Gain mode
levels and reaches the overdrive zone that much faster. It's also voiced differently so
you can get a slightly different flavor of clean tone than that of Channel 1.
is perfect for dialing in typical vintage tone. At Gain
Channel 2 in High Gain mode
knob settings beyond 1 o'clock, you'll get that classic midrange-laden overdrive.
Cranking the knob further takes you deeper and deeper into heavy distortion
territory, especially in combination with higher power amp volume levels.
gives you far more gain than Channels 1 and 2, and still a
Channel 3 in Low Gain mode
good bit more than Channel 2 in High Gain mode. Preamp saturation kicks in at Gain
knob settings as low as around 8 o'clock.
notches the gain up another level from Channel 3 in Low
Channel 3 in High Gain mode
Gain mode. It's perfect for blistering leads with oodles of sustain.
serves up a much bigger helping of gain than Channels 1
Channel 4 in Low Gain mode
and 2, and still a good bit more than Channel 2 in High Gain mode. Its response is closer
to that of Channel 3 in Low Gain mode. It starts clipping at Gain knob settings as low as
around 8 o'clock.
amps up the gain again so it's another step up from
Channel 4 in High Gain mode
Channel 4 in Low Gain mode. This works wonderfully for lead lines that sustain for
days.
The optional type Z-16 Sound Wizard module lets you configure yet another gain
.
stage in each channel if you happen to need a little more sonic firepower
Beyond that, I voiced Channels 3 and 4 differently. Channel 4's midrange is scooped,
and its hair-trigger response to your string attack is fast and true. Channel 3, in
contrast, packs a mightier midrange punch, but is slightly less responsive to your touch.
Channel 3 demands more precise playing technique, while Channel 4 is easier to
handle.
All these options harbor vast and musically meaningful sonic potential. I'm confident
that the Sound and High Gain controls will let you conjure all the sounds you have in
mind and that you'll discover a world of tones while you're tweaking.
Because it is chock-full of tone-tweaking tools, this truly remarkable amp is sure to
surprise you time and again as you discover new tonal territory. However, don't be
intimidated by its sophistication. At ENGL, ease of use is paramount. We design all our
amps so that players can dial in great sounds from the start - without hours spent
researching the manual and struggling with settings. Despite being so easy to use, the
ENGL INVADER II amp puts a mind-boggling array of sound-shaping resources into the
hands of the innovative, creative guitarist. And I am convinced that guitarists with
more traditional leanings are equally well-served with this amp's smorgasbord of tasty
tube tone!
A few comments on the Noise Gate:
The advantage of a Noise Gate that is installed in and matched to the amp is that it lets
you fine-tune its threshold with extreme precision, thereby separating the useful,
musical signal from useless background noise. Indeed, this Noise Gate was designed to
address the signal the most beneficial spot in the signal chain - the preamp - to make it
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