TEST: Epiphone JC LP Custom

 How times change. While the earlier signature instruments of established artists were usually the most expensive instruments in the respective manufacturer's portfolio and were often manufactured by the most talented Luthiers in the company group, the way of thinking and manufacturing has changed in this regard in recent years. almost diametrically opposite. The classics in the portfolio are now often manufactured in the manufacturer's home country, while the signature models are often manufactured in the Far East at cheaper conditions. Similar to the ESP / LTD constellation, for example, the big name Gibson has the subsidiary Epiphone, which was once one of the big names in the jazz sector, but has now been established as the mainstay in the budget class for Gibson. As a test instrument we have the signature model of the “Alice In Chains” guitarist Jerry Cantrell, which is made in China and is called the Epiphone Jerry Cantrell Prophecy LP Cus.

The concept of the Epiphone Jerry Cantrell Prophecy LP Cus

As a subsidiary of Gibson, the trademark Epiphone is, as expected, allowed to use all optically protected elements of the parent company, so that the Les Paul version hardly differs visually from the original in terms of its curves, apart from the independent headstock. Only a few small details were changed in favor of the slightly modified Signature version, but these only show a marginal difference.

The instrument, which is kept in “Bone White” throughout, including the binding, is visually very striking and, like any other white instrument, has the advantage that any colored irradiation from stage spotlights is absorbed 1:1. Ultimately, you have to decide for yourself how much you like the color scheme, but the instrument at least benefits from the truism “If You Wear Black, You Have To Play White”. Personally, I find the discrepancy between the “old white” binding and the very light “bone white” a bit too strong, as the binding always looks a bit “dirty”, but as I said, it's all a matter of taste.

As expected, the basic construction of the Epiphone Jerry Cantrell Prophecy LP Cus was largely taken over from the original Les Paul, so the dimensions of the body, scale length, etc. are identical. What is immediately noticeable, however, is the comparatively low weight of the guitar, which at around 3.4 kg is significantly less than the weight of a classic LP. In the info sheet for the guitar, the negative word “Chambered” is avoided; instead, the term “Ultra Modern” is used for “Weight Relief”, which in my opinion probably suggests that the body is hollowed out. As long as the vibration behavior does not suffer as in the Chambered versions of the first generations, there is nothing wrong with reducing the weight, otherwise here too, it is up to you as you please.

To list the respective Les Paul configurations in detail here again would mean carrying owls to Athens, as every musician has probably held a Paula in their hands at least once, or should hold it at least once, in order to understand the significance of what happened almost 70 years ago the most famous signature model of all time (yes, the Les Paul is a signature model!). The choice of wood, scale length, construction and feel correspond to a large extent to a white Les Paul Custom from the eighties, which, however, came without any weight reduction at the time and often nibbled at the 5 kg mark and more.

The differences to the original Les Paul

But apart from the weight, what exactly are the differences to the original Les Paul so that the AIC guitarist's special requests were fulfilled. Let's start with a detail in the form of Grover Locking Rotomatic tuners, which, in conjunction with the Graph Tech saddle, enable smooth and clean tuning. The “Circle in Diamond Custom Inlays” and the, let’s say very “feminine” in a kind of Signed Roundhand designation of the guitar on the truss rod cover are just as individual.

The biggest difference, however, is probably in the area of the pickups, where the Epiphone Jerry Cantrell Prophecy LP Cus consistently placed emphasis on active alignment. Once again the Fishman Fluence pickups were used, which are now used very frequently, especially in the hard'n'heavy sector, and sometimes have a strong impact on the chair leg of the previous top dog EMG. Which pickups you ultimately like better is once again a matter of taste, but many users often mention the possibility of two different voicings within the pickup network as a pleasant feature.

In order to be able to use the comprehensive tone control of the pickups without losing the classic tone control of the Les Paul in the form of 2x Tone and 2x Volume, they chose “2 Volume with Push/Pull Coil Splitting, 2 Tone with Push/Pull Pickup “Voice Switching” was chosen, in which, in addition to the voicing selection of the individual pickups, the pickups can also be switched to sigle coil operation via an individual coil tap. Unfortunately, three of the four potentiometers show a comparatively indirect control, i.e. a small moment always passes before the potentiometer axis engages in the housing after it has been rotated. Not really a big problem, but it takes some getting used to for guitarists who like to use the volume control to control the interaction with their amplifier.

In order to be able to operate the preamplifiers of the active pickups, the Epiphone Jerry Cantrell Prophecy LP Cus also requires a 9V block, which must be placed in a way that is as easy to maintain as possible. To avoid the “battery wrapped in foam stuffed into the electrical compartment” solution of earlier days, Epiphone uses a snap lock inside the electrical compartment cover, which unfortunately doesn't convince me in several ways. On the one hand, the construction appears comparatively “plastic-like”, and on the other hand, the solution “a drawstring with a battery that can be clamped tightly plus a freely dangling 9V battery clip” is a solution that, in my opinion, is not worthy of a signature model, unless this solution This happened at the express request of the guitarist, which of course I cannot judge.

What also seems a little strange in my opinion is the fact that the instrument was delivered without a 9V battery. Maybe it was just forgotten, maybe those responsible are worried about a leaking battery, but at least the inclusion of a 9V block should be part of the instrument's standard equipment. At least there is plenty of space for it, as the Epiphone Jerry Cantrell Prophecy LP Cus is delivered in a high-quality, black hardshell case.

The Epiphone Jerry Cantrell Prophecy LP Cus in practice

Even when played in an unamplified state, you can see that the weight reduction does not have a negative influence on the vibration behavior of the instrument. The guitar has a subtly hollow sound character, but that shouldn't be viewed in a judgmental way. However, the instrument is not optimally set up at the factory, which is noticeable in the buzzing E1 strings above the 10th fret. Nothing that you can't fix yourself with a few simple steps, but if you're going to put a sticker saying "Handcrafted In China" on the back of your neck, I think you have to deliver accordingly when it comes to craftsmanship.

The strong neck feels pleasant in the hand and offers very good playing comfort, especially when things need to get a little more hearty. The instrument's attack and decay behavior is good and the response is quick. Due to its low weight, the guitar is easy to handle and will be a lot of fun for all users who are looking for the most comfortable stage feel possible.

In terms of sound, the Epiphone Jerry Cantrell Prophecy LP Cus offers an excessive range of sounds for an LP modification due to the pickup construction, which goes well beyond the 3-way options of a typical LP standard or custom. Although as the level of distortion increases, only nuances in the sound spectrum are perceptible, but in the clean and crunch area, a comparatively large number of tonal variations can be created with the two voicings and the single coil circuit, although, as with all coil taps in the humbucker area, the single coil circuit is not the same Can offer character like a pure single coil pickup, which is the case with every humbucker of this type.

If you are looking for the typical low-mid range of a classic Les Paul, possibly thickened with EMG pickups, you should check the Epiphone Jerry Cantrell Prophecy LP Cus in advance to see whether it meets your sound expectations. The guitar undoubtedly sounds very good, but the sound is in slightly different regions than you are used to from a Paula. This can offer advantages or disadvantages depending on what you are looking for.

Conclusion

With the Epiphone Jerry Cantrell Prophecy LP Cus, the Gibson subsidiary has a model in its ranks that has a slightly different sound than what the appearance suggests. Due to the pickup and wooden construction, the guitar offers a high-quality basic sound, which is very well established in the sound and ensures a high degree of independence, but is clearly different from a classic Les Paul.

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Additional Informations:

Epiphone Guitars stands as a cornerstone in the world of musical instruments, revered for its rich history, innovative designs, and enduring legacy. From its humble beginnings in the late 19th century to its current status as a global guitar powerhouse, Epiphone has played an integral role in shaping the landscape of modern music. Let's delve into the captivating journey of Epiphone, tracing its origins, pivotal milestones, and the iconic instruments that have cemented its place in the annals of guitar history.

**The Early Years:**

The story of Epiphone traces back to the bustling streets of Smyrna, Ottoman Empire (now Izmir, Turkey), where Greek founder Anastasios Stathopoulos began crafting instruments in the late 19th century. Initially specializing in the construction of traditional Greek lutes and violins, Stathopoulos honed his skills and soon expanded his repertoire to include mandolins, banjos, and eventually guitars.

In 1903, Stathopoulos immigrated to the United States and settled in New York City, where he continued his craft under the brand name "The House of Stathopoulo." The company quickly gained recognition for its superior craftsmanship and innovative designs, attracting a growing clientele of musicians seeking high-quality instruments.

**The Rise of Epiphone:**

In 1928, Anastasios' son, Epaminondas "Epi" Stathopoulos, took the reins of the family business and embarked on a mission to propel the company to new heights. Under Epi's visionary leadership, the company underwent a rebranding, adopting the name "Epiphone" as a tribute to its founder and embracing a newfound focus on electric guitars.

During the 1930s, Epiphone made significant strides in guitar innovation, introducing groundbreaking models such as the Electar Series, which featured some of the earliest commercially successful electric guitars and amplifiers. These instruments showcased Epiphone's commitment to pushing the boundaries of guitar design and performance, earning the admiration of musicians worldwide.

**The Golden Age:**

The post-war era heralded a golden age for Epiphone, marked by a period of unprecedented growth and creativity. In 1957, Epiphone caught the attention of industry giant Gibson Guitar Corporation, which recognized the company's potential and acquired it as a subsidiary. This partnership proved fruitful, as Epiphone gained access to Gibson's resources and expertise while maintaining its distinct identity and product line.

Throughout the 1960s, Epiphone produced a diverse range of instruments, including iconic electric guitars like the Casino, Sheraton, and Riviera, which became synonymous with the sound of influential artists such as The Beatles, The Rolling Stones, and Oasis. These guitars garnered widespread acclaim for their distinctive tones, sleek designs, and impeccable craftsmanship, solidifying Epiphone's reputation as a premier guitar manufacturer.

**Revitalization and Modern Era:**

In the late 20th century, Epiphone experienced a revitalization under the stewardship of Gibson, as the company renewed its focus on quality and innovation. Epiphone's product lineup expanded to include a wide range of electric and acoustic guitars, basses, and accessories, catering to the diverse needs of musicians across genres and skill levels.

In recent years, Epiphone has continued to evolve and innovate, introducing new models that combine classic aesthetics with modern features and technology. From the reissue of vintage classics to the development of cutting-edge designs, Epiphone remains at the forefront of guitar craftsmanship, ensuring that musicians of all backgrounds have access to instruments that inspire creativity and elevate performance.

**Legacy and Impact:**

Epiphone's enduring legacy extends far beyond its catalog of instruments; it embodies the spirit of innovation, craftsmanship, and musical excellence. Countless artists have relied on Epiphone guitars to shape their sound and leave an indelible mark on music history, testament to the company's enduring influence and relevance.

As Epiphone continues to chart new territory and inspire future generations of musicians, its legacy remains firmly entrenched in the fabric of guitar culture. From its humble beginnings in a small workshop to its current status as a global brand, Epiphone Guitars stands as a testament to the power of passion, perseverance, and the enduring magic of music.

TEST: Engl Savage MKII

 It is now the strongest German name in the amplifier sector when it comes to top-class high gain, perhaps even worldwide. We're talking about the all-tube amplifier manufacturer ENGL, which has built up a name for itself with a consistent model policy and a constantly open ear for customers, which stands for German global work and excellent sound on all Hard'n'Heavy stages worldwide. The manufacturer's top parts in particular are very popular with customers in the signature variations of Steve Morse or Ritchie Blackmore as well as in the series models Powerball, Invader and Savage. The latter has now also received an update and is available for testing under the name Engl Savage 120 MkII. So then, pushed the 4x12 forward and off we went!

The structure of the Engl Savage 120 MkII

Even though the Engl company offers classic 2-channel models, the company has become known for its 4-channel cars, which also include the Savage model. Once again, this model belongs to the all-tube league that Engl always pursues, even though the rectification is done using transistors. Right from the start, I notice the unusual power rating of 120 watts with only 2 output tubes. It is well known that the built-in 6550 power tubes deliver more steam than the still popular EL34, but up to now I only knew about 30 watts per piston. The fact that Engl tickles 60 watts per tube out of the glass bulbs is rather unusual.

With the dimensions (W x H x D): 71 cm x 27 cm x 29 cm and a heavy weight of 22 kg, it takes a little effort to balance the head on a full stack, but due to the massive appearance and the Excellent workmanship also comes with a corresponding value. In general, the head, which is manufactured in Germany, leaves an excellent impression in terms of feel. All components are of the highest quality and no compromises have been made here.

The difference from its predecessor

In contrast to many other competitors who put the MkII stamp on their products and like to leave it primarily to optical extensions, the Engl Savage 120 MkII is a completely new amp. In addition to a new output transformer and mains transformer With the exception of the standby and power functions, all switching functions are now controlled via MIDI, which makes the amplifier extremely flexible in terms of sound variety. The new version also has a noise gate, which many high gain users have been waiting for during breaks in the game. The Power Tube Monitor System and the Serial Amp Control socket are now also in the MkII version.

Operating the Engl Savage 120 MkII

Anyone who stands in front of the panel of a “large” Engl amplifier for the first time may wince for a moment because of the head's diverse switching and control functions. However, if you take a little time, you will quickly understand the logical concept behind the multitude of Detect controls and switches. The 4 channels each share 2 different tone controls, although there is also an unusual midrange control on the Clean and Crunch 1 channels. Here you can choose between 2 different midrange controls, one of which works more narrow-band and the other more broad-band. In addition, each channel has different sound designers in the form of Hi / Low, Bright, Preshape, Contour, Rough / Smooth switches, all of which have a massive impact on the subsequent sound.

On the back, in addition to the 5 output sockets (1 x 16 Ohm, 1 x 8 or 2 x 16 Ohm, 1 x 4 or 2 x 8 Ohm), 2 different FX loops catch the eye. In addition, according to the amp concept, 2x MIDI, a power amp line out and 2 footswitch sockets.

The Engl Savage 120 MkII in practice

As one of the few manufacturers with a focus on distorted sounds, Engl has managed to leave a sonic trademark in almost all of its models. Like many other products in-house, it is the combination of very tight compression, combined with a very tasteful scoop, which also characterizes the basic sound of the Engl Savage 120 MkII. Engl succeeds very well in not developing the scoop into the infamous center hole that other manufacturers with a similar basic direction strive for. Rather, the sound always remains transparent, no matter how hard you turn the controls or press the switches.

Let's start with the Clean Channel, whose basic tendency can be varied very nicely using the different pressure switches. It really depends on which instrument is used on the amp. The choice of pickups in particular allows for a very wide tonal spectrum in collaboration with Hi/Low, Bright and Contour. The sound in this is neutral, balanced and does a decent job.

The huge field of different crunch sounds begins with the first truncated half-waves, which never end in their tonal variation. Please keep in mind that all settings can be saved via MIDI and that you can do this alone, for example. For example, in the Crunch channel you can easily access 6-7 completely different sounds using the foot switch. Very few all-tube amplifiers offer such variety.

Depending on the switch position, Crunch 2 is already heavily featured in the lead area. Here, already carried leads can be performed with enough sustain. This is where the classic Engl voicing comes into play for the first time, the subtly hollowed out sound, which still has enough midrange definition to assert itself in the all-important range between 600 Hz - 1.5 kHz. Here too, many fundamentally different sound examples can be set using the various presets.

A special feature in this case is the rough/smooth switch. Pressing it brought a small question mark on my forehead. I initially expected a change in frequency grading for the tone control, but all of the tone controls on channels 3 and 4 suddenly lost a lot of effectiveness. The explanation for this is that by activating this switch, the bass and treble are reduced significantly, which corresponds to a midrange boost. This circuit is based on a circuit from the Engl Straight, in which the tone control was completely removed from the signal path. The sonic result is a very nasal sound that invites blues lines or retro arrangements. This sonic “outlier” further increases the flexibility of the head immensely.

Then, we now come to the sonic area in which the Bavarians have dethroned pretty much every competitor in recent years or at least share the seat with them, the high gain sector. Even the first sounds on this channel leave no doubt as to what the Engl Savage 120 MkII's flagship discipline is. The sound is heavily scooped and pushes like hell in the bass range without the sound drifting into muddy. Depending on the line-up, it's important to keep an eye on the bass control or deep switch, otherwise the guitarist will be so harsh on the bass player that there will be overlaps in the frequency spectrum. What blows your cap off when playing solo in the rehearsal room or in the studio can, depending on the band constellation, lead to a sound that is too bass-heavy, even in a trio.

However, with this in mind, the Head offers one of the best modern metal sounds the scene has to offer. Highly compressed without pumping, the amp hangs on the right hand like a textbook. If you have good palm muted technology, everything your hard rock/metal heart desires is possible with this channel, from classic rock to ultra djent chatter.

It should be clear to anyone who has dealt with this matter that a very high gain factor is inevitably accompanied by a high background noise. This is where the newly introduced noise gate can show its strengths, although with the appropriate gain settings you also have to use the appropriate noise gate settings, i.e. the gate sometimes has to be turned down hard in order to stop the noise when the volume control is turned down during breaks in the game. It does this job well, but in my opinion it could close a little softer.

Conclusion

The Engl Savage 120 MkII is another excellent all-tube amp from the Bavarian amp manufacturer on the market. Thanks to its four-channel design, which enables an extremely extensive variety of sounds thanks to a large number of pressure switches, the head offers almost all tonal shades that a modern rock and heavy amp can offer. The lead channel alone will move any modern metal fan to tears and justifies the purchase of the amplifier, which even seems comparatively cheap given that it is “Made in Germany” and costs just under 2,300 euros.

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Additional Informations:


Engl Amplification is a German manufacturer of guitar amplifiers and cabinets. The company was founded in 1983 by Hermann Engl, who is still the company's CEO today. Engl amps are known for their high quality, versatility, and powerful sound. They are used by a wide range of guitarists, from beginners to professionals, and are popular in a variety of musical genres, including rock, metal, and blues.

**Engl Amp Product Range**

Engl offers a wide range of amplifiers, from small practice amps to large stage amps. Their product range can be divided into the following categories:

* **Engl Topteile** (Engl: amplifier heads)

Engl offers a variety of amplifier heads, from the compact and affordable Fireball 25 to the powerful and versatile Powerball II. Engl heads are known for their high-gain capabilities, but they also offer a wide range of clean and crunch tones.

* **Engl Combos**

Engl also offers a variety of combo amps, which combine an amplifier head and speaker cabinet in a single unit. Engl combos are a popular choice for guitarists who need a portable and powerful amp.

* **Engl Cabinets**

Engl offers a variety of speaker cabinets to match their amplifiers. Engl cabinets are made from high-quality materials and are designed to deliver the best possible sound.

**Engl Amp Features**

Engl amps are packed with features that make them ideal for a variety of guitarists. Some of the most common features include:

* **Engl High-gain channels**

Engl amps are known for their high-gain channels, which are perfect for playing rock, metal, and other heavy music genres.

* **Engl Clean and crunch channels**

Engl amps also offer a variety of clean and crunch tones, making them suitable for a variety of musical styles.

* **Engl Effects loops**

Engl amps feature effects loops, which allow guitarists to add their favorite effects pedals to their signal chain.

* **Engl Direct outs**

Engl amps also feature direct outs, which allow guitarists to connect their amps directly to a recording console or PA system.

**Engl Amp Artists**

Engl amps are used by a wide range of guitarists, from beginners to professionals. Some of the most famous Engl users include:

* **Alexi Laiho** (Children of Bodom)
* **Dimebag Darrell** (Pantera)
* **James Hetfield** (Metallica)
* **John Petrucci** (Dream Theater)
**Zakk Wylde** (Black Label Society)
Andre Olbrich (Blind Guardian)

**Engl Amp Reviews**

Engl amps have received positive reviews from critics and guitarists alike. They are praised for their high quality, versatility, and powerful sound. Here are a few examples of Engl amp reviews:

* **Guitar World** magazine gave the Engl Powerball II a 4.5 out of 5 rating, calling it "a versatile and powerful amp that is perfect for a variety of musical styles."
* **Premier Guitar** magazine gave the Engl Fireball 25 a 4 out of 5 rating, calling it "a great choice for guitarists who are looking for a small, affordable, and powerful amp."

**Engl Amp Prices**

Engl amps are priced in line with other high-quality amplifiers. The price of an Engl amp will vary depending on the model and features. For example, the Engl Fireball 25 has a street price of around $500, while the Engl Powerball II has a street price of around $2,000.

**Where to Buy Engl Amps**

Engl amps are available for purchase from a variety of authorized dealers around the world. You can also purchase Engl amps directly from the Engl website.

**Conclusion**

Engl Amplification is a leading manufacturer of high-quality guitar amplifiers. Engl amps are known for their versatility, powerful sound, and wide range of features. If you are looking for a high-quality amp that will meet your needs, Engl is a great option.

TEST: Engl Ironball R606 20 SE

 As much as the big all-tube heads of the top league are considered the ultimate in cultivated sound, they have lost a lot of their presence in the live sector in recent years. You can often only find them in the area of committed hobby musicians who are not above dragging the heads from the rehearsal room onto the stage or in the upper league of artists who have a corresponding crew that takes care of the artist's technical needs takes care. The majority of “working musicians” either rely on digital simulations of the analog original, or they work with lunchbox amps, which can hold a candle to their big brothers in terms of quality and sound. Today's test is about such a "little brother"; we have the Engl E606 Ironball Head 20 SE for testing.

The construction of the Engl E606 Ironball Head 20 SE

Introducing the Engl company in the field of full-tube amplifiers would mean carrying owls to Athens. Hardly any other German company has achieved such great worldwide popularity in this segment as the company based in Tittmoning, Germany, along with the claim to be able to compete with all the big names across the pond or the English Channel.

The Engl E606 Ironball Head 20 SE is an extended version of the Ironball Head, which is based on the same basis as the regular Ironball head, but comes with a greatly expanded range of functions, with Engl attaching great importance to both the classic Engl full tube sound to reproduce, as well as to meet modern requirements in the simulation / emulation area. In order to do justice to this “Swiss army knife” philosophy, the entire front and especially the back area is used and is packed with a variety of control and switching options.

The amp sits in a solid, high-quality metal housing, which sits on four soft and high rubber feet, which in turn are high enough to place the amp above any cabinet carrying handle, which may be located on the top of the cabinet. A black grille on the front of the housing reveals 4x ECC 83/12 AX7 preamp tubes and 2x EL 84 power tubes. The power of the head is given as 20 watts, which means the amp is at least half as loud as a 100 watt all-tube top, which is already at home in the “infernal if necessary” volume group.

All controls, both on the front and back of the housing, are slightly set back so that objects impacting on the surface do not cause one or more potentiometers to be immediately torn off. To transport the amp, there is a solid metal carrying handle on the top of the housing, which can be folded up if necessary. The amp is also delivered in a high-quality soft bag, which has an additional pocket for cables etc.

The Engl E606 Ironball Head 20 SE is a two-channel all-tube amp in which the two channels share a common 3-band tone control. In order to make the lead channel even more flexible, the amp has an additional presence control in this channel. Furthermore, a lead volume control offers the volume gradation between the two channels, while a master volume control regulates the overall volume of the amp. All controls are marked with a bold white line, so that you can easily read the respective control position even in poor lighting conditions. Otherwise, at the end on the right side there is a power switch and a standby switch, so far so clear.

The total of eight mini switches appear more interesting, which are located between the master controller and the standby switch and each provide information about their range of functions using a small LED. In addition to a store switch, which is particularly important in the MIDI setup mentioned later, the remaining seven switches offer the following switching options:

M.V.B. (Master Volume Boost): a second master volume, for example to switch between rhythm and solo playing.
Reverb: Reverb activation, by holding the switch for two seconds the reverb tails are activated or deactivated
Delay: Delay activation, by holding the switch for two seconds the delay tails are activated or deactivated
Gain Boost: the name says it all
Clean Lead: the manual switch between the two channels
FX Loop: Activation/deactivation of the serial loop path
Noise Gate: Activate/deactivate the noise gate

The back of the Engl E606 Ironball Head 20 SE

Anyone who is already impressed by the front of the amplifier with its diverse control options in a comparatively small space will rub their eyes in surprise when they look at the back. Every square centimeter is really used here to provide the user with an extensive set of rules. First, the questions that some readers have probably already asked themselves regarding the delay, reverb and noise gate controls will be answered. The areas of delay mix, delay time, feedback, reverb amount and noise gate threshold can be adjusted using a total of 5 rotary controls.

Furthermore, the internally installed Powersoak can also be accessed here, which offers the setting options Full Power, 5 Watt, 1 Watt and Speaker Off. To address it again directly, if the amp is to run in IR mode without a box connected, the same switch MUST BE switched to “Speaker Off”, as without the internal load resistor the amp will be damaged within a very short time. This is a full tube amp, which, in contrast to solid state amps, is short-circuit proof, but dies immediately under load! In this context, careful attention must be paid to the correct impedance selection for the speakers. Engl enables the connection of a single 8 ohm box, a single 16 ohm box (the amp gives you this ohm leeway) or two 16 ohm boxes, which means that a total impedance of 8 ohms must not be undercut. Therefore, check carefully whether you have a full stack with 2 pieces. You have 8 ohm speakers at the start or maybe you have used the 4 ohm input on your stereo 412 cabinet!

In addition to a serial FX loop, the amp also offers a jack-shaped footswitch input for channel changing using traditional cabling. But if you want to use the full range of sound management, you are guaranteed to operate the Engl E606 Ironball Head 20 SE with a MIDI baseboard, which can be connected via MIDI In. Unfortunately, the amp does not offer MIDI Out/Thru, i.e. H. if you have an additional MIDI instrument, e.g. For example, if you want to connect a Multi FX, the amp must be the last link in the MIDI chain. With a third-party MIDI bar, you can switch off the phantom power of the Engl footbar using a switch if necessary.

Finally, the Engl E606 Ironball Head 20 SE offers 8 pieces. IR Cabinets, which are both on the built-in D.I. Box, as well as on the adjustable headphone output, can be charged via a USB port and can be switched whether the signal should be pre or post with regard to the FX section. Finally, at the bottom left is the cold appliance socket along with a fine fuse that is accessible from the outside.

The Engl E606 Ironball Head 20 SE in practice

With dimensions (W x D x H): 335 mm x 217 mm x 142 mm, the Engl E606 Ironball Head 20 SE requires a little more space than many other lunchbox amps, especially in depth, but the carrying handle is perfectly placed so that it can be used Despite the weights of the different transformers, the amp has no list whatsoever. Even if the weight of 8 kg could make a Kemper user sweat (just kidding!), the amp can be transported without any effort and can also be easily lifted onto a full stack.

I can imagine that some readers are worried about a two-channel design, along the lines of “only two sounds”. I can take this worry away from every user as long as you keep two points in mind. On the one hand, with the Gain Boost you have an additional sound option for both channels, and on the other hand, the old Jeff Beck principle can be implemented to perfection with this amp. Jeff Beck opened up the preamp to the max for his gain sounds and controlled all of his crunch sounds with the volume control on his guitar.

Exactly this principle can be implemented excellently with the Engl E606 Ironball Head 20 SE. Both channels are designed to be comparatively “hot” and depend very well on the guitar’s volume control. With a hard attack and appropriate pickups you can coax the clean channel into a subtle crunch, but at the same time you can create completely clean sounds even with the volume turned down. The same applies to the lead channel, which converts the well-known Engl high gain sound into a subtle crunch using the volume control. Both channels have a very high sound quality and offer an excellent basic sound at all volumes. It is also interesting that, despite the EL84 equipment in the power tubes, the amp sounds significantly more “massive” than some other competitors with the same equipment.

In summary, an excellent amp that scores with compact dimensions, an outstanding sound and great flexibility in all relevant areas!

Conclusion

With the Engl E606 Ironball Head 20 SE, the German manufacturer has an excellent lunchbox amp in its portfolio, which is also completely manufactured in Germany and thus secures jobs. A complete absence of any negative points is offset by an armada of positive points such as sound, concept, workmanship and flexibility, so if you are looking for a compact and powerful all-tube amp, you have come to the right place with this amp.

Be sure to check it out!

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Additional Informations:

When it comes to crafting premium amplifiers for musicians, few companies can match the expertise and reputation of Engl Amps. Established in 1983 by Horst Langer, Engl has consistently pushed the boundaries of sound engineering, delivering high-quality amplification solutions sought after by professional musicians worldwide. With a commitment to innovation, craftsmanship, and sonic excellence, Engl has amassed a diverse product range tailored to meet the needs of guitarists across various genres and playing styles.

**Classic Series:**

The Classic Series embodies the timeless essence of tube amplification, delivering warm, vintage tones reminiscent of iconic rock and blues eras. Models like the Classic 50 and Classic 100 showcase Engl's meticulous attention to detail in circuit design and component selection. These amplifiers feature EL34 power tubes for rich harmonic saturation, along with responsive EQ controls that allow players to sculpt their desired tone with precision. Whether it's creamy overdriven textures or crisp clean tones, the Classic Series captures the essence of classic rock tones with modern reliability.

**Powerball Series:**

For guitarists craving high-gain firepower and versatility, the Powerball Series stands as a formidable choice. Engineered for sonic aggression, models like the Powerball II and Powerball 100 offer blistering distortion capabilities without sacrificing clarity and definition. Four independent channels provide a wide spectrum of tones, ranging from sparkling cleans to searing lead tones, making it an ideal companion for metal and hard rock players. Features such as built-in noise gates and adjustable power amp damping ensure tight, articulate response even under the most extreme gain settings, catering to the demands of modern heavy music.

**Fireball Series:**

The Fireball Series embodies simplicity and raw power, catering to the needs of players who prefer straightforward operation without compromising on tone. Models like the Fireball 25 and Fireball 100 deliver muscular tube-driven tones with a focus on punch and aggression. With two-channel layouts optimized for rhythm and lead playing, these amplifiers excel in delivering tight low-end response and cutting through dense mixes with ease. Enhanced features such as onboard reverb and adjustable bright switches offer additional tonal flexibility, making the Fireball Series a go-to choice for players seeking no-nonsense performance.

**Ironball Series:**

Compact yet mighty, the Ironball Series packs a punch in a portable format, making it an ideal companion for gigging musicians and recording artists. Models like the Ironball E606 and Ironball 20 deliver authentic tube tone in a lunchbox-sized package, perfect for studio work or stage performances where space is limited. Despite its small footprint, the Ironball Series doesn't compromise on sound quality, offering a wide range of tones from pristine cleans to high-gain mayhem. Features such as built-in power soak and line output make it a versatile tool for both live and studio applications, appealing to players seeking portability without sacrificing tone.

**Signature Series:**

In collaboration with renowned artists, Engl has developed a range of signature amplifiers tailored to meet the specific sonic requirements of individual players. From the aggressive tones of the Savage SE to the melodic versatility of the Steve Morse Signature, each amplifier in the Signature Series reflects the unique playing style and tonal preferences of its namesake. These amplifiers undergo rigorous testing and refinement to ensure they capture the essence of the artist's sound while offering the reliability and performance expected from Engl products. With features like MIDI compatibility and custom voicings, the Signature Series amplifiers empower players to unleash their creativity on stage and in the studio.

**Conclusion:**

In conclusion, Engl Amps' product range offers a comprehensive selection of amplification solutions designed to cater to the diverse needs of guitarists across different genres and playing styles. From classic tube-driven tones to modern high-gain aggression, Engl amplifiers combine craftsmanship, innovation, and sonic excellence to inspire musicians and elevate their performances. Whether you're a seasoned professional or an aspiring enthusiast, Engl's commitment to quality and reliability ensures that you'll find the perfect amplifier to unleash your musical potential.

TEST: Engl Powerball Distortion

 Anyone who brings a new distortion pedal onto the market these days really needs balls of steel. The music store Thomann alone lists well over 700 distortion pedals from a wide variety of categories in their portfolio, although the majority of the boutique pedals available for direct sales are not listed at all. Good for those who have already managed to make a name for themselves with other products in the guitar sector. This is what happened with the German company Engl from Tittmoning, which has enjoyed a very high status nationally and internationally in the hard and heavy sector for decades and is one of the last representatives in German amplifier production to rely on consistent production in Germany. Sometimes you can feel really sorry that some of Engl's products go unnoticed beyond metal, such as the company's excellent acoustic amp at the time. Nevertheless, you should consider yourself lucky to be associated with a classic sound as a unique selling point these days. However, the latest offspring from in-house production is from the pedal area and goes by the name Engl Powerball Distortion.

The concept of the Engl Powerball Distortion

At Engl a lot revolves around balls. Whether Fireball, Powerball or Ironball, a large part of the company's amplifier portfolio has the ball in its name, including the new distortion pedal. To get back to the unique selling point of a distortion pedal, every guitarist's wet dream is of course to be able to pack the sound of a top that costs around 1600 euros and weighs over 20 kilograms into a small, handy metal box that can be carried in your trouser pocket and in terms of sound it represents a 1 to 1 representation of the great role model. You don't have to be a trained electrical engineer to be able to tell in advance that this is absolutely not possible. You might also be surprised that a riding lawn mower doesn't have the acceleration of a Tesla.

But what if you manage to pack the core and cornerstones of the typical Engl Powerball sound as much as possible into a compact version and, in conjunction with other components such as loudspeaker simulation, separate power amplifiers or other heads / combos, get as close to the sound as possible? possible to come. This is precisely the approach of this pedal, which, for example in conjunction with the Engel Cabloader, should represent a very space-saving and interesting solution. In general, the Engl Powerball Distortion should initially be viewed as a completely regular distortion pedal that has been equipped with a few special features.

The construction of the Engl Powerball Distortion

With dimensions of 11.8 cm x 6.3 cm x 4 cm, the Engl Powerball Distortion fits on any floorboard, no matter how small it is. Even the Nano section should offer enough space for the pedal, even when placed upright. The anthracite/black colored metal housing is extremely robust and should be able to easily withstand even massive kicks. Four strong rubber feet, which cannot offer much grip on a smooth surface, support the pedal without any problems.

Five pleasantly sluggish controls labeled Volume, Gain, Bass, Middle and Treble are located on the top of the housing. A special feature that should be noted is that the sound control is extremely intensive with ±7.5 dB on all three bands as an active sound control. In this way, drastic sound settings can sometimes be achieved. The look of the controller is extremely simple with a white line on a black background. It is also very pleasant that, although the three tone controls are quite cramped next to each other on the panel, the individual controls can be easily turned due to the casing's shape, which tapers towards the top, without coming into the effective range of the other bands.

The status display of the Engl Powerball Distortion is visually displayed via a clearly visible red LED. A true bypass footswitch ensures that the signal passes through the pedal when deactivated without being sent through the electronics. Sometimes it's just small detailed solutions, which always give me great pleasure personally, because you can tell from such little things that the engineers have thought about the design of the product and have dealt with practical experience. The pedal has two input sockets and output sockets on the front for the 9 volt operating voltage. You can use the pedal in the same way that some tuners already offer it, i.e. you feed the operating voltage into the product using a power supply and pass it on to another product using the daisy chain process.

Anyone who works with multi-power supplies knows how annoying it is to have to pull a separate cable for each pedal on your pedalboard. Anyone who is now wondering whether the power supply has enough output voltage to power two or perhaps even several pedals in a daisy chain process can safely sit back. The pedal has an extremely low power consumption of just 18 mA, which in my opinion is right at the top of the list when it comes to crowning the current pedal that has the lowest power consumption. According to Engl, the company intentionally decided not to use a battery for operating voltage for ecological reasons. If you still want to play without a power cable, you can opt for using a battery-operated power supply, which also has advantages in countries with poorer operating voltages.

The Engl Powerball Distortion Pedal in practice

There are a few points that immediately jump out at you when you first use the Engl Powerball Distortion Pedal. On the one hand, the pedal is very, very quiet. Even at maximum gain level, the level of noise or hum that a distortion pedal inevitably produces is almost imperceptible, which speaks for the very good construction of the pedal and for the components used.

On the other hand, the pedal actually has no boost function. While the active tone control massively boosts the frequencies up or cuts them down, the volume control ultimately acts like the volume control on a guitar that is turned to 10, i.e. if you turn the volume control all the way up, you have exactly the same volume as if you had Pedal is not activated. Using the pedal as a booster to make an amp run a little hotter is therefore not possible.

What is also very pleasantly noticeable is the fact that the pedal hangs very well on the guitar's volume control, which means that by turning down the volume control you can use the same trick as Jeff Beck, who also turned his amp to full gain and all distortion levels were controlled using the volume control on his guitar. In this case, this is possible via the pedal, so that you actually turn the gain control all the way up. Mind you, the pedal makes almost no noise at all and you can easily access even comparatively subtle crunch settings using the volume control.

When it comes to the three-band tone control, a tasteful gradation has been made, with the bass and treble controls working comparatively discreetly, while the mid control has a significantly greater impact on the overall sound. Anyone who is worried that the sound control might not be effective enough can sit back and relax. Rather, Engl once again looked into practice and designed the sound control in such a way that it does not ignore the musician or his sound ideas.

How often have we noticed that from a certain point onwards the treble controls only scratch, bite and hurt your ears, while the bass control at full stop produces nothing other than a low-frequency rumble, which is cut off by a high-pass filter with every sound recording anyway must become. With the Engl design, you can calmly turn the controls all the way to the limit without later incurring the displeasure of sound engineers or front-of-house mixers.

I also find it interesting that the pedal already has very powerful gain reserves, but for me personally it is primarily at home in the very powerful lead range and only releases its “real” high gain reserves with a proper scoop setting. This is not to be seen as a judgment, but rather has the advantage that this pedal is still very easy to use even in front of a slightly distorted amp, depending on which amp, which guitar, which speaker, which speaker and so on.
The sound files were created with a clean SoundCity Master One Hundred, which works very well with external pedals. A Marshall 412 with Celestion G75 T speakers was used as a cabinet.

In summary, I have to say, do you get a very good, flexible distortion pedal? Yes! Can you get the lead channel of an Engel Powerball Head for 189 euros? No! This statement may not really come as a surprise, but I still think it's important to remind you that no matter how good this pedal actually is, it obviously can't handle the complexity of a large all-tube amp. Nevertheless, just because the two share the same name, the Powerball pedal is for me a very good distortion pedal with a few features that positively distinguish it from the big competition.

Conclusion

With the Engl Powerball Distortion Pedal, the manufacturer has a pedal in its ranks that has many positive features. The sound is unique, the concept is practical, the background noise is extremely low and the workmanship is outstanding. If you are looking for a very flexible distortion pedal made in Germany, you should definitely give the pedal a try.

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Additional Informations:

Distortion pedals stand as pillars of modern guitar tone, offering a gateway to a world of aggressive, saturated, and harmonically rich sounds. Since their inception, distortion pedals have played a pivotal role in shaping the sonic landscape of various music genres, from rock and metal to punk and beyond. In this in-depth exploration, we'll unravel the intricacies of distortion pedals, examining their history, types, circuitry, applications, and notable examples, while shedding light on their enduring appeal and creative potential.

**A Historical Overview:**

The roots of distortion can be traced back to the early days of electric guitar amplification, where overdriven tube amplifiers produced natural, harmonically rich saturation as they were pushed to their limits. However, as musicians sought to replicate and enhance these gritty tones at lower volumes, the first distortion pedals emerged.

One of the earliest commercially available distortion pedals was the Maestro Fuzz-Tone, introduced in the early 1960s. This pedal, famously used by Keith Richards on the iconic riff of "Satisfaction" by The Rolling Stones, ushered in a new era of guitar tone, inspiring countless musicians to explore the possibilities of controlled sonic aggression.

**Types of Distortion Pedals:**

Distortion pedals come in various forms, each offering its own unique sonic characteristics and tonal palette. Some common types of distortion pedals include:

1. **Fuzz Pedals:** Fuzz pedals produce a thick, saturated distortion characterized by its buzzy, velcro-like texture. Originally derived from malfunctioning transistor circuits, fuzz pedals became synonymous with the raw, primal tones of 1960s rock and psychedelia. Notable examples include the Electro-Harmonix Big Muff Pi and the Fuzz Face by Dallas Arbiter.

2. **Overdrive Pedals:** Overdrive pedals emulate the warm, natural distortion produced by overdriven tube amplifiers. They are prized for their dynamic response and touch-sensitive feel, making them ideal for blues, rock, and classic rock styles. Iconic overdrive pedals include the Ibanez Tube Screamer and the Boss Blues Driver.

3. **Distortion Pedals:** Distortion pedals offer a more aggressive and saturated form of distortion compared to overdrive pedals. They are characterized by their compressed, heavily distorted tones, making them well-suited for hard rock, metal, and punk music. Popular distortion pedals include the Pro Co RAT and the Boss DS-1.

4. **High-Gain Pedals:** High-gain pedals push distortion to its extremes, delivering massive amounts of gain and saturation for modern metal and hard rock styles. These pedals often feature multiple gain stages, built-in EQ controls, and tight low-end response for maximum sonic aggression. Examples include the Metal Zone by Boss and the MXR Fullbore Metal.

**Circuitry and Design:**

Distortion pedals employ various circuit designs to achieve their signature tones, ranging from simple transistor-based circuits to complex multi-stage designs. Some common circuit topologies found in distortion pedals include:

1. **Op-Amp Distortion:** Op-amp (operational amplifier) distortion pedals use integrated circuits to amplify and shape the guitar signal, offering a versatile range of tones with a smooth, compressed character. These pedals are prized for their clarity and consistency across different playing styles.

2. **FET Distortion:** Field-effect transistor (FET) distortion pedals utilize FET transistors to achieve warm, tube-like distortion with a touch-sensitive response. FET pedals often exhibit a natural, organic feel that responds dynamically to changes in picking dynamics and guitar volume.

3. **Diode Clipping Distortion:** Diode clipping distortion pedals employ diode circuits to clip and shape the guitar signal, resulting in aggressive, harmonically rich distortion with a raw, gritty character. These pedals are favored by players seeking classic rock and hard rock tones with plenty of sustain and bite.

4. **Multi-Stage Distortion:** Multi-stage distortion pedals feature multiple gain stages that cascade and interact with each other to produce complex, high-gain tones with exceptional sustain and saturation. These pedals are commonly used in heavy metal and modern rock genres, where maximum distortion and aggression are desired.

**Applications and Creative Uses:**

Distortion pedals offer guitarists a wide range of creative possibilities, allowing them to shape their tone, express themselves, and stand out in the mix. Some common applications and creative uses of distortion pedals include:

1. **Rhythm and Lead Tones:** Distortion pedals are essential tools for crafting both rhythm and lead tones, providing the foundation for powerful, aggressive guitar sounds that cut through the mix. Whether it's chunky power chords or searing solos, distortion pedals add depth, dimension, and intensity to the guitar's sound.

2. **Tonal Shaping:** Distortion pedals can be used to shape the guitar's tone, emphasizing certain frequencies and sculpting its sonic character. With onboard EQ controls and tone shaping options, players can tailor their distortion sound to suit their playing style and musical preferences.

3. **Dynamic Expression:** Distortion pedals respond dynamically to changes in playing technique, allowing guitarists to explore a wide range of expressive techniques, from subtle dynamics to aggressive palm muting and pick attacks. By varying their playing dynamics, musicians can evoke different emotions and moods through their distortion tones.

4. **Stacking and Layering:** Distortion pedals can be stacked and layered with other effects pedals to create unique textures and sonic landscapes. By combining distortion with modulation, delay, and reverb effects, guitarists can create rich, immersive sounds that transcend traditional guitar tones.

**Notable Examples and Innovations:**

Over the years, numerous distortion pedals have left their mark on the world of music, becoming iconic symbols of sonic aggression and creativity. Some notable examples include:

1. **The Pro Co RAT:** Introduced in the late 1970s, the Pro Co RAT quickly gained popularity for its aggressive, raw distortion and rugged build quality. It has been used by artists ranging from Kurt Cobain to James Hetfield, earning a reputation as one of the most versatile and reliable distortion pedals on the market.

2. **The Electro-Harmonix Big Muff Pi:** A staple of rock and psychedelic music since the 1960s, the Big Muff Pi is revered for its thick, saturated fuzz tones and distinctive scooped midrange. It has been used by guitarists like David Gilmour, Billy Corgan, and Jack White to achieve massive, wall-of-sound distortion.

3. **The Boss DS-1:** Introduced in 1978, the Boss DS-1 Distortion became one of the best-selling distortion pedals of all time, thanks to its affordable price, rugged construction, and versatile sound. It has been a mainstay on pedalboards worldwide, favored by players seeking a classic, no-nonsense distortion sound.

4. **The Ibanez Tube Screamer:** Launched in the late 1970s, the Ibanez Tube Screamer has become synonymous with warm, smooth overdrive tones and creamy midrange boost. It has been used by legendary guitarists like Stevie Ray Vaughan, John Mayer, and Gary Moore, earning a reputation as one of the most iconic and influential overdrive pedals ever made.

**Conclusion:**

Distortion pedals occupy a central role in the world of guitar tone, offering a gateway to a world of sonic aggression, expression, and creativity. From classic fuzz and overdrive tones to high-gain distortion.

TEST: Engl Pedals

 Only rarely have I observed the industry waiting impatiently for the release of a series of pedals, in this case the Engl effects pedals. Of course, there are great expectations when one of the world's most successful amplifier manufacturers, especially from Germany, brings a new series of effects pedals onto the market under its own name, but some people will be surprised that the pedals should generate such great interest .

In the first edition, Engl devotes itself exclusively to standards such as distortion, chorus, delay and compressor, which we also have for testing in exactly this constellation - nothing really out of the ordinary at first glance. Nevertheless, there must be something special about the products, otherwise the rush for the pedals made in Russia would not have been so great that people had to wait months to receive a test sample.

So let's take a closer look at the Rooky when it comes to pedals.

construction

Let's jump straight into the door when it comes to real innovations. If you look at the pedals from the bottom, you will notice the RJ45 socket, which is completely unexpected in this segment and which you would otherwise see on your LAN hub or home router. Connect pedals to the router? Don't worry, there is no network interface here, but rather a useful connection port, which we will go into in more detail in a moment.

That's why I would first like to look at the matching Engl PB-6 pedalboard, which really shows off the innovation in the pedal sector. The board, which weighs only 1 kilogram and has dimensions (W x D x H): 392 mm x 113 mm x 33 mm, contains 6-way RJ45 cabling, which ensures both the sound signal and the power supply in the daisy chain process becomes. Patch cables of any kind are not required when using these pedals.

In times when FX pedals are shrinking more and more for reasons of space, but still cannot fall below a minimum width due to the unavoidable use of patch cables, Engl leaves the pedals in the standard dimensions of 59 mm x 110 mm x 34 mm, but can then use them Place the multi-effects pedals right next to each other. This ensures that the controls remain clear while minimizing lateral expansion. An excellent detailed solution!

The pedals themselves are screwed firmly onto the board, and the cabling of the board, which is also made in Russia, disappears behind a solid base plate. What's left is a board with up to six pedals, which makes a very compact and road-ready unit. With the Engl PB-4 the board is also available in a 4-way version.

What the pedals have in common

Now let’s get to the pedals themselves. All pedals are in the same housing, only the number of controls and switches varies. All pedals have a true bypass, which means that if the power supply fails, the signal will still continue. In this context, I would like to briefly point out that if the cable is more than 2x 3 meters, you should consider a separate buffer in the signal path or a buffered FX pedal; with 2x 6 meters, this is essential!

Judging by the precision of the holes, it seems that a lot of manual work is still used in the production in Russia. The alignment of the hole is occasionally “a little out of the spirit level”, but this is not a big deal if you have the right attitude towards the product. One less robot in the value chain!

The basic tonal character of all effects can be given the attribute “Vintage”. All effects sound comparatively warm and soft, although the Overdrive Retro and Distortion Reaper can bite and scratch a lot. The only thing left to do here is to test it in your personal setup to finally assess the sound.

All sound files were recorded with a Fame Forum IV, a 73 Marshall Superlead, a 260 watt Marshall box (65 watt Celestion) and a Fame MS 57 microphone, a setup that supports the vintage charm of the pedals with its angular basic sound. The signal went through a Mackie 32-8-8 console without any tone control.

English Compressor

The effect is basically self-explanatory for all interested newcomers: a compressor reduces the dynamics in guitar playing by lowering the dynamic peaks and raising the basic volume. This makes the sound sound more condensed and compact. A guitar compressor can only be used sensibly if the sound is clean, as the same effect occurs when the distortion increases.

The Engl Compressor has the control options Level (volume), Tone (sound), Attack (response speed) and Sustain (volume ratio control). The device does what it is supposed to do. Especially with clean picking parts, the compressor compresses pleasantly evenly and compensates for the musician's different attack volumes. When setting, pay particular attention to the attack control. If it speaks too late, the first note will sound unpleasantly loud; if it speaks immediately, the sound will sound unpleasantly artificial.

English Chorus

The Engl Chorus comes with only 3 controls (Speed, Depth, Detune) and is characterized by the fact that you can choose between the Chorus or Vibrato functions using a small slider.

In terms of sound, the chorus impresses with a very dense sound, which finds its tonal sweet spot especially on instruments with single coils. The sound is very warm with a high vintage content and the vibrato function can also generate a wonderfully “egging” sound, which exudes a great Sixthies/Seventhies charm.

Engl Delay

The Engl Delay is basically an extended slapback delay that works according to the bucket brigade principle, i.e. with each repetition the treble portion of the sound produced decreases. The effect is based on the first analog delays that came onto the market almost 40 years ago, as the processors of that time often could not work differently.

Similar to the chorus, the delay only has 3 controls (level, repeat, delay time) and a slide switch that lets you choose between the delay time of 20 - 320 ms or 40 - 640 ms. The sound can again be described as very warm and yet neutral.

English Retro

The name is program. The Engl Retro is a very flexible distortion that can really push a full tube amp that has easily reached saturation. Even if the name suggests it, in my opinion it is not an overdrive, the pedal bites too hard in the highs and the compression is rather subtle.

The Volume, Dist, Treble and Bass controls are self-explanatory and can be used according to personal taste and equipment. A special feature is the low cut, which can reduce excessive bass swing and the associated resonance pumping.

In terms of sound, the retro goes in the old AC/DC, pre-Razor's Edge Angus Young corner, in which a non-master JMP was blown with a booster or something similar to tickle more gain from the preamp. The result is a biting, edgy sound with a very high level of assertiveness, which is, however, far removed from the high gain of today.

Engl Reaper

The Grim Reaper from Engl is a classic distortion, the sound of which is based on the heyday of the hard'n'heavy sector, i.e. the eighties. With its three-band tone control you can bend the frequency curve quite a bit, but the basic character remains the same. Nothing is more pointless than discussing the advantages and disadvantages of a sonic decade, but the fact remains that in times of poser, hair and cock rock, the always nasal midrange with comparatively little compression was absolutely necessary, even at high gain.

Anyone who is a child of the eighties, was one or would have liked to be one, is way ahead with this distortion. Order spandex pants at the same time ;-)

Conclusion

With development in Upper Bavaria and production in Russia, the new Engl effects pedals really impress. With a very solid construction, an always retro-sounding sound and a brilliant pedalboard detail solution, the pedals immediately place themselves in the first row of German effect pedals.

Anyone who is looking for a successful bread and spread constellation at their feet should definitely give the products a try!

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Additional Informations:

Effects pedals are the unsung heroes of the modern guitarist's arsenal, offering a vast array of sonic possibilities that can transform a simple guitar signal into a kaleidoscope of tones and textures. From subtle enhancements to wild sonic experiments, effects pedals empower musicians to express themselves in new and creative ways. In this comprehensive exploration, we'll delve into the fascinating world of effects pedals, examining their history, types, applications, and notable examples, while highlighting their role in shaping the landscape of contemporary music.

**A Brief History:**

Effects pedals have been an integral part of popular music since the mid-20th century, with their origins tracing back to the innovations of pioneering guitarists and engineers. The first commercially available effects pedal, the Maestro Fuzz-Tone, was introduced in the early 1960s and famously used by Keith Richards of The Rolling Stones on the iconic riff of "Satisfaction." This marked the beginning of a revolution in guitar tone, as musicians began experimenting with new sounds and effects to push the boundaries of creativity.

Throughout the 1960s and 1970s, effects pedals continued to evolve, with companies like Electro-Harmonix, MXR, and Boss leading the way in innovation. From fuzz and distortion to delay and modulation, a wide range of effects became available to guitarists, each offering its own unique sonic character and expressive potential. The rise of rock, blues, and psychedelic music during this period further fueled the demand for effects pedals, cementing their place in the guitarist's toolkit.

**Types of Effects Pedals:**

Effects pedals can be broadly categorized into several main types, each serving a distinct purpose in shaping the guitar's sound. These include:

1. **Gain-Based Effects:** Fuzz, distortion, and overdrive pedals alter the guitar signal's gain structure, adding grit, sustain, and harmonic richness to the tone. Examples include the Electro-Harmonix Big Muff Pi, the Ibanez Tube Screamer, and the Pro Co RAT.

2. **Time-Based Effects:** Delay, reverb, and echo pedals manipulate the guitar signal's timing, creating spatial depth and ambience. These effects range from subtle repeats to lush, atmospheric textures. Notable examples include the TC Electronic Flashback Delay, the Strymon BigSky Reverb, and the Boss DD-7 Digital Delay.

3. **Modulation Effects:** Chorus, phaser, flanger, and tremolo pedals modulate the guitar signal's frequency and amplitude, adding movement and dimension to the sound. These effects can range from subtle warbles to swirling, psychedelic textures. Popular examples include the MXR Phase 90, the Boss CE-2 Chorus, and the Electro-Harmonix Small Stone Phaser.

4. **Filter and EQ Effects:** Wah-wah pedals, equalizers, and envelope filters shape the frequency response of the guitar signal, emphasizing or attenuating specific frequencies for tonal sculpting and expression. Iconic examples include the Dunlop Cry Baby Wah, the MXR 10-Band EQ, and the Electro-Harmonix Q-Tron Envelope Filter.

5. **Pitch-Based Effects:** Pitch shifters, octavers, and harmonizers alter the pitch of the guitar signal, allowing for creative pitch manipulation and harmonic exploration. Notable examples include the Digitech Whammy, the Electro-Harmonix POG, and the Boss PS-6 Harmonist.

**Applications and Creative Uses:**

Effects pedals offer guitarists a wide range of creative possibilities, allowing them to craft unique sounds and textures that enhance their musical expression. Some common applications and creative uses of effects pedals include:

1. **Tonal Enhancement:** Effects pedals can be used to shape and enhance the guitar's natural tone, adding warmth, depth, and character to the sound. This can include subtle EQ adjustments, dynamic compression, and harmonic saturation.

2. **Ambience and Atmosphere:** Time-based effects like delay and reverb can create immersive sonic landscapes, adding depth and space to the guitar's sound. These effects are often used to create lush, atmospheric textures that enhance the mood and emotion of a musical composition.

3. **Expressive Techniques:** Effects pedals can be used to expand the guitarist's expressive palette, allowing for techniques such as volume swells, tremolo picking, and pitch bends. Modulation effects like chorus and phaser can add movement and dynamics to the sound, while filter and EQ effects can emphasize specific frequencies for added punch and clarity.

4. **Creative Experimentation:** One of the most exciting aspects of effects pedals is their potential for creative experimentation. Guitarists can combine multiple pedals in unique ways, explore unconventional signal chains, and push the boundaries of traditional guitar sounds to create something entirely new and unexpected.

**Conclusion:**

Effects pedals play a crucial role in shaping the sonic landscape of contemporary music, offering guitarists a vast array of creative possibilities to explore. From classic fuzz and distortion tones to lush reverbs and psychedelic modulations, effects pedals empower musicians to express themselves in new and innovative ways. Whether you're a seasoned professional or an aspiring bedroom guitarist, the world of effects pedals invites you to unleash your creativity, experiment with sound, and push the boundaries of what's possible with the electric guitar. So plug in, stomp on that pedal, and let your imagination run wild. The possibilities are endless.

TEST: Engl E600

 It is what it is, all guitarists love the thick phallus in the form of the ultimate full stack, everyone wants it, everyone wants to play it, but no one wants to transport it, let alone set it up before the show or, even worse, take it down after the show. If you are in the fortunate situation of being able to call up a correspondingly high fee in order to pay the corresponding backliners, the problem is put into perspective. However, since perhaps only one per thousand of active musicians are in this position, in times of in-ear monitoring people are more inclined towards the practice-oriented version, the smallest possible but still very good-sounding version that fits in every trunk and can be used by the musician alone can be transported without back damage. One of the most successful German amp manufacturers, the Engl company, offers a very practical variant with the Engl E600 Ironball Combo, which has some very interesting details.

The structure of the Engl E600 Ironball Combo

When the Engl company quotes a retail price of 1,099 euros for a 20 watt combo, you can count on five fingers that this is not a Schrammel-class practice amp. In fact, Engl has also recognized that a practical concept can reach significantly more groups of buyers than just planning for battleships in the style of Invader or Powerball. Nevertheless, Engl will probably never make the mistake of offering products in the low budget range with a corresponding loss of quality for cost reasons.

This combo, which is also available as a top part https://www.thomann.de/de/engl_ironball_head_20_bundle_306938.htm, is manufactured in Germany and thus maintains the level of production that has distinguished Engl for years. The combo offers a two-channel all-tube amplifier that essentially offers half a third channel via a boost switch. Channel switch, boost and the internally installed digital reverb can also be accessed via footswitches.

Even though the Engl E600 Ironball Combo was designed for mobile use, due to the solid construction plus all-tube components, you can't avoid the impressive weight of almost 19 kilograms, which is due to the powerful housing compared to the Head with almost 8 kilograms. But there is also solid plywood plus the legendary speaker protection metal grille, which in terms of stability could easily have come from an American prison series. With the dimensions (W x H x D): 49 cm x 44 cm x 25 cm, however, for a 12" it is just in the league of a 1x12" cabinet, which means it is very handy. The construct rests on 4 pleasantly soft rubber feet, which actually offer a high level of stability against lateral forces on smooth surfaces and not just hope that the weight of the combo provides enough support for the amplifier.

The top of the Engl E600 Ironball Combo

When it comes to channel management, the Engl E600 Ironball Combo is classic, meaning the two channels share a three-band tone control plus the presence control in the power amplifier. The clean and lead channels each have a gain control, with the lead channel having its own volume control. As expected, both channels are managed at their final volume via a master volume. Power switch, standby, done! Just classic.

The back of the Engl E600 Ironball Combo

Like many other combos with top controls, the Engl E600 Ironball Combo also shares the problem of rear access to the connections. To get to the respective sockets, you have to reach through the combo that is open at the back and do a little fiddling upwards, which is made easier by the assignment printed on the back. The fact that this is an identical version of the top in terms of amplifier technology can already be seen from the speaker outputs, which, in addition to the internally installed Celestion G12 Vintage 30 with 8 ohms, also offer the operation of 2x 16 ohm speakers. A luxurious but rather unusual circuit for a combo.

For speaker-less operation, the Engl E600 Ironball Combo also offers the option of a frequency-corrected D.I. output and headphone operation. Please note the ohm number of 8-32 ohms, high-end studio headphones with 600 ohms or more are not the amplifier's target group. Then we have the reverb control, a serial FX loop and the footswitch connections. IEC plug, main fuse, done!

There is a switchable power soak at the top left of the back of the case, which greatly expands the flexibility of the product. However, this is only available at the 8 ohm output of the power amplifier. The 20 watts supplied by default, which are generated from 4x ECC83 plus 2x EL84, can be reduced to 5 or 1 watt, or the speaker can be completely deactivated. With this trick, the amp can range from a stage volume (20 watts of all-tube power is VERY loud in a club) down to the overused term “bedroom amp” (if you've ever hit your loved one with 1 watt in the bedroom, you'll definitely be thrown out of it! ) cover a wide range of applications. The practical test will show to what extent he, like many of his colleagues, may have to accept loss of sound.

The Engl E600 Ironball Combo in practice

Combos that open to the back have an advantage and a disadvantage. The advantage is that approximately half of the loudspeaker's vibration energy is delivered tonally to the front and back and a musician placed at the back of the stage, such as B. the drummer can hear a lot of the guitar tone without having to use his own monitor path. The disadvantage is that an open combo generally generates less bass and forward thrust than a closed cabinet, possibly even with a bass reflex opening.

Now the Celestion G12 Vintage 30 is an established loudspeaker that has its supporters all over the world, but it is generally characterized by an always nasal, high-mid-heavy tone, which is very well established in the bang structure, but also has a latent “bite” in it heights are noticeable. This sound character is noticeable from the first note with the Engl E600 Ironball Combo. There is a tendency to always set the bass control to full, but this only colors the character, not changes it. The comparatively low excursion and the headroom of the speaker, which is reduced due to the wattage, are always present and give the combo a very unique character.

Let's start with the clean sound first. If you are looking for an ultra clean Fender tone, the Engl E600 Ironball Combo is the wrong choice. The clean channel already has extremely high gain reserves (see sound files 01 - 03) and can only be persuaded to produce a really clean sound with a gain control setting of up to a maximum of 8 o'clock. The sound is clear, crisp and very slim.

At 9 a.m. the first crunches start, which generate a very nice sixties vintage tone. Crisp and snappy, nice classic rock.

When the boost is switched on, the compression of the sound increases. The tone becomes softer and gains sustain. In this sound file you can hear very well the basic character of the Vintage 30 loudspeaker, which is known to always have a latent high-mid-heavy effect.

In the lead channel you can immediately see which company emblem is on the protective grille. The fact that Engl is famous for his high gain sounds can also be seen in this combo.

The finale is a sustained solo guitar with the boost switched on in the lead channel. Here the Engl E600 Ironball Combo can show its full strength in the high gain range.


The following assessment is not meant to be judgmental as it is based on the author's own personal preferences, but I personally believe that a slightly more powerful speaker in the style of e.g. B. the Vintage 60 would be good for the combo. The combination with a pair of EL84 power tubes, which for structural reasons also tends to have a strong treble presence, could generate more bass and low-mid range, which would bring the strengths of the Engl E600 Ironball Combo even more to the fore.

The amp performs excellently in the high gain range at room volume with 1 watt output power. While many competitors only emit a thin preamp chirp as the final volume decreases above a certain level, the Engl E600 Ironball Combo actually manages to produce a structured and, above all, dynamic tone even at minimum volume. You could actually “misuse” the amp as a luxurious practice amp; I have rarely played an amplifier that performed so well at low volumes. This is where the slim design of the Vintage 30 can show its strengths.

Of course, a 12" loudspeaker sounds different at minimal deflection than when the cardboard is really pumping, but the amplifier section performs excellently despite the speaker's almost non-existent return currents. By the way, 1 watt power amplifier is opened up strongly and then a moderate preamp distortion, preferably via the clean channel, and you have an excellent AC/DC rhythm sound at club volume. Now if the drummer joins in...

Conclusion

With the Engl E600 Ironball Combo, one of Germany's most successful amp manufacturers has a very hot iron in the fire. The combo is a real rocker that serves all the nuances of rock music in very high quality, from the many shades of crunch to real high gain.

In addition, the Powersoak works with only minimal sound changes and delivers the very good basic sound even at room volume if required. If you are looking for a very good all-tube sound at all volumes, you should definitely give the combo a try.

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Additional Informations:

**Exploring Engl Amplifiers' Comprehensive Lineup of Combo Amplifiers**

Engl Amplifiers has long been revered in the guitar community for its commitment to crafting high-quality, versatile amplifiers that cater to the diverse needs of musicians. While Engl is often associated with its iconic head and cabinet setups, the company also boasts an impressive lineup of combo amplifiers. These all-in-one units offer the convenience of a compact design without sacrificing the signature Engl tone and performance. In this detailed exploration, we'll delve into Engl's range of combo amplifiers, examining their features, tonal capabilities, and suitability for various playing styles.

**RockMaster Series:**

The RockMaster series represents Engl's foray into the realm of combo amplifiers designed specifically for rock guitarists. Models like the RockMaster 20 and RockMaster 40 feature all-tube designs that deliver the dynamic response and harmonically rich tones that define the Engl sound. With switchable wattage options, these amplifiers are equally at home in the studio, rehearsal space, or on stage, offering ample power for gigging musicians while remaining manageable for bedroom practice sessions. The RockMaster series boasts versatile EQ controls, built-in reverb, and responsive dynamics, making it an ideal choice for players seeking classic rock tones with modern flexibility.

**IronBall Series:**

Compact yet powerful, the IronBall series embodies Engl's commitment to portability without compromise. These all-tube combo amplifiers pack a punch with their 20-watt designs, making them suitable for both stage and studio use. The IronBall E606 and IronBall E606/2 amplifiers feature a streamlined control layout that prioritizes ease of use, making them ideal for players who crave simplicity without sacrificing tone. With selectable gain stages, built-in power attenuators, and onboard reverb, the IronBall series offers a wide range of tones ranging from pristine cleans to searing lead tones, making it a versatile option for guitarists on the go.

**Thunder Series:**

For players seeking a versatile all-in-one solution, the Thunder series offers a compelling blend of power and flexibility. Models like the Thunder 50 and Thunder 50 Reverb combine Engl's renowned tube-driven tone with modern features designed to meet the demands of today's guitarists. These combo amplifiers feature multiple channels, onboard effects loops, and footswitchable boost functions, providing players with the tools necessary to cover a wide range of musical styles and applications. Whether you're performing on stage or recording in the studio, the Thunder series delivers reliable performance and exceptional tone in a compact and portable package.

**Classic Series:**

Drawing inspiration from vintage amplifier designs of the past, the Classic series combines timeless tone with modern functionality. Amplifiers like the Classic 50 and Classic 60 offer a blend of vintage warmth and responsiveness, making them ideal for blues, rock, and country guitarists seeking authentic vintage tones. These combo amplifiers feature tube-driven spring reverb, selectable output wattages, and responsive EQ controls, allowing players to dial in their desired sound with ease. With their compact yet robust construction, the Classic series amplifiers are equally suited for home practice sessions and live performances, making them a versatile choice for players of all skill levels.

**Conclusion:**

Engl Amplifiers' lineup of combo amplifiers showcases the company's dedication to craftsmanship, tone, and versatility. Whether you're a rock guitarist in need of dynamic tube-driven tones or a blues player seeking vintage warmth and character, Engl offers a combo amplifier to suit your needs. With features like selectable wattage options, built-in effects, and responsive EQ controls, Engl combo amplifiers provide players with the tools necessary to unlock their creative potential and achieve their desired sound. From the rehearsal room to the stage, Engl combo amplifiers deliver uncompromising performance and exceptional tone, earning them a place among the industry's most respected amplification solutions.

TEST: Engl Retro 50

 There are only a few German manufacturers who can hold their own in the amplifier sector against the seemingly overpowering competitors from the USA and the UK, and what's more, can sometimes even give them a run for their money. The story is too powerful, the accumulation of well-selling artist names under the respective labels is too large, if it weren't for the Engl company, founded in 1985 by Edmund Engl and based in Tittmoning, Upper Bavaria.

Through a consistent model policy and a complex development history, the manufacturer was able to earn a place in the upper league of amplifier construction and, with only a few competitors, occupies the front row in the metal sound storm area. Life is good here, as this style of music can count on a loyal group of users with comparatively stable sales. However, Engl would not be Engl if one were to rest on such laurels and become dependent on one market segment.

So what could be more obvious than to open up to the counter-trend and advance into previously unimagined regions. The diametrical orientation to the high-gain metal area is retro, or vintage, which means bony, dry, honest, biting and, above all, uncomfortable, coupled with maximum assertiveness. But we are curious to see whether the 50 watt version of the Retro Head series, which like all of its colleagues is consistently developed and built in Germany, can successfully poach in foreign regions.


construction

Like almost all other heads, the Engl Retro 50 comes in the typical briquette shape, this time with the dimensions width 708 mm x height 260 mm x 270 depth mm and a reasonable weight of just under 20 kilograms. Equipped with 4 pieces. ECC83 (12AX7) in the preamp and 2 pieces. EL 34 in the A/B push-pull power amplifier is based on a very popular design known from many other manufacturers. Four strong rubber feet, eight corner protectors and a hard-wearing synthetic leather are part of the standard equipment and don't exactly make for bright looks, but Engl wouldn't be Engl if you didn't have a few little tricks on board when it came to its visual appearance.

Your head is visually quite crisp, but you're missing that special kick? Or would you also like to be able to “change” your head every now and then? No problem with the Retro 50, as you get a total of 3 different front panels in Shadow Black, Rocking Red and Vintage Vanilla. Simply swap the clip fasteners supplied and vary the look depending on your personal taste or occasion. Nice idea. Regarding the cabinet connection options, the standard 1x 16 ohm, 2x 8 ohm and 2x 4 ohm are offered, which cover the entire combination range.

The Retro is designed with two channels (gain, treble, middle, bass, volume), with all channel controls being present exactly twice. However, as expected, the channels are designed differently when it comes to gain. A gain boost acting on both channels expands flexibility, a bright switch in channel 1 boosts the highs if necessary, and a tone control in channel 2 boosts the low-mids. At first glance everything is quite simple, but a look at the back of the top reveals further special features that Engl always keeps up his sleeve.

The head has a serial/parallel loop path (balance can be adjusted), a switchable noise gate and a second master volume control, all of which can be switched via a total of three stereo jack sockets. There is also a foot switch connection for the in-house Engl pedals in the form of an S.A.C. ports. The artist is happy about so many individual management options. The general workmanship corresponds to real Made-in-Germany guidelines, which means flawless, enriched with a few small extras such as optical power amplifier monitoring.



Practice

Where it says retro, there should also be vintage in it, which means that anyone who is looking for the ever-popular, very soft English sound here will probably be quite frightened at the first notes they hear from this head. Ohhh, that comes out of the speakers in a really bony and honest way, the whole man is in demand. Personally, I don't even know this form of sound from the Engl company. Here you can't hide behind the nicely compressed basic design of the head, here it's hard to reveal what finger exercises have been neglected in recent times.

If you miss a note halfway through due to an unclean fingering or an imperfect vibrato, then you'll hear it. There's no good-natured 6L6 to catch you in a motherly manner, there's an EL34 that's going to kick you in the ass and call for a report. The reward for this sergeant-like design of the product is also gun-by-foot. Woe betide you, you hit the note perfectly, then you will be rewarded with an almost sweet sound development. The amp responds extremely quickly and leaves behind a distinctive sound that can be easily located in the band structure. Woe betide the bandmate who competes against you with a chorus-filled fabric softener sound at the same volume, he has no chance, the Retro 50 is guaranteed to be heard more clearly. Unfortunately, you can hear your gambles all the more clearly, but that remains a question of personal preparation.

With his top, Engl succeeds very well in maintaining the assertiveness of a Plexis or a JTM 45 and yet making it a bit more flexible in order to leave the AC/DC channel in the direction of gain if necessary. The infamous scratching of the aforementioned protagonists was also skilfully avoided, subtly defused and yet not neutered. Anyone who has dealt with the adjustment of an amplifier's tone control knows how difficult it is to find the exact middle ground. Bite but don't annoy, press but don't make you uncomfortable, assert yourself but without a middle nub, the Retro 50 manages all of this with excellent quality.



Conclusion

Some people will rub their eyes in surprise and take a second look to see whether the name Engl is actually on the logo. Once you have played the first note, you may not believe that this vintage-influenced sound is actually generated by Germany's flagship brand of soft metal sound. Once again, Engl shows how sophisticated and competent their engineers approach the conception of an amplifier and are able to go beyond their core competence and produce excellent products that are diametrically opposed to their external perception.

The Retro 50 is an adornment of its sound design and rightly deserves its model name. The difficult task of peppering a vintage tone with modern elements without one or both worlds becoming tonally irrelevant has been achieved brilliantly here and deserves high recognition.

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Additional Informations:

Engl Amplifiers, a renowned name in the world of guitar amplification, has been at the forefront of producing high-quality, versatile amplifiers since its inception. Founded by Horst Langer in Germany in the early 1980s, Engl has consistently pushed the boundaries of amplifier design and innovation, catering to the diverse needs of guitarists across various genres. With a commitment to craftsmanship, tonal excellence, and technological advancements, Engl has garnered a loyal following among musicians worldwide. Let's delve into the extensive product range offered by Engl Amplifiers, encompassing a diverse array of amplifiers tailored to different playing styles and preferences.

**Savage Series:**

The Savage series embodies Engl's pursuit of delivering aggressive and high-gain tones suited for modern metal and hard rock genres. Models like the Savage 120 and Savage 60 offer a potent blend of raw power, tight response, and articulate distortion, making them a preferred choice among metal shredders and heavy riff enthusiasts. These amplifiers feature versatile EQ controls, built-in noise gates, and switchable voicing options, allowing players to sculpt their ideal metal tones with precision.

**Powerball Series:**

Catering to the demands of progressive metal and high-gain aficionados, the Powerball series delivers a potent combination of sonic versatility and crushing distortion. Amplifiers such as the Powerball II and Powerball E645 offer four distinct channels, each meticulously voiced to cover a wide spectrum of tones ranging from crystal-clear cleans to searing lead tones. With features like adjustable presence controls, assignable FX loops, and programmable MIDI functionality, the Powerball series empowers guitarists to explore new sonic territories with ease.

**Fireball Series:**

The Fireball series embodies Engl's commitment to delivering uncompromising tone and performance in a streamlined package. Models like the Fireball 100 and Fireball 25 offer a simplified yet potent platform for achieving high-gain excellence, making them ideal choices for modern rock and metal players seeking a no-nonsense amplifier with a focused sonic character. With features like built-in reverb, tight/loose voicing switches, and responsive EQ controls, the Fireball series delivers punchy, aggressive tones that cut through any mix with authority.

**Ironball Series:**

For players in search of portable yet powerful amplification solutions, the Ironball series offers a compact and gig-friendly option without sacrificing tone or versatility. The Ironball E606 and Ironball E606/2 amplifiers pack a punch with their 20-watt all-tube designs, delivering a wide range of tones suitable for studio recording and live performance alike. Despite their small footprint, these amplifiers boast features like built-in power attenuators, selectable gain stages, and onboard reverb, making them versatile tools for guitarists on the go.

**Classic Series:**

Drawing inspiration from iconic vintage amplifiers of yesteryears, the Classic series pays homage to timeless tones while incorporating modern features for enhanced flexibility and reliability. Models like the Classic 50 and Classic 60 offer a blend of vintage warmth and modern functionality, making them suitable for a wide range of musical styles from blues and rock to country and beyond. With tube-driven spring reverb, selectable output wattages, and responsive tone controls, the Classic series delivers authentic vintage tones with modern convenience.

**Invader Series:**

Designed to meet the demands of today's most discerning metal guitarists, the Invader series stands as a testament to Engl's dedication to sonic innovation and engineering excellence. Amplifiers like the Invader 150 and Invader 2 E642/2 offer an expansive palette of high-gain tones, featuring multiple channels, customizable voicing options, and studio-grade effects loops for unparalleled sonic versatility. Whether it's bone-crushing rhythm tones or soaring lead sounds, the Invader series provides the tools necessary to dominate the stage or studio with confidence.

**Signature Series:**

In collaboration with some of the world's most celebrated guitarists, Engl has developed a range of signature amplifiers tailored to the unique preferences and playing styles of renowned artists. From the Steve Morse Signature to the Marty Friedman Inferno, these amplifiers offer a glimpse into the sonic world of legendary musicians, providing fans and players alike with access to their signature tones and sonic signatures. With meticulous attention to detail and input from the artists themselves, the Signature series amplifiers capture the essence of their namesake's sound while offering modern features and reliability.

**Conclusion:**

Engl Amplifiers' diverse product range caters to the needs and preferences of guitarists across all genres and playing styles, from aggressive metal and hard rock to vintage blues and beyond. With a commitment to quality, innovation, and sonic excellence, Engl continues to push the boundaries of amplifier design and performance, earning the trust and admiration of musicians worldwide. Whether you're a bedroom enthusiast, studio professional, or touring musician, there's an Engl amplifier ready to unleash your sonic potential and elevate your playing to new heights.