TEST: Engl A101

 With hardly any other instrument are joy and sorrow as close together as with the acoustic guitar. On the one hand, the instrument is bursting with independence in terms of transport and flexibility, just think of the countless bed-in-the-cornfield style possibilities regarding singer/songwriter, on the other hand, you can pack your bag when the volume bullies of the electric guitar or drum faction unpack their potency.

Only the feeding of the monitor system including all the disadvantages such as the dependence on the monitor man and the eternal fight against the low-frequency feedback was until recently the measure of all things to get an ear on a stage. As far as I know, almost 30 years ago it was Trace Elliot, among others, who heard the plea of acoustic guitar players and developed an acoustic combo similar to an electric guitar combo, which was of high quality, but also heavy and expensive.

As expected, it was a bass amp manufacturer who had an open ear for acoustic guitarists, since the electric guitar amplifiers and especially their cabinets with their essential treble clipping by the 12 inch speakers were anything but open for a specialized amplifier for acoustic instruments. The same still have their wedge solution, see above, a real drama.

Thanks to Class-D power amplifiers and modern manufacturing methods, the middle ages of acoustic amplifier technology are long gone and have been taken over in the last especially by manufacturers who primarily drew attention to themselves through their success in the electric guitar sector. The Saarland-based manufacturer Hughes & Kettner can now join this merry band, which with the Hughes & Kettner Era 1 releases an in many respects extraordinary amplifier on the market, or should we better speak of a miniature P.A.?


Design and construction

In order to give the Hughes & Kettner Era 1 a special treatment during development, the services of acoustics specialist Michael Eisenmann, who was a leader at the renowned acoustic amplifier manufacturer AER, were secured.

Although the Hughes & Kettner Era 1 is primarily associated as an amplifier for an acoustic guitar with a built-in pickup, one should be aware from the outset that the combination of a 250 watt power amplifier with a 1 inch dome tweeter / 8 inch bass speaker can also amplify other acoustic instruments such as accordion, string instruments or zither. Due to the wideband playback, keyboards or vocal microphones can also be connected, which, due to the four-channel mixer section, quickly turns the amplifier into a typical "vocal system".

Conceptually, the Hughes & Kettner Era 1 has 2 identical channels, which, in addition to a gain control and a 3-band tone control, also have an FX selector for the internally installed 16-fold FX device along with FX control. An EQ switch can be used to change the center frequencies of the tone controls, with Mode 1 being designed more for steel string instruments and Mode 2 more for nylon string instruments. Similarly, Mode 1 is more suitable for male voices, Mode 2 for female voices. Furthermore, each channel has a clip display, a shape display, and a control for the sound.

All of these controls and buttons are located on the top of the cabinet, along with volume controls for channel 3 and a master notch and master volume control that are recessed for transport reasons. All inputs and outputs of the Hughes & Kettner Era 1 are located on the rear of the cabinet.

While channels 1 and 2 are fed via lockable combo jacks (XLR / TRS), whereby 48 V phantom power can be optionally connected and thus designed for amplifying acoustic instruments and microphones, channel 3 (mini stereo jack) and channel 4 (TRS) are responsible for feeding MP3 players or high-level instruments. Both channels nevertheless have a separate volume control.

As a circuit trick one has to see the FX Send over channel 4, with which an external FX processor can be used. In this case, the internal FX processor is disabled and the FX knob controls the external FX device. Attention, in this case with the external processor set the FX portion to 100%!

To support the acoustic ambience visually as well, the Engl A101 comes in a sophisticated wood finish, which gives the impression of brown leather, but is based on multi-layer plywood, in contrast to the typical synthetic leather covering of a rock/blues combo. All corners have been rounded, corner or edge protectors are looked for in vain for optical reasons. All knobs and switches were placed recessed, so that the combo offers as little surface for external impact during transport as possible. The amp was developed by Engl, but it is built in Italy by the Scherfler company.

With dimensions of 28 x 41 x 37 cm and a weight of 13 kilograms, the amp is comparatively manageable on the road, especially since it delivers 150 watts of power despite its small dimensions. By means of two recessed handles, the combo can be transported well. 4 strong rubber feet ensure that the combo remains in the place where it was placed.

The power is transmitted by an 8 inch bass speaker, which sits in a reflex cabinet and a tweeter. Unlike an electric guitar amp, whose treble response is deliberately cut due to the harsh distorted sound by using bass speakers alone, an acoustic guitar amp must be able to reproduce the full range of generated frequencies, which is why Engl also specifies a frequency response of 40 Hz - 20 kHz.

The entire control panel is also appealingly different, reminding us more of a mixing console interface than a guitar head. Where in the electric guitar field distortion is created by means of gain controls, in an acoustic guitar amplifier the focus is on avoiding distortion. The back of the amplifier is quickly described. In addition to the cooling fins, there is also the on/off switch and a ground lift, which can prevent ground loops.

On the clearly more interesting upper side of the housing are all further control options of the amplifier. The amplifier has a total of 4 inputs, which are suitable for a wide range of applications. Inputs 1 and 2 are identical in design and are primarily used to feed acoustic instruments and vocal microphones. Both inputs have a balanced XLR and an unbalanced TRS input. Each is followed by a three-band tone control, the FX control for the internally installed effects unit and the channel volume control.
Channel 3 allows feeding unbalanced signals with low impedances like e.g. electric guitars or electric basses. One can choose over 2 different input sensitivities by means of the different jack sockets. The sound control options correspond to channels 1 and 2. Channel 4, on the other hand, allows you to feed in playback devices such as MP3 players or cell phones by means of two RCA plugs. So far, so good. However, things get interesting in the master section.

Via a balanced XLR out, you can pass on the entire sound present at the speaker to a larger P.A., or you can use the signal to feed it into the DAW via an interface. You can also connect a recording device or a second Engl A101 via 2 independently adjustable RCA outputs. So it is theoretically possible to adapt several combos to the respective spatial conditions via a daisy-chain procedure.

In terms of effects, a comparatively spartan effects unit was installed, which has 4 presets (reverb, room, delay, chorus/room), which can only be adjusted in their mixing ratio to the original signal. However, to get around this slight limitation, Engl has built in a stereo return FX loop. This allows an external processor to be used, and the internal FX unit is automatically disabled when used. Finally, there is a 48V phantom power pressure switch, which allows the use of condenser microphones in channels 1 and 2.


Practice

In order to ensure a realistic assessment of the concept, one should first visualize the area of application of an amplifier of this type.

Scenario 1: You have the thankless task of playing the "balladeer" in a rock band, i.e. you have to play Bon Jovi for pedestrians at regular intervals so that all the girls don't leave the club in a huff or at least go to the ladies' room in pairs for an indefinite period of time after the heavy banging of your colleagues.

Scenario 2: You're fed up with all the noise from your colleagues and have discovered that with acoustic guitar and vocals you can not only get the girls out of the toilet in no time, but you also no longer have to share your fee with the rude noisemakers.

Scenario 3: You play in an unplugged band, which is supposed to make some noise even in the smallest of spaces.

Scenario 4: You work as a stand-up comedian and want to incorporate several instruments into your repertoire in Otto Walkes style and play MP3s as a DJ in a small setting at the end of the evening.

Scenario 5: You saw Tommy Emmanuel live and decided not to hang up the guitar, but to practice 4 hours a day to succeed him in time.


To 1.): The Engl A101 is loud and sounds good. What does good mean, the amp sounds excellent! Very voluminous without booming and with a pleasantly soft compression in the treble. In addition, the 150 watts can generate a good contra for the drummer in ballad mode. Of course, you can have the acoustic guitar fed live to the monitor or the Inear, but a dedicated amp, which is controlled by yourself and guarantees a minimum of "physicality" in the stage sound, is still the better choice.

To 2.) Due to the mixer-like surface, the Engl A101 can show its complete strength here. It manages to acoustically illuminate a pub without any problems and even in a small club it leaves an excellent impression. If necessary, you can feed in a playback via channel 4.

To 3.) Singer, guitar, bass player and backing rumble from the MP3 player, all through one amp! Perfect!

To 4.) explains itself factually. The right input for every signal.

To 5.) I wish a lot of staying power!



Conclusion

With the Engl A101, the German manufacturer is moving very successfully into foreign realms. Especially in singer-songwriter mode or as a basic acoustic backup in the pop/rock live area, the combo knows how to convince and offers maximum flexibility with minimal dimensions.

Conceptually, one acquires a power mixer plus speaker with the specialty in the acoustic guitar range. Sonically and conceptually an outstanding design!

Test it!


Additional informations:

Engl Amplification: The Sound of German Engineering

Since 1983, Engl Amplification has been at the forefront of the high-end guitar amplifier market, delivering top-quality products with a distinctively German touch. From humble beginnings in a small workshop in Bavaria, Engl Amplification has grown to become one of the most respected and sought-after amplifier brands in the world, known for their exceptional build quality, attention to detail, and innovative features. In this article, we will take a closer look at the history of Engl Amplification, their product lineup, and what sets them apart from the competition.

The Early Years

Engl Amplification was founded in 1983 by Edmund Engl, a musician and electronics engineer from Bavaria, Germany. Edmund had been tinkering with guitar amplifiers since he was a teenager, and after studying electronics in college, he decided to start his own amplifier company. His goal was to create high-quality, versatile amplifiers that could deliver the perfect tone for any style of music, from classic rock to heavy metal.

In the early years, Engl Amplification was a one-man operation, with Edmund building each amplifier by hand in his workshop. He started out by creating custom amplifiers for local musicians, and word soon spread about the exceptional quality of his products. By the mid-1980s, Engl Amplification had established a reputation as a premium amplifier brand, and began selling their products to musicians around the world.

The Rise to Prominence

Throughout the 1990s, Engl Amplification continued to grow in popularity, thanks in part to their association with some of the biggest names in rock and metal. Artists such as Iron Maiden, Judas Priest, Slayer, and Metallica all used Engl Amplification products on stage and in the studio, helping to cement the company's reputation as a go-to choice for high-end amplifiers.

One of the things that set Engl Amplification apart from the competition was their focus on innovation. In 1994, they introduced their first MIDI-compatible amplifier, the E 580, which allowed guitarists to control multiple functions of the amplifier using a MIDI footswitch. This was a groundbreaking feature at the time, and helped to establish Engl Amplification as a leader in amplifier technology.

In the years that followed, Engl Amplification continued to innovate, introducing new products and features that set them apart from their competitors. In 2000, they introduced their first signature amplifier, the Steve Morse Signature, which was designed in collaboration with the legendary guitarist. This was followed by signature amplifiers for artists such as Ritchie Blackmore, Marty Friedman, and Paul Stanley, among others.
Today, Engl Amplification offers a wide range of products for guitarists of all styles and skill levels, from their entry-level Thunder series to their flagship Invader and Savage series amplifiers.

Product Lineup

Engl Amplification's product lineup is divided into four main series: the Thunder, the Ironball, the Invader, and the Savage. Each series is designed to offer a different set of features and tones, catering to the needs of different types of guitarists.

The Thunder series is Engl Amplification's entry-level lineup, offering a range of affordable amplifiers that still deliver the company's signature tone and build quality. These amplifiers are ideal for guitarists who are just starting out, or who need a reliable backup amplifier for gigs and recording sessions.

The Ironball series is a more versatile lineup, designed for guitarists who need a wide range of tones in a compact package. These amplifiers are perfect for players who want a portable amplifier for gigs and rehearsals, but who still need the power and versatility of a high-end amplifier.

The Invader series is Engl Amplification's flagship lineup, offering some of the most powerful and versatile amps.