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100 WATT TUBE AMPLIFIER

ENGLISH

TRIAMP MK II - MANUAL

IMPORTANT:
Before powering up please read the Important Safety Instructions on page 29 - 31!

WICHTIG:

Bitte lesen Sie vor der Inbetriebnahme unbedingt die Sicherheitshinweise auf Seite 29 - 31!
THANK YOU FOR CHOOSING THE TRIAMP MK II !
When the first TriAmp debuted in 1995, it wasnt long until it garnered a reputation as the Holy Grail of amplifiers. And with good reason, for it was the first time that a design featuring three totally independent, dual channel, all-tube amplifiers was shoehorned into a single device. Tube tone purists were ecstatic. Its state-of-the-art handling and switching logic optionally controllable via MIDI enabled direct access to six of the most soughtafter tonal flavors. And that put at players fingertips a sonic spectrum with a breadth unrivalled by any all-tube amp. The TriAmp MK II was truly a milestone in amp history. Then the engineers at Hughes & Kettner decided to play matchmaker, marrying the qualities of this milestone to the latest innovations in tube amp technology. They named the progeny of this union TriAmp MK II. The findings of modern research flowed into the revamped six fundamental sounds. By the same token, the power amp circuit was redesigned from the bottom up, resulting in an even bigger, even more open sound. Next to a variable effects loop (serial/parallel), the TriAmp MK II was endowed with a Half Power switch. Now you can halve its output power from 100 watts to 50 watts whenever the mood strikes. This lowers the power amp saturation threshold. The flagship of the Hughes & Kettner Tube Custom Series, the TriAmp MK II is exclusively handcrafted, bar a few exceptions. Every device is put through the paces of numerous load and safety trials before it is subjected to ultimate test the ears of experienced guitarists, the most sensitive gauge of them all. When you chose the TriAmp MK II, you opted for a top-drawer tool built by pros for pros. Courtesy of its versatility, professional-quality features, impeccable workmanship, and, above all, stunning sound quality, it truly merits the moniker state of the art, setting standards for generations of tube amps to come.
HERES WISHING YOU LOTS OF FUN WITH THE TONE OF YOUR TRIAMP MK II! YOUR HUGHES & KETTNER TEAM.

CONTENTS

1.0 TRIAMP MK II: THE THREE AMPS. 4 2.0 CONNECTIONS AND CONTROL FEATURES. 6 2.1 AC POWER AND THE GLOBAL CURRENT ADAPTER. 6 2.2 OVERVIEW OF CONTROL FEATURES. 7 3.0 STANDARD SETUP/CABLE CONNECTIONS. 9 4.0 TRIAMP MK II OPERATION. 9 4.1 CHANNEL SELECTION. 9 4.2 TRIAMP MK II AND SIGNAL PROCESSORS. 9 4.3 RED BOX DI OUT ALL-TUBE TONE TO THE MIXER. 10 4.4 TRIAMP MK II AND MIDI.11 5.0 REPLACING TUBES, SERVICE AND PREVENTIVE MAINTENANCE. 12 6.0 TROUBLESHOOTING. 14 7.0 TECHNICAL SPECIFICATIONS. 27 Important Safety Instructions.29 - 31

CAUTION!

TO PREVENT THE RISK OF FIRE AND SHOCK HAZARD DONT EXPOSE THIS APPLIANCE TO MOISTURE OR RAIN. DO NOT OPEN CASE; NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

BEFORE POWERING UP

Check that the local current and the amp's AC power rating are identical before you plug the TriAmp MK II's mains cord into an AC outlet. Ensure that air can circulate freely around your amp's ventilation ducts. Place the amp on a stable platform where it is not exposed to mechanicall shocks and temperature extremes which may damage the amp or endanger the safety of bystanders. Hughes & Kettner is not liable for any damage to the amp due to improper use.
1.0 THE THREE AMPS IN THE TRIAMP MK II

Three totally different amps in a single housing? Until the mid-90s, this was thought to be an impossible dream. The Hughes & Kettner team was undeterred: Years of intense development efforts and research culminated in the TriAmp, and this magical combination debuted in 1995. To make the dream reality, we developed an unprecedented switching technology that delivers totally independent fundamental sounds of the highest quality. Each of the three preamps is dual-channel in design so a total of six sounds are available at the touch of a button. How does TriAmp MK II produce such fundamentally different sounds with just one power amp and a common master section? TriAmp's tonal potential lies primarily in its puristic tube design. Highly advanced new switching technology developed by Hughes & Kettner for this amp reconfigures the multiple tube stages with each new sound you select. This new design pulls every drop of tone out of the all-tube circuitry, lending TriAmp MK II incredible tonal flexibility without any reliance on solid-state compromises. The power amp design further supports TriAmp MK II's vast range of tones: In each channel, the Presence attenuation factor is switched automatically via a special capacitor. This lends each channel its trademark power amp characteristics and explains why they are so easily adjusted using just one Presence knob in the MASTER section.
AMP 1 CHUNKY CLEAN + FAT DRIVE CLEAN
The first amp is dedicated to delivering classic clean sounds. CHANNEL A sounds full and expansive in the great American tradition. Its forte is classy clean tone that remains unadulterated by distortion even at high gain settings. It delivers the kind of twang that makes you want to put cow horns on the Toyota. This channels low end is like a good burger - big, beefy and served up hot.
CHANNEL B cranks out British-approved class A tone with the trademark shimmering top end and extremely subtle harmonic distortion courtesy of EL84 power amp tubes. Even at lower GAIN settings you get pronounced overtones in the high mids. Pushing the AMP 1 TIGHT button cuts mushy bottom end frequencies hard. These indistinct bass frequencies commonly rear their ugly little heads when clean sounds are dialed in. By their very design, combos housings tend to suppress these frequencies. Chances are that you will run the TriAmp MK II into a 4x 12" cabinet. If you want to simulate the response of a combo, activate this frequency correction button. The AMP 1 MASTER knob affects Channel B only. Channel A, on the other hand, operates much like vintage amps that were not equipped with master knobs. Twist the GAIN A knob to control the volume and saturation level of Channel A.
AMP 2 CLASSIC BRITISH DRIVE
CHANNEL A cranks out the brand of overdriven tone that graced almost every rock production in the 80s. It has an open, British flavor that works great for raw-edged riffing and aggressive chord work. The more you crank CHANNEL B, the bolder it gets, going from gritty and fat to singing with days of sustain at the twist of a knob. It features a special circuit that injects a very desirable sonic additive into your sound - the kind of power amp distortion that players loved about the old Plexis.

What will strike you about the second amp is its extraordinary dynamics at every level of distortion. This responsiveness opens up enormous expressive possibilities by reacting sensitively to the subtleties and nuances of different playing styles. This amp conveys every detail of your attack this is as honest as an amp gets.

AMP 3 MODERN GAIN

CHANNEL A is based on the Hughes & Kettner Duotones Overdrive channel. Brutally honest and direct, its hair-trigger response reacts instantly to even subtle changes in your picking attack and the slightest twist of your guitars volume knob. Though this lead channel was built for the veteran axe slinger who believes great tone is well worth fighting for, its also the bees knees for pounding out big & beefy power chords. 110% rock n roll indeed! CHANNEL B pumps out high-gain American-style sound of the more merciless variety. New Metal merchants and Drop-D acolytes will swoon at the sound of this channels hot, huge and downright nasty distortion, while well-rounded players will appreciate the extra hues in their lead tone palette.
'Truth in distortion' is a major consideration when buying an amp. An absolute prerequisite for any top amp is that it preserves the guitar's own characteristic sound - rather than making all guitars sound more or less alike - and the tone must remain well defined no matter how high you set the gain. Only a handful of amps make the grade, and AMP 3 is certainly a leading member of this elite club.
2.0 CONNECTIONS AND CONTROL FEATURES
2.1 AC POWER AND THE GLOBAL CURRENT ADAPTER
NOTE: Before plugging into the wall socket, make certain the amp is set to the proper voltage for your locale. You can read the amp's voltage setting in the Voltage Selector window found on the back of the unit. Also check the fuse specifications printed above the amp's power cord socket, and ensure that the fuses you are using have the correct value for your local current. TriAmp MK II can operate at AC currents of 230 volts, 117 volts or 100 volts. Use the VOLTAGE SELECTOR to adjust the voltage accordingly (see Diagram 1). NOTE: Selecting voltages and replacing fuses are jobs best left to experienced service technicians. This is why the following remarks are addressed to service technicians only!
Pull the cartridge (4) out of its socket. Rotate the cartridge (4) and plug it back into the sokket so the desired voltage is legible. Replace the previously mounted fuses (5). Make certain the values of your fuses are identical to those required for your local voltage. The values are specified above the amp's power cord socket. Reinsert the fuse cartridge (2) with the new fuses (5). Before you plug into the wall socket, check again to ensure the correct voltage rating is legible in the VOLTAGE SELECTOR window (3).

MAINS IN / VOLTAGE SELECTOR
Remove the metal clamp. Press the fuse's safety latch (1) towards the window (3) with a small screwdriver and remove it with the two fuses.
2.2 OVERVIEW OF CONTROL FEATURES
INPUT: Input jack for guitars.

MASTER SECTION

FX ON SWITCH: Turns TriAmp MK II's FX LOOP on or off. If you want to switch the FX LOOP on and off via the Stageboard or MIDI, set this switch to the 'off' position. LEARN: Installation of the MSM-1 MIDI Module is a prerequisite for MIDI capability. With the module installed, a press on the MIDI LEARN button will save the current CHANNEL/FX LOOP combination. MASTER: Determines overall TriAmp MK II output.

PREAMP SECTION:

The three preamps controls are largely comparable. The functions of their knobs are explained in the following using AMP 1 as an example. CHANNEL BUTTON: Push these to select the desired fundamental sound (channel A or B) directly. The buttons also serve as indicator LEDs, illuminating to call attention to the active channel. GAIN A, GAIN B: Twist these to dial in the desired amount of distortion for channels A and B. EQ SECTION: Common BASS, MID and TREBLE pots for CHANNEL A and CHANNEL B. TIGHT: Cuts muddy low end frequencies that may occur when clean sounds are rendered by a 4x 12" cabinet. This frequency correction feature lets the TriAmp MK II respond like a combo. MASTER: Turn this knob to dial in the desired level for AMP 1B relative to the two other preamps levels. The AMP 1 MASTER knob affects Channel B only. Channel A, on the other hand, operates much like vintage amps that were not equipped with master knobs. Twist the GAIN A knob to control the volume and saturation level of Channel A.
PRESENCE: Determines presence levels for all three amps. The PRESENCE circuit is automatically reconfigured with each change of channel to respond optimally for each basic sound. Try it. In each channel, turn the PRESENCE control all the way up and back down again to hear how it affects each channel differently. STANDBY: Mutes the amp during breaks. The voltage to the power amp tubes is reduced but not turned completely off to extend tube life; when you turn the amp back to full power, they are still warm and don't need to be reheated from a cold start. MAINS: Power ON/OFF switch.

FX LOOP

MAINS IN: Socket for the included Euromains power cable. Before plugging into the wall socket, make certain the amp's voltage rating as displayed in the VOLTAGE SELECTOR window matches your local AC voltage rating. VOLTAGE SELECTOR: If you need to change TriAmp MK II's voltage to your local AC voltage rating, pull out this cartridge and see Section 2.1 for further details. ANODE FUSE: Fuse holder for the power amp's anode fuses. Be sure you only use fuses rated to the indicated specifications. HALF POWER: This power soak switch cuts the TriAmp MK IIs output power in half from 100 watts to 50 watts. PREAMP OUT, POWER AMP IN: The TriAmp MK II sports an ancillary serial FX loop that lets you control master volume via a volume pedal. The preamp signal is patched out via PREAMP OUT jack and in again via POWER AMP In. STAGEBOARD: Input jack for TriAmp MK II STAGEBOARD. The length of the cord can be extended using standard computer cables (equipped with 9-pin SUB-D connector).

FX SERIAL/PARALLEL: An innovative new feature of the TriAmp MK II, it lets you select the desired type of effects loop, parallel or serial, at the touch of a button. The FX loop setting may be stored and switched via MIDI using the optional MSM-1 MIDI module. LEVEL: Determines the relative levels of the TriAmp MK IIs preamp signal and the signal routed into the FX RETURN jack as sent from a connected effects device and the like. In other words, use it to set the desired wet/dry mix. FX SEND: Connect this jack to your effects processor's input jack. FX SEND LEVEL: This damping switch allows you to adapt the signal level to lower-level effects devices. Press this switch in for instrument level processors (e.g. stomp boxes). FX RETURN: Connect this jack to your effects processor's output jack. RED BOX DI OUT: This is a balanced output featuring the RED BOX Cabinet Simulator. It enables you to feed the TriAmp MK II signal directly to a mixing console for stage and recording purposes. Refer to Section 4.3 for details. SPEAKER: The TriAmp MK II features 4-, 8- and 16-ohm speaker outs for perfect impedance matching. Its minimum impedance is 4 ohms.
NOTE: Never operate the TriAmp MK II without a loudspeaker connected!
3.0 STANDARD SETUP/CABLE CONNECTIONS
4.0 TRIAMP MK II OPERATION

4.1 CHANNEL SELECTION

The TriAmp MK IIs six fundamental sounds may be accessed via the channel selector buttons on the front panel or the TriAmp MK II Stageboard are called up. You can also execute switching functions via MIDI using the MSM 1 MIDI Module (refer to Section 4.4). If you want to use an external MIDI switcher, you will need to make an adapter cable that accesses the Stageboard jack, wiring it according to the pin assignments shown in Diagram below. Channel selection is executed via momentary contact; FX LOOP activation is executed by switching, namely by applying pin 8 to pin 5 (ground).
4.2 TRIAMP MK II AND SIGNAL PROCESSORS
The TriAmp MK II is equipped with a variable effects loop (serial/parallel). In parallel mode, the effect signal is added to the original preamp signal so that you can dial in a setting where the dry signal remains audible during the brief delays that multieffector switching is prone to cause. This face-saving feature prevents glaringly evident and potentially embarrassing sonic drop-out the LEVEL knob controls the mix. The passive nature of the mix guarantees that the original signal is not sent through any solid-state circuitry. When the FX LOOP is deactivated, the buffer stage for the effects side is switched off via a relay, thereby ensuring that the FX LOOP never compromises the amp's sound quality.

NOTE: As a rule of thumb, the best method for using signal processors is to set the output of the processor itself to maximum effect (balance = 100%), and then mix the processed signal with the original signal via the LEVEL control to avoid the sound degradation an effects device might otherwise introduce. Switch the FX LOOP button on the front panel to OFF if you want to switch the FX LOOP via the Stageboard or MIDI commands.
Stageboard jack pin assignments:
Ground/Masse Amp 3A Amp 3B FX-LOOP + 22 V Output
Amp 2B Amp 2A Amp 1B Amp 1A
Connecting signal processors:
Connect the device's INPUT to the FX LOOP SEND jack and its OUTPUT to the RETURN jack. Activate the FX LOOP via the FX ON button on the front panel or the Stageboard. Adapt the FX loop level to the signal processor's level, if necessary. Press the FX SEND LEVEL button for effects devices like stomp boxes that are designed for guitar signals. If the button is not depressed, the signal level remains at standard line level, appropriate for most rack-mounted multi-effects processors. In parallel mode, use the LEVEL knob to set the volume of the effect signal.
NOTE: Some signal processors introduce phase cancellations that are detrimental to the overall sound. In this case, set the effects loop to FX SERIAL. The effects loop now operates like a conventional serial loop in other words, you'll have to adjust the balance of levels between the original and processed signal at the processor.
4.3 THE RED BOX DI OUT ALL-TUBE TONE TO THE MIXER
The balanced RED BOX DI OUT allows you to connect TriAmp MK II's output signal directly to a mixing console, for the smooth, rich sound of a miked-up cabinet without the hassles of actually using a microphone. The integrated RED BOX circuitry is in-line with the speaker output for optimum audio results, allowing the character of the connected speaker to come through to as great a degree as possible.
WARNING: Never run the amp without a load (a connected speaker cabinet), even in a recording situation. Doing so risks serious damage to the amp's all-tube output stage. NOTE: Speakers, in combination with a tube amp's output transformer, may demonstrate microphonic properties. If your amp's master setting is extremely low and the PA is very loud, you may encounter feedback through the DI OUT circuit. This effect does not occur at normal stage volumes. However, we do recommend you use the STANDBY switch rather than turning the MASTER down to silence your amp during breaks. If this feedback problem does occur at some point, simply turn the amp's master volume up. The speaker then loses the microphonic properties and the feedback will stop.

TIP: If you choose not to connect a signal processor or effects device to the FX loop, you may connect another instrument or audio source. When you use the RETURN circuit as a second input channel in this way, the FX-MIX knob becomes a balance control to determine he relative volumes of the guitar signal and the other sound source.
4.4 TRIAMP MK II AND MIDI
With the MSM-1 MIDI Module installed, you can use your multieffects processor to select TriAmp MK II channels and turn the FX LOOP on or off via MIDI. MSM-1 socket and indicator notch.
Insert the MSM-1 into the module port, and affix it in place using the same four screws you just removed a moment ago. Make sure the writing on the MSM-1 reads in the same direction as that on the rest of the chassis back. Location of the sockets.
Installing the MSM-1 MIDI Module
MIDI IN MIDI MIDI THRU RECEIVE CHANNEL ON OFF OMNI

FX OUTPUT

CHANNELS 5-16: SEE MANUAL
NOTE (VERY IMPORTANT): The following instructions are intended solely for a factory authorized technician.
Unplug the amp's mains cord from the wall socket and remove all connected cables (e.g. to the spring reverb or speakers). Remove the amp's rear panel cover so you can access the tubes. Prepare a suitable spot to set the amp chassis (for instance two books placed the same distance apart as the two transformers), or remove the power amp tubes. Remove the four retaining screws that hold the chassis in place, and carefully pull the amp chassis out of the wood housing. Remove the MIDI Module port cover plate from the rear panel of the chassis. Insert the included flat cable connector plug in the MSM-1's socket so that the color-coded wire faces the notch on the socket.
On the control circuit board you will find the socket for the connector on the other end of the ribbon cable. Also insert this connector in the socket so that the color-coded wire faces the notch on the socket. Double-check that the module and the connectors are seated correctly. Replace the chassis in the housing and, if you removed the tubes, the tubes in the chassis. Replace the amp's rear panel, and reconnect the cables to the reverb and speakers. To use the MIDI LEARN function with the TriAmp MK II, please refer to the instructions included with the MSM-1 MIDI Module. The moment power is applied to the amp, the MIDI functions of the TriAmp MK II are immediately available. Please check all switching functions of the amp.
5.0 REPLACING TUBES, SERVICE AND PREVENTIVE MAINTENANCE
The TriAmp MK II ships with EL34 and 12AX7 tubes. Once theyve been burned in (initial continuous operation under a load), these undergo an indepth selection process where their electrical values and mechanical status (microphonics) are checked. Beyond that, theyre installed in a finished amp and their sound is auditioned in a listening benchtest. One of the most important steps is power tube matching, a process whereby tubes with the same characteristics are selected and combined to make matched sets. Tubes definitely show signs of wear when their service life is coming to an end, such as increased microphonics, noise, muddier tone through loss of high-end frequencies, degraded performance, etc. You should take these indications seriously and replace old tubes because not only do these side effects take their toll on sound quality, they also indicate the affected tube is about to fail.

NOTE: Although it may be tempting to find out what an amp sounds like with different tubes, we urgently recommend that you refrain from replacing tubes for experimentation purposes. Handled improperly, this will damage the amp and lead to incredibly steep repair costs.
When is it a good idea to replace tubes?
The tubes in the TriAmp MK II are exemplary in terms of quality, workmanship and long service life. If you nevertheless come across a problem, please be sure to run down the following checklist before you swap out your old tubes for new ones: Was the fault or failure of the power tube caused by the tube itself or a flawed peripheral device or component, perhaps a defective speaker cable? (If you dont get to the bottom of the problem and remedy it, it may crop up again even after you replace the tubes.) Did the mains voltage fluctuate or spike while the amp was on? In all-tube amps, over-voltage surges in the mains net can certainly blow fuses or even the amps. Over-voltages are often caused by generators or improperly installed high-current power circuits. Did a fuse blow even though none of the tubes is actually defective? An old fuse, tube de-ionization or mains voltage power surges could conceivably have caused it to blow. In this case, replacing tubes of course is a waste of money and time.
What should you keep in mind when youre replacing tubes?
The golden rule: Replacing tubes is a job best left to qualified professionals. Accordingly, these guidelines are addressed to reputable technicians who earn their living with a screwdriver: Pull the mains plug of the TriAmp MK II and allow for a discharge time of at least two minutes before removing the sheet metal panel on the rear of the amp. Once the panel is off, you can cautiously ease the tubes out of their sockets. A single power tube may only be replaced if the replacement tube is precisely matched to the original, in other words, it has the same characteristics. As a rule, if you are replacing power tubes, use matched sets only. If youre installing a new set of power tubes with characteristics identical to the old set, it is not absolutely necessary to re-bias the amp.
If, on the other hand, you install a new set with characteristics that deviate from the old set, you definitely should re-bias the amp. Again, biasing an amp is not a DIY task. It takes experience and a extensive working knowledge in measuring techniques, which is why this job should be carried out exclusively by qualified technicians with tube amp tuning experience. A hum adjustment must be made every time tubes are replaced. Activate AMP 2, CHANNEL B and AMP 3, CHANNEL B and set the lowest noise levels via the trimmer. Select input tubes with minimal microphonic properties and lowest noise levels by conducting a simple listening test. As a rule, the amp will not absolutely need to be re-biased with each new set of tubes, assuming you use a matched set. Biasing is complex procedure requiring special tools and should only be done by a qualified amp specialist.

All other TriAmp MK II components do not require maintenance. Use a soft slightly damp cloth for all exterior parts. Avoid exposure to mechanical shocks, extreme heat, dust and moisture. Ensure the cooling vents at the top of the housing are not obstructed during operation. Here are a few more basic rules that will extend the service life of your amp enormously if you follow them: Make sure all peripheral devices and connecting cables are in a state of good repair! Ensure plenty of air can circulate around the amps ventilation slots at all times your TriAmp MK IIs life depends on it. Definitely avoid exposure to mechanical shocks and extreme heat, dust and particularly moisture. Be very careful about the kind of peripheral devices you connect to your amp and always check out their specs before you plug them in. Never connect speaker cabinets with an impedance (ohm) rating lower than the TriAmp MK II is designed to handle. Under no circumstances should you connect devices with high output signal levels (e.g. power amps) to your amps input. Be sure the AC power source delivers the current that your amp is designed to handle before you plug it in. When in doubt about the local rating, ask the venues sound technician or a stage hand. Refrain from DIY repairs! To be on the safe side, you should also have a qualified technician replace internal fuses.
How can you extend the service life of tubes?
Never operate the TriAmp MK II without connecting a load (loudspeaker)! With this in mind, you should always use high-quality, heavy-duty speaker cables that wont crimp or snap. Use the STAND BY switch! Warming tubes up unnecessarily wears them out that much quicker. Make a habit of shutting down the anode voltage via the Standby function and youll enjoy many more hours of operation. Avoid exposing the amp to vibrations, especially when its powered up. Switch the amp off a good while before moving the amp so that the tubes can cool off completely first. Proper biasing and trimming extend service life. Whenever you feel that tube wear is on the rise, be sure to have a technician check the amps bias and trim settings.

6.0 TROUBLESHOOTING

TriAmp MK II is not getting any power:
Check the mains cable to see if it is connected properly. The mains fuse is defective. Replace the fuse with another identical fuse.
The sound is thin and muddy when the effects processor is active:
The effect device routes back a dry signal that is added to the original dry signal in the parallel effects loop. Depending on the type of employed effect device, the phase position of the dry return signal can lead to cancellations when the return and original signals are mixed. To fix this problem, switch the effects loop to SERIAL or turn the dry signal all the way down on the effect device.
TriAmp MK II is connected properly, but no sound is audible:
The amp is set to STANDBY. One or several GAIN and MASTER controls are turned all the way down. Dial in a higher setting. The anode fuse is blown. Before you replace the fuse, examine whether the power amp tubes are defective. The fuse for the tube heater blew (the tubes dont glow). Make absolutely certain to check the rating when replacing this fuse. It is a superslo blo TT 10 A fuse. This type of fuse is relatively uncommon and may be hard to find in your area. Thats why your TriAmp MK II shipped with a replacement fuse. Be sure to have a service technician replace the fuse.

When in use with a loud PA, the RED BOX DI OUT circuit is causing feedback even though the amp is set to a low MASTER volume:
Speakers connected to a tube amp may have microphonic properties. Turn TriAmp MK IIs Master VOLUME up and the circuit will stop feeding back. In extreme cases of microphonic speakers, you would either turn the PA down or mic the cabinet.
Your amp is producing ringing noises Fuse keeps on blowing:
After replacing the fuse, with standby off, turn on the power. Watch the power tubes, turn standby on. Look for tube flash before fuse blows, indicating excess oxygen within the tube. This will show which power tube needs to be replaced.

or tends to feedback:

One or several tubes are microphonic. Replace the appropriate tube with another of the same type.
After just a few hours of operation, your amp is displaying the typical characteristics of old tubes (increased microphonics and noise, treble loss, weak power output, muddy sound).
You have installed the wrong tubes or the bias is not adjusted properly. Take the amp to a professional amp technician to correct the problem.
The FX LOOP is on when it shouldnt be:
The FX LOOP is deactivated when the front panel button, the Stageboard button and the MIDI module switching function are off. If any of these three switches is on, the circuit is active.
7.0 TECHNICAL SPECIFICATIONS
TUBES Preamp: Power amp: INPUTS Instrument: Power Amp In: FX -Return: 8 x 12AX7A 1 x 12AX7A, 4 x EL34

7.0 TECHNISCHE DATEN

RHRENTYPEN Vorstufe: Endstufe: EINGNGE Instrument: Power Amp In: FX - Return: 8 x 12AX7A 1x 12AX7A, 4 x EL34
-26 dB/1 M +2 dB (AMP 1B + AMP 3)/1 M +9 dB (AMP 1A + AMP 2)/1 M -10 dB or -20 dB/48 k
OUTPUTS Preamp Out: +6 dB/47 FX - Send: +9 dB or +19 dB/2,2 k Red box DI out: -26 to -10 dB/220 OUTPUT POWER 100 watts into 4, 8, 16
AUSGNGE Preamp Out: +6 dB/47 FX - Send: +9 dB or +19 dB/2,2 k Red Box DI Out: -26 to -10 dB/220 AUSGANGSLEISTUNG 100 Watt an 4, 8, 16

ALLGEMEINES GENERAL DATA

VOLTAGE 220-230 volts AC (European version) 117 volts AC (North American version) 100 volts AC (Japanese version) MAINS FUSE 2 x 1600 mA SB (220-230 volt version) 2 x 3150 mA SB (117 volt version) 2 x 3500 mA SB (100 volt version) ANODE FUSE 500 mA SB INTERNAL FUSES 2x 630 mA SB 1x 10000 mA SSB MAX. POWER CONSUMPTION 506 VA DIMENSIONS (W x D x H) Head: 29,4 x 10,1 x 13 (748 x 256 x 330 mm) Stageboard: 18,9 x 4,9 x 2,1 (480 x 125 x 52 mm) WEIGHTS Head: Stageboard: NETZSPANNUNG 220-230 V ~ (europisches Modell) 117 V ~ (nordamerikanisches Modell) 100 V ~ (japanisches Modell) NETZSICHERUNG 2x T 1,6 A (europisches Modell) 2x T 3,15 A (nordamerikanisches Modell) 2x T 3,5 A (japanisches Modell) ANODENSICHERUNG T 500 mA INTERNE SICHERUNGEN 2x 630 mA SB 1x TT 10 A
MAE (B x T x H) Head: 748 x 256 x 330 mm Stageboard: 480 x 52 x 125 mm GEWICHTE Head: Stageboard:

IMPORTANT SAFETY INSTRUCTIONS
BEFORE CONNECTING, READ INSTRUCTIONS
Read all of these instructions! Save these instructions for later use! Follow all warnings and instructions marked on the product! Do not use this product near water, i.e. bathtub, sink, swimming pool, wet basement, etc. Do not place this product on an unstable cart, stand or table. The product may fall, causing serious damage to the product or to persons! Slots and openings in the cabinet and the back or bottom are provided for ventilation; to ensure reliable operation of the product and to protect it from overheating, these openings must not be blocked or covered. This product should not be placed in a built-in installation unless proper ventilation is provided. This product should not be placed near a source of heat such as a stove, radiator, or another heat producing amplifier. Use only the supplied power supply or power cord. If you are not sure of the type of power available, consult your dealer or local power company. Do not allow anything to rest on the power cord. Do not locate this product where persons will walk on the cord. Never break off the ground pin on the power supply cord. Power supply cords should always be handled carefully. Periodically check cords for cuts or sign of stress, especially at the plug and the point where the cord exits the unit. The power supply cord should be unplugged when the unit is to be unused for long periods of time. If this product is to be mounted in an equipment rack, rear support should be provided. This product should be used only with a cart or stand that is recommended by Hughes & Kettner. Never push objects of any kind into this product through cabinet slots as they may touch dangerous voltage points or short out parts that could result in risk of fire or electric shock. Never spill liquid of any kind on the product. Do not attempt to service this product yourself, as opening or removing covers may expose you to dangerous voltage points or other risks. Refer all servicing to qualified service personnel. Unplug this product from the wall outlet and refer servicing to qualified service personnel under the following conditions: When the power cord or plug is damaged or frayed. If liquid has been spilled into the product. If the product has been exposed to rain or water. If the product does not operate normally when the operating instructions are followed. If the product has been dropped or the cabinet has been damaged. If the product exhibits a distinct change in performance, indicating a need of service! Adjust only these controls that are covered by the operating instructions since improper adjustment of other controls may result in damage and will often require extensive work by a qualified technician to restore the product to normal operation. Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in susceptibility to noise induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a sufficient time. The U.S. Governments Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures: Duration Per Day In Hours 2 11/1 //4 or less Sound LeveldBA, Slow Response 115

According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Ear plug protectors in the ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss if exposure is in excess of the limits as set forth above. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels such as this amplification system be protected by hearing protectors while this unit is in operation. Fuses: For continued protection against risk of fire, replace fuses only with the same type and ratings. TO PREVENT THE RISK OF FIRE AND SHOCK HAZARD, DO NOT EXPOSE THIS APPLIANCE TO MOISTURE OR RAIN. DO NOT OPEN CASE; NO USER SERVICE-ABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
IMPORTANT ADVICE ON SAFETY!
PLEASE READ BEFORE USE AND KEEP FOR LATER USE!
The unit has been built by Hughes & Kettner in accordance with IEC 60035 and left the factory in safe working order. To maintain this condition and ensure non-risk operation, the user must follow the advice and warning comments found in the operating instructions. The unit conforms to Protection Class 1 (protectively earthed). HUGHES & KETTNER ONLY GUARANTEE THE SAFETY, RELIABILITY AND EFFICIENCY OF THE UNIT IF: Assembly, extension, re-adjustment, modifications or repairs are carried out by Hughes & Kettner or by persons authorized to do so. The electrical installation of the relevant area complies with the requirements of IEC (ANSI) specifications. The unit is used in accordance with the operating instructions. The unit is regularly checked and tested for electrical safety by a competent technician. WARNING: If covers are opened or sections of casing are removed, except where this can be done manually, live parts can become exposed. If it is necessary to open the unit this must be isolated from all power sources. Please take this into account before carrying out adjustments, maintenance, repairs and before replacing parts. Adjustment, maintenance and repairs carried out when the unit has been opened and is still live may only be performed by specialist personnel who are authorized by the manufacturer (in accordance with VBG 4) and who are aware of the associated hazards. Loudspeaker outputs which have the IEC 417/5036 symbol (Diagram 1, below) can carry voltages which are hazardous if they are made contact with. Before the unit is switched on, the loudspeaker should therefore only be connected using the lead recommended by the manufacturer. Where possible, all plugs on connection cables must be screwed or locked onto the casing. Replace fuses using only those of the specified type and current rating. It is not permitted to use repaired fuses or to short-circuit the fuse holder. Never interrupt the protective conductor connection. Surfaces which are equipped with the HOT mark (Diagram 2, below), rear panels or covers with cooling slits, cooling bodies and their covers, as well as tubes and their covers are purposely designed to dissipate high temperatures and should therefore not be touched. High loudspeaker levels can cause permanent hearing damage. You should therefore avoid the direct vicinity of loudspeakers operating at high levels. Wear hearing protection if continuously exposed to high levels. MAINS CONNECTION: The unit is designed for continuous operation. The set operating voltage must match the local mains supply voltage. Caution: The unit mains switch must be in position 0 before the mains cable is connected. The unit is connected to the mains via the supplied power unit or power cable. Power unit: Never use a damaged connection lead. Any damage must be rectified by a competent technician. Avoid connection to the mains supply in distributor boxes together with several other power consumers. The plug socket for the power supply must be positioned near the unit and must be easily accessible. PLACE OF INSTALLATION: The unit should stand only on a clean, horizontal working surface. The unit must not be exposed to vibrations during operation. Keep away from moisture and dust where possible. Do not place the unit near water, baths, wash basins, kitchen sinks, wet areas, swimming pools or damp rooms. Do not place objects containing liquid on the unit - vases, glasses, bottles etc. Ensure that the unit is well ventilated. Any ventilation openings must never be blocked or covered. The unit must be positioned at least 20 cm away from walls. The unit may only be fitted in a rack if adequate ventilation is ensured and if the manufacturers installation instructions are followed. Keep away from direct sunlight and the immediate vicinity of heating elements and radiant heaters or similar devices. If the unit is suddenly moved from a cold to a warm location, condensation can form inside it. This must be taken into account particularly in the case of tube units. Before switching on, wait until the unit has reached room temperature. Accessories: Do not place the unit on an unsteady trolley, stand, tripod, base or table. If the unit falls down, it can cause personal injury and itself become damaged. Use the unit only with the trolley, rack stand, tripod or base recommended by the manufacturer or purchased together with the unit. When setting the unit up, all the manufacturers instructions must be followed and the setup accessories recommended by the manufacturer must be used. Any combination of unit and stand must be moved carefully. A sudden stop, excessive use of force and uneven floors can cause the combination of unit and stand to tip over. Additional equipment: Never use additional equipment which has not been recommended by the manufacturer as this can cause accidents. To protect the unit during bad weather or when left unattended for prolonged periods, the mains plug should be disconnected. This prevents the unit being damaged by lightning and power surges in the AC mains supply. Diagram 1 Diagram 2

[ 70 ] ToneDreams | Interview: Gundy Keller
Name: Gundy Keller Born: 1962 Family status: unmarried, one daughter Nastassja-Giulia, 16 Domicil: Aschaffenburg Passions: photography, vegetarian cooking
Interview: Gundy Keller | ToneDreams [ 71 ]
Thorndal TBJ Thorndal STC 62 N S1-Custom G&L ASAT Tele SUHR CLASSIC Strat Godin ACS-Slim Nylon Godin Acousticaster 12+Ibanez Artist Custom Epiphone Sheraton Elitist Fernandes-Sustainer Strat w. Roland VG-99,VG-8,GR-33 Roland VB-99 V-Bass Boss GT-10 Boss ME-70 Boss RE-20 Boss BD-2
Gundy Keller is a top guitarist and due to his long term engagement with Roland/BOSS is also an institution when it comes to Sound and Equipment. He talks to us about his new GK Masterclass Seminars and his own sound philosophy.
MIDI, Guitarsynth and Multi-effects are words that evoke allergic reactions with many vintage lovers. Modeling-Amp instead of a 59 Bassman? Gundy Keller is a German guitar player who not only uses digital equipment but is also engaged in its development. Born in 1962 he was already a professional musician at the age of 18 and has managed a music school for 22 years. He has been working for Roland/BOSS as a demonstrator since 1986 and assists with the development of new electronic products as well. Now with his new GK-Masterclasses, he wishes to help others who want to find the right guitar sound and give them ideas for good equipment. Gundy, recently you have started the so-called Masterclasses. Whats the idea? Many guitarists nowadays have an aversion towards electronics and complex gear but they still want a good guitar sound. During the Masterclass, when I take care of a customer for the whole day, on one hand I wish to show what they can create with their own equipment, and on the other hand I wish to show that even complex gear is not an enemy but a very handy tool. When the customer arrives he has to set up his gear and play some sounds for about five minutes. Then we can soon see or hear the problem. Besides the amp and guitar, all other gear is removed and the customer will get 8 or 9 pedals from my boutique, with which he has to create four sounds: clean, crunch, fat and lead all that a guitarist needs. It should not be the case that the sound becomes so important that one cannot concentrate on playing. Exactly. The next step is playing backing tracks. That is essential for a guitar sound. In particular Drums and Bass, and if possible loud. One cant create a stage sound when the sound is at living room level. These days people have four-channel amps and I can feel that it takes a while to balance the sound correctly. My customers have to know their amplifiers top to bottom. There are many possibilities nowadays probably too many therefore one should have a concept, what one can use and what one cannot. And thats where I can help. Yes, dont let yourself get carried away with all the stuff you can use and think you need to have! Sure, I also have an expensive Guytron Amp and old Marshalls - but I have often demonstrated the Roland Cube-80 and have been amazed at the great sounds this amp creates. Just make music and omit the components that are not useful to you. Looking for THE guitar sound is like climbing the Mount Everest. Most importantly, if your sound inspires you, it is the right sound! Which amps are your favorite? I always have to control myself not to get into an Amp frenzy; while being on tour I often have the opportunity to be able to play on cool equipment., e.g. the German Roots-Amplifiers or Divided by 13. I did purchase a Guytron FV-100, which I really love, because on one hand it has a glassy clean sound and on the other hand a nice compressed Plexi tone. For recording I still have two 78 Marshalls and a JCM800 Combo that sounds very different than expected from a Marshall. Moreover I deeply trust a Hughes & Kettner TriAmp MKII. And your favorite guitar? With my Suhr-Strat I have found the best compromise, traditional but also with Hi-Gain options. My PRS MsCarty on the other hand gives authentic Les-Paul sounds, but remains flexible because of split coils. I also love my old G&L Telecaster although I never liked Teles before as they did not produce a rock sound. Now I have to admit theres nothing better character-wise. I still dont have an ES 335, instead a beautiful Epiphone Elitist ES-style semi acoustic. And Im sure another nice les Paul and an old Strat will find their way to me sometime.

EYB-Sitar Bridge GK-ready Taylor 710 Steelstring

Furch OM-34 Acoustic

Furch MA-22 Mandolin Takamine Nylonstring
Squier 82`JV-JazzBass ESP 86`Jazz Bass

Guytron GT100-FV

Hughes & Kettner TriAmp MK II Marshall JMP Super Lead Top Marshall JCM 800 Combo Marshall vintage 4x12 Cabinet

Gundy Keller

Free yourself from perfectionism and you come back and play!
Whats your own philosophy concerning sound and equipment? Ok, Ive got quite a lot of gear here, but I always try to avoid people buying a lot of stuff. Does it help in achieving your goal? I have concluded the following: free yourself from the perfectionism of constantly optimizing your gear, and you will get back to playing music. The fingers make the tone! Thats my advice during guitar lessons. My goal is to improve the interaction between the person, his guitar and other gear, and due to my long time experience, I can often solve problems in a short time. Just to buy equipment all the time will not give the desired results. One must be willing to correctly use whats available. So, one shouldnt have fear of useful and possibly also difficult equipment, but the other hand should not be an addict to new equipment.
If it doesnt work, fix it!

www.gkmasterclass.de

Hughes & Kettner 2x12 Cabinet
Fotos: Patricia Kalisch, Svenja Dittrich, Julia Nuss, Gundy Keller

[ 72 ]

ToneDreams | Interview: Gundy Keller

ToneDreams

[ 73 ]
But you are not a real vintage lover are you? Actually I am but I have always had to invest in various areas. I have 3 older instruments, a 82 JV Squier Jazz Bass, and old JV Squier Strat and an Ibanez Artist from 77. The highest priority besides sound is good playability, good intonation and tuning stability. Vintage instruments do not always have these qualities. But the special feeling of vintage instruments is undisputable. Are you often accused of using computer and MIDI on stage? As I have been demonstrating and co-developing guitar synths and virtual guitar systems such as the VG-99, you are not always put in touch with a traditional sound. But by studying these techniques, I have been able to expand my horizon as a musician. But know the limits. Real purists
A black musician once said to me: Gundy, not bad for a white ass!
who tell me they play without effects will be asked by me to name those guitarists who they like to listen to.They mention David Gilmore, Joe Satriani, Eric Johnson or even The Edge of U2. Have they ever seen the pedal boards and amp rigs of these guys ? What is important regarding playability for you? Phasing, Dynamic, eloquence and especially Rhythm. A good guitarist has absolute control over the rhythm. And I dont mean playing just tight, but knowing when to play laid back and when not. Fortunately I started out as a drummer that gave me the basis for rhythm. For most of my life I have listened to a lot of black music and played with black musicians. One of them said Gundy, not bad for a white ass! A big compliment. What is actually your development toward the guitar? I am a total self-educator. Learning by doing! Fairly soon I entered the professional field as I had the possibility to play in a band that toured all over Germany with Thomas Gottschalk. At some gigs we played for more than 3500 people. Unfortunately the demand for rock music decreased sometime after and I set out to LA but had to experience that not everything was perfect there too. Back in Germany I established a music school and studio and realized that life was quite good in Germany. Due to the collaboration with Roland I could travel all over the world and experience amazing things, that have made me grow as a human and as a musician. Which guitarists impress you the most at the moment? David Grissom has really managed to move me. He is not a spectacular player but what he plays makes you want to pick up a guitar yourself. Another example is Carl Verheyen. One year ago I saw him play for 30 peoplea tragedy. He played such a great gig that I still have goose bumps: intelligent, entertaining and with verve. Doyle Bramhall II is also worth taking note of. The list is actually endless: Michael Landau, Andy Timmons, Scott Henderson, Joe Bonamassa, Erci Johnson, but also my buddy Thomas Blug still inspire me to play guitar. My earlier influences are Neal Schon, Peter Frampton, Kiim Mitchell, Frank Marino, the early Van Halen, Jeff Beck, Mark Farner, Pat Travers, Pat Thrall, Santana, Johnny Guitar Watson, George Benson, Johnny Winter and a few hundred more!

First Lesson of the Master Class: The customer shows how he plays with his current know-how,equipment and instrument. The desired ability is achieved by means of one on one tuition which leads to many positive experiences during the two day masterclass. Right: Gundys All-in-one workhorse BOSS GT-10.
A good guitar player has complete rhythmic control !
Finally: your favorite music anecdote. At the end of the 80s I gave a performance for Roland in Oslo. I wore Spandex trousers, had a perm and with one pose a big strand of my hair got into my mouth and got stuck in my chewing gum. There were two options: cut off the affected hair or pull them out one by one. I choose for the latter and it took me fifteen minutes on stage to get each hair out of the gum. Meanwhile I mumbled a collection of anecdotes from my musicians life into the microphone the people cracked up so hard. Michael Wagner
[ 74 ] ToneDreams | Interview: Gundy Keller
Left: From this armada of effects devices, the customer creats his dream sounds. Right: A small selection of proven classic stompboxes that have proved reliable both in live and studio situations.