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20120525 18:58:44.4080|Info|Applications::GetAllPositivo() 13Thread: 9 Callsite: Common.Win32.Applications.GetAllPositivoUpdater.Update => Updater.Upda on page three of this manual for more detailed instructions.FOOTSWITCH IN: For channel selection. Use the EGNATER pedal or any midi controller.THRU: Passes the signal from the IN jack for controlling other devices.AC INLET: Accepts a standard IEC power cord. Remove the fuse holder and insert so that the arrow points to the correct voltage. Be sure to use the propervalue fuse as indicated.PAGE 1SPECIAL NOTES:PROGRAMMING CHANNELS:The MOD50 comes preprogrammed with the four sounds (two per module) corr
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esponding to buttons one through four on the EGNATER pedal or program patch numbers one through four on a midi controller. This can be easily changed. To do so,simply select the desired program or patch number on your pedal. Next, select the module/channel using the CHANNEL button. Now press and hold the CHANNEL button for three seconds. The channel on LEDs will flash indicating the new setting is now stored. This can be repeated for up to 128 midi patches.PHANTOM POWER:9VAC@1amp power is supplied to the pedal through the7 pin FOOTSWITCH IN jack. The power is active on pins1 & 6 and 3 & 7. Please refer to your midi pedal manual to verify your pedal iscompatible with the supplied power.MASTER DENSITY AND PRESENCE:These knobs provide BASS and TREBLE boost in the power amp section of the MOD 50. Similar in effect to the loudnesscontour on your home stereo, at low volume, fullness and clarity is enhanced. These powerful controls should be usedsparingly at high volumes. At higher volume, if overused, the sound can get muddy or brittle. Tighter, punchier bass will be achieved with the lowest possible settings of the density control.STANDBY/HILO POWER SWITCHThis three position switch on the MOD50 performs two functions. It actsas a conventional standby switch. In the center position, the power tubes are warmed up and ready to play. The other two positions set the maximum output power.In the left (low power) position, the output power is approximately 10 watts. This is great for a softerfeel at lower volumes. In the right (high power) position, the full power of over 50 watts is produced for maximum punch and headroom. When playing at moderate volumes, you may not notice much difference between thelow and high power settings. This is because, even though you may be switched tothe low power, 10 watts is still quite loud, especially through an efficient speaker cabinet. To really hear the difference, you must play loud enough to actually use upthe 10 watts. Play the amp fairly loud and clean on the high power setting. Then switch down to low and you will immediately hear (and feel) the difference. You may notice that the low power setting may even appear to be louder tha
n the high power. This is because when the tubes are biased towards Class A, asin the low power mode, the power amp will have more gain. Dont confuse this withpower. This is normal. It is still only 10 watts.PAGE 2MOD50Effects Loop Operation The Egnater effects interface is the most versatile loop system you will find anywhere. There are two totally independent, tube buffered loops, each optimized for specific applications.Series Loop:Basically an insert patch point. When an external effect is patched into the series send and return jacks, the path is interrupted and 100% of the signal is routed through the effect. This puts some special demands on the effects unit. It must be essentially transparent, meaning it shouldnt messwith your tone. The inputand output levels must be properly set for maximum headroom and lowest noise andit needs to operate at line level. Proper setting of the levels can be achievedusing the following method.Set your amp/preamp volume levels for normal playing levels. Connect a high quality shielded cable from the series send jack to the effect input.Adjust the effects unit input level to just peakwhile playing your most aggressive licks.Now connect another high quality shielded cable from the effect output to the re
turn jack.Adjust the effects unit output level to the match the volume you heard before connecting the return cable. You can check this by pulling the cable in and out ofthe return jack while playing and verifying there is no substantial volume difference. This is called unity gain. A cool techiephrase for you get out what you pin.Parallel Loop:This is a more specialized loop. It has the advantage of maintaining your dry signal (it doesnt mess with your tone), while allowing you to mix in the amount ofeffect you want. The MOD100 parallel loop is a bit different than most. Typically, parallel loops found on guitar amplifiers have a wet/dry mix control that turns down the dry signal (messing with your tone) while simultaneously turning upthe effects level. The MOD100 parallel loop is unique in that it never messes with your dry tone. It simply mixes in the amount of effects using the effect knobon the front panel, much like the effects buss on a mixing console. The directsignal remains unaltered and the effects are simply mixed back in. There are a f
ew basic rules that must be adhered to. This also puts some limitations on the uses for the parallel loop.Your effects unit must be set for 100% wet. This means to set the mix levels onthe effect so that there is no dry signal passing through the unit. Think of themixing console again. You would not want to have any dry signal going through the effects buss because you would then be mixing in not only the effect but alsothe unwanted dry signal that comes out of the effects unit. This can even be detrimental to your tone because the dry output signal of many effects units is out of phase with the input. Consequently, as you turn up the effects return knob,you may actually be mixing the ickyout of phase signal back in with your awesomedry signal andyou guessed it.messing with your tone. Often loops on guitar amps a
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re said to suck tone. This tone suckingis more likely caused by improperly settingthe effects mix than the loop design.PAGE 3Effects loops continued:Now lets address the specific uses, advantages, disadvantages and limitations ofeach loop.The series loop, by nature of the fact that it breaks the direct path and processes 100% of the signal, makes it so that essentially any line level gadget willwork. You can use echo, reverb, noise reduction, tremolo, equalizers etc in thisloop. Remember to follow the procedure for setting for unity gain.Advantages are:Works fine with just about any effect.No special requirements, other than the unity gainsettings, are needed.Basically Plug and Play.Disadvantage is that your entire signal passes through the effects unit and maymess with your tone.The parallel loop, on the other hand, has more limited uses but has the distinctadvantage of not messing with your tone. This loop is ideally suited for what are called time based effects. This includes echo, reverb, chorus, flanging. Thesetypes of effects work in parallel with your direct signal (think about the mixeragain). Now the bad newsremember the dry signal is always present. You cannot use effects that require processing 100% such as equalizers, noise reduction/gates, tremolo or compressor/limiters.Advantages are:Doesnt mess with your tone.Easy to adjust the effects level with the front panel knob.Disadvantage is the limited uses and may require reprogramming your effects unit.Special Notes:A concern is the fact that many multieffects units have a combination of all ofthe different effects. This means, using the parallel loop, you must be aware of which effects can and cant be used. For ease of operation, we recommend using the series loop if you intend to use a mix of different time basedand nontime based effects in one unit.Both loops are designed for line level operation. Though some floor type and tabletop effects may work, the loops are designed basically for rack mount type effects units. Not guitar level floor pedals. You will know an effect is not madefor line level if, when you plug it into the loop, you notice distortion and a loss of volume. If you do experience a distortion problem with effects, this canoften be remedied by reducing the master controls on the modules and increasingthe main master setting.PAGE 4Power Tube Bias:What is bias? Simply put, it is a circuit inside the power amplifier section tha
t controls the idle currentthat flows through the power tubes. Much like the idlespeed on a car. There is an optimum setting where the engine (amplifier) is running (idling) fast (hot) enough to keep it from stalling (distorting) but not too fast (hot) to cause excessive wear and overheating. Get it?Why dont all amplifiers have bias or idle current adjustments?Most do have some provision for that but typically involve removing the amp chassis from the box, exposing you to very dangerous high voltage. Special test equipment and knowledge of amp circuits and tubes is also needed. Not a skill most musicians possess and shouldnt need to.Why would I want to adjust the bias?All power tubes are different. They each have unique sonic and electrical characteristics. The MOD50 amplifier is designed to accept a variety of different tubetypes. EL34, 6L6, 5881, 6CA7 and 6550 are among the possible choices. Because they are all different, each requires different bias settings for safety, reliability and optimum performance.Please read the following instructions on how to use this cool feature.You will need a decent quality digital voltmeter capable of measuring in the 100to 200 millivolts DC range. This is a very basic type of meter available at anyelectronic supply house or Radio Shack. They typically cost anywhere from $10 t
o $25, about the cost of one bias adjustment from your local amp tech.You will also need a small, flat blade screwdriver to turn the adjustment control that is recessed inside the grommet on the rear panel.Turn the amp on, standby switch in the HIGH POWER position. All controls all theway down. Turn the meter on and set for reading DC millivolts. Consult the meter instructions for how to do this properly. Since all meters are different it isextremely important that you thoroughly understand what you are looking at on the meter display.Insert the black (negative) test lead into the panel hole labeled COMMON.Each tube has its own fuse, tube failure indicator and test point.First step is to insert the red (positive) meter lead into the TUBE 1 test pointhole.With your flat blade screwdriver, turn the BIAS ADJUST control to obtain a correct reading from the chart below. Write down the reading. NOTE: The bias adjustment control is active ONLY in the HIGH POWER mode.Now move the red meter lead to the other testpoint. The reading should be within +/ 3mVDC of the reading from the previous tube. This would be considered a matched pair. If you find a difference in readings of more than 4mVDC between thetwo, this would be an indication that the tubes may not be closely matched. This is not a confirmation of defective tubes and is not a cause for alarm. Rather
it is simply that the tubes may not be perfectly matched and, consequently, youmay not achieve maximum performance.RECOMMENDED BIAS SETTINGS6L6/5881 28mV to 35mVEL34/6CA7 32mV to 40mVE34L/E34Ls 35mV to 42mV6550 35mV to 45mV6V6 (JJ ONLY !!!!!!!!!!!) 18mV to 22mVDisplays differ from one meter to the next. Some may indicate, for example, 30.0for 30 millivolts. Others may show .030 for 30 millivolts. Knowing how your meter works if of the utmost importance.You should always check the bias readings whenever you replace output tubes andreadjust if needed. Since weve made it so simple, there is no reason to not do it.PAGE 5Additional features of the POWER TUBE BIAS SECTIONFast Blo fuses. One per output tube. In the event of a power tube failure, the corresponding fuse will open protecting the amp from additional damage and effectively removing the failed tube from the circuit. A red LED next to the fuse willindicate that the fuse is blown. The amp will continue to function, only with much reduced performance. If this happened in the past, you would need to take th
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e amp to a repair shop. They would then hold it for ransom while you figured outhow to raise enough money to pay them to fix it. No more. The amp will now tellyou if there is a shorted output tube and which one it is! With the power off,simply remove the power tube and replace the indicated fuse with a FAST BLO 400mA or 315mA. NEVER EVER use anything but a FAST BLO 400mA or 315mA fuse. If you do have the misfortune of blowingan output tube, we strongly suggest replacing thepair. Remember, your amp will only perform as well as your weakest tube. You should always carry spare power tubes, fuses, a flat blade screwdriver and your voltmeter with you. If a tube fails at a gig, you could be back up and running ina matter of minutes. You wouldnt drive your car without a spare tire, right? Trythat with any other amp. Do service the amp as soon as possible, of course. Foroptimum performance, we recommend replacing power tubes in matched sets.Advanced theory (for those who care):Those of you with electronic knowledge may notice we are referring to current draw but are making measurements in millivolts. Ohms law states that I=E/R or current (I) equals voltage (E) divided by resistance (R). Inside the amp are one ohmresistors in the cathodes of the output tubes. The external test points allow access to those resistors. When you measure across those resistors at the rear panel test points, you are reading the DC voltage drop across a one ohm resistor.Referring to ohms law, if R=1 in the formula, then I = E or current equals voltage. So when you read for example, 30mV you are also seeing the equivalent valueof current or 30mA.WARNING: DO NOT be tempted to run your tubes hotter than the maximum values in the chart. You may find it sounds really cool as you destroy your expensive tubesand possibly damage your amp, of course voiding your warranty! Also, in case you havent found out the hard way yet, power tubes get extremely hot (as high as 800 degrees)!!!! NEVER touch the tubes while the amp is on. Always allow at least
5 minutes for the tubes to cool before touching them after turning the amp off.Internal DIP switch settings:Inside the MOD 50 chassis, you will find a dip switch for setting up the midi/channel switching parameters. The amplifier is shipped set up to receive program change data on midi channel one. This setup is compatible with most standard setups. Should you have some specialized needs, the following paragraphs should provide the information you need.The MOD 50 readsthe DIP switch positions only on power up. Whenever a change is made to any dip switch, the MOD 50 must be powered off and back on to readthe change.DIP SWITCH SETTINGS:Using a pen or similar pointy device, move the eight small switches ON or OFF according to your specific needs. See below for the switch functions.EMBED CorelDraw.Graphic.7
PAGE 6Internal dip switch settings cont:S1 through S4 are used to set the midi channel (1 16) that the MOD50 will receive data on. See the chart below.CHAN.S1S2S3S41OFFOFFOFFOFF2ONOFFOFFOFF3OFFONOFFOFF4ONONOFFOFF5OFFOFFONOFF6ONOFFONOFF7OFS5 is used to activate the omnimode. Omniis a special mode that allows the MOD50 o receive data on all 16 midi channels simultaneously. Turning the omni mode onoverrides S1 through S4. Set actuator 5 down to turn the omnimode on or up for off.S6 is the Program change enablefunction. This is the most common mode of operatio
n that allows the M4 to receive program change (patch) commands from your midi controller. Set this switch down for on or up for off.S7 is the Controller data enablefunction. Activating this mode allows the MOD50 to respond to instant access data from midi controllers. Below are the note / controllernumbers that will turn on the modules.Note Module#56 1A#57 ... 1B#58 2A#59 2B#60 3A#61 3B#62 4A#63 4B#64 MUTE ALLS8 has no function at this time.PAGE 7END"#%*01>O\]_ij~ uoaSaB4h']B*CJOJQJphff!h,h_mYB*CJOJQJphffhYB*CJOJQJphffh_mYB*CJOJQJphff
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