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ZENAMP-MANUAL
ENGLISH
2.0 AMP MODELS
Note that Fender, Marshall, Vox, Mesa Boogie, Roland and other names of
amp models and effects are the trademarks of their respective owners, and
that they are in no way connected to or affiliated with Hughes & Kettner.
Any mention of these brand names and trademarks serve merely purposes
of explanation to describe sounds generated by Hughes & Kettner’s pro-
prietary Dynamic Sector Modeling technology.
You can select from among 16 different models of amps - herein called amp
types - by rotating the zenAmp's AMP TYPE knob. Every amp type has a
distinctive sonic personality. In addition to vintage milestones that literally
made amp history, the zenAmp also offers emulations of some con-
temporary amps. In the following, we'll take a quick look at each amp type.
BLACK FACE (based on a Fender Twin)
This American beauty is the definitive amp for classic clean tone. Although
you'd be hard-pressed to drive it into the distortion zone, its big sound and
enormous punch left an indelible mark on several of styles of music - it even
helped shape certain playing techniques. This piece of gear has won friends
and influenced people far and wide, from funk rhythm kings to jazz masters,
from blues howlers to country pickers.
Note that the BRIGHT function found on the original is integrated into the
zenAmp's GAIN knob. GAIN settings of up to 5.0 (12 o'clock position) elicit
that characteristic treble boost of the original's BRIGHT switch. The top end is
not boosted at higher settings.
TWEED DELUXE (based on a Fender Deluxe)
The kid brother of the big tweed amp, its raw, throaty textures are held in
high esteem by connoisseurs of vintage grit. A purist's dream come true, its
simple yet brilliant circuitry delivers earthy, fat tweed tone unrivalled by any
other amp. The original was equipped with just one tone knob, so we
elected to assign a sound-shaping functionality to the 3-band EQ and the
PRESENCE knob for this emulation. This gives you a lot more musically
meaningful tweaking options without sacrificing the tone that makes this
amp type so special.
TWEED 4x 10 (based on a Fender Bassman)
The ultimate vintage blues amp revered by almost all historic greats of the
genre, it still spells bliss for many a modern-day blues blaster. The breadth
and depth of its dynamic range and its fat, expressive lead tone are what
made it famous. From squeaky clean to a throaty growl and all points in
between, this amp puts meaning into the phrase "living on blues power."
BRIT CLASS A (based on a VOX AC 30)
The amp for classic guitar-driven pop and rock. Judging by the many stellar
songwriters who appear on its reference list, this amp would undoubtedly be
the hands-down winner in a poll of song-smiths. Unarguably, its EL84-loaded,
Class A power amp delivers the sweetest harmonic distortion of all tube
amps. And its flexible tone controls with the legendary Cut and Top Boost
circuits elicit chiming, sparkling sounds as well as fat lead tone. Cranked
wide open, it also delivers gritty, roots rock-approved goods.
Note that the zenAmp's PRESENCE knob takes over the CUT function. The Top
Boost circuit is integrated into the MID knob, which is handy because this lets
you dial smoothly rather than switch hard from Normal to Top Boost mode.
HOT CLASS A (based on a VOX AC 30)
This is specially tuned version of the above amp. In the past, only a handful
of hot-rod specialists who are very handy with a screwdriver have been able
to conjure up something similar to this sound. Our nickname for this sound is
Black + More. Does that ring any bells? ‘Nuff said.
CALIFORNIA HOT (a zenAmp special)
Using only the finest ingredients from the tube amp cookbook, our sonic
sous-chefs whipped up a very special soup du jour: fat, creamy lead tone
with a Californian nouvelle cuisine flavor unrivalled by any other series-made
amp. Best of all, it takes just a twist of a knob to dial in this tasty sonic treat
on the zenAmp and savor the rewards of modeling technology.
PLEXI 50 (based on a Marshall PLEXI, 50 Watt)
This British EL34-powered classic made music history. Many a genre-defining
steel-string slinger wielded its considerable sonic clout to leave an indelible
mark on the face of modern music. With its hair-trigger response, the PLEXI
will do exactly what the position of your guitar's volume knob tells it to. Turn
the volume down low, and you get fat, clean tone with shimmering top end.
As you crank the knob, you can hear that vintage rock roar unfold.
PLEXI 100 (based on a Marshall PLEXI, 100 Watt
The PLEXI on steroids, this 100-watt sensation literally rocked the late '60s and
continued to dominate the heavy rock scene throughout the '70s and well
into the '80s. A staple of innumerable rock productions, this amp's dynamic
response made it the tool of choice for many an audio alchemist. Indeed, it
can be said with some authority that this beast's big, cutting sound defined
what great rock tone is all about. It will also make you the object of fear and
loathing in your neighborhood, because you won't feel the full fury of its
sonic assault until you crank it to the hilt.
HOT PLEXI (based on a Marshall PLEXI, 100 Watt)
The name says it all: This is what you get when a genuine guitar gear guru
hot-rods a PLEXI 100: the ideal sound for those who like it hard & heavy,
late 80s style.
BRIT HI GAIN (based on a Marshall JCM 2000)
A logical outgrowth of the razor-edged sound of British steel, this amp
delivers gear-grinding overdrive and meltdown lead sounds with truckloads
of sustain and in-your-face punch. The tone controls are tweaked to deliver
the response of a modern-day boutique amp, adding many shades and
hues to your sonic palette. Less subtly, its scooped mids elicit a merciless
metal edge, while its over-the-top high end has been rumored to peal paint
at a hundred paces.
BRIT ULTRA GAIN (based on a Marshall JCM 2000)
What do you get when you unleash a horde of engineers brandishing
screwdrivers - wild-eyed men who have spent far too much time in the lab -
on an unsuspecting British amp? A snarling beast with a sound hot enough
to roast weenies on. And, frankly, the result is awe-inspiring - the fattest and
most creamy lead sound imaginable.
RECTIFIED (based on a Mesa Boogie Triple Rectifier)
This amp's peerless tone is the product of three rectifier tubes. A real
firecracker, it throws red-hot sparks of distortion for a fresh, dynamic tone.
With its fat, bad and downright angry overdrive, this amp can take on many
guises. Playing a key role in the rise of grunge in the '90s, it has since
become the tool of choice for New Metal merchants. And with good
reason, for few other amps can match its intensity and depth of musical
expression, particularly for soloing.
WARP (based on a Hughes & Kettner WARP 7)
Welcome to the seventh circle of sonic hell. If the descriptive adjective of
choice for the RECTIFIED model is "bad", then the WARP is downright evil. This
amp was designed specifically to do the sound, vibe and feel of detuned
guitars justice. If you like your tone best when it comes wrapped in a hard
and heavy package sound with enamel-blistering bottom end, this model is
just what the doctor ordered. On the grounds of its ability to deliver every-
thing from an intimidating rumble to a malicious roar, there is plenty of
justification for calling the WARP 7 the prince of darkness among amps.
ACOUSTIC AMP (based on a Hughes & Kettner Montana)
This is the DSM version of the Montana, Hughes & Kettner's proprietary
acoustic amp.
JAZZ CLEAN (based on a Hughes & Kettner ATS 112)
With the debut of the ATS series back in the '80s, Hughes & Kettner ushered in
the great era of hybrid amps. Wedding the advantages of tube technology
to low-cost solid state engineering, the ATS 112 - particularly its clean
channel - soon became the darling of many jazz guitarists. As a unique
feature, it sported a volume knob with an integrated compressor (!) that
made for a very warm sound replete with oodles of sustain.
JC CLEAN (based on a Roland Jazz Chorus)
The forebear of this model was esteemed for its crystal-clear sound. Note
that when you crank the treble knob, in addition to a generous helping of
top-end shimmer, you are adding the kind of punch known to part hair at 50
paces. Conversely, when you back off the treble knob, you get a very soft
and round jazz tone.
ZenAmp_BDA_1.5 26.11.2001 16:07 Uhr Seite 7