OWNERS MANUAL
Head and Combo Versions:
El Diablo 60 (Head)
El Diablo 60-TS (Head – Tribal Series)
El Diablo 60-C (Combo)
CONGRATULATIONS!
Thank you for your purchase of the GENZ BENZ EL DIABLO 60. I believe you will find that this tube amp will immediately
become an invaluable tool in your quest for the best possible guitar tone. EL DIABLO’s versatile features will certainly en-
hance the feel and character of your individual playing style.
Our engineers and resident “tone staffers” have worked extremely hard to develop and build this world-class guitar amplifier
for you. Please take time to read through this manual and familiarize yourself with the features and design of your new EL
DIABLO 60.
We are proud that you’ve chosen this professional and attractive tone machine and we trust that you will discover all that it
offers.
Have fun and take it to the limit!!!
Respectfully,
Jeff Genzler
Founder/Builder/Player
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The WARM CHANNEL offers full, round pristine clean response cascading up to pushed vintage gain with warm
upper mid break-up, rich bass and abundant sustain.
The HOT CHANNEL takes you from rich classic tube break-up to full-bodied hi gain splendor. The option of a
dynamic or compressed setting insures the amplifier responds to your every touch; no squashed tone or harsh
buzziness here!!
Both channels utilize our ACTIVE TONE NETWORK for signal shaping of the guitar signal to the tube power amp.
This unique tone network is an incredible tool for enhancing your guitar tone. Each frequency offers a true +/- 15
db of cut or boost and will provide dramatic changes with just some minor adjustments. It may be very different from
your previous amps, so experiment with some moderate settings at first to gain a “feel” for how versatile a tool this
network can be.
Our GLOBAL section offers master controls of the internal Accutronics® reverb, amplifier output volume and our
unique Attack circuit that provides a wide range of variable upper mid frequency boost that enhances pick attack and
bite which is extremely effective as a lead boost and cutting through the mix.
Overall, we ask you to take some time and experiment with the many options and tonal variations that you will
discover at your fingertips within the EL DIABLO 60. Reading through the OWNER’S MANUAL will give you an
excellent baseline of knowledge and insight as to the tone you can accomplish and harness for your individual
playing style.
FRONT PANEL OVERVIEW:
1.
¼” INPUT JACK - This jack is unbalanced and high impedance to allow for the correct matching of the
instrument’s pick-ups with the input circuitry of the amplifier. The input circuitry has been carefully engineered to
minimize pick-up loading and maximize tone and sustain. This is a tube buffered input stage. This is a premium
12AX7 tube specifically selected for its low micro-phonics and high gain characteristics.
2.
GAIN CONTROL – The warm channel gain control provides a variety of gain settings, from “spanky clean”
to “pushed” vintage sustain.
3.
VOLUME CONTROL – This preamp volume controls the overall volume of the warm channel. Use this
control together with the gain control to balance out the overall output of this channel. If your channel Gain control
is set very high, we do not recommend running this control “all the way up”. Due to the tremendous gain potential in
our Tone section this may cause some unwanted distortion.
4-6.
TONE SECTION – Three tone circuits are included for the Warm channel. The bass, mid and treble
frequencies have been pre-selected in order to provide articulate, full-range tone shaping response specifically
tailored to the design of the EL DIABLO 60. As you can see, these circuits provide a huge cut or boost of 15db,
offering untold flexibility in tone shaping. Use this section with subtle changes—click by click--at first so that you can
gain a “feel” for the versatility of our tone network. We do not recommend running all tone controls at the full +15db
position. Due to the extreme gain this could cause some unwanted distortion of the network.
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7.
REVERB CONTROL – This control pot adjusts the signal send level to the on-board ACCUTRONICS® long
pan reverb. This control works in conjunction with the global reverb control and different styles of lush, or “splashy”
warm analog reverbs are possible by running the channel reverb high and the global control low and also vise versa.
Experiment with these settings to find the sound that best suits your style.
8-10. CHANNEL SELECTOR SWITCH AND INDICATOR LIGHTS – This is your channel selector switch for the
Warm or Hot channels. The placement of this switch between the channels and the bright marker LED’s clearly il-
lustrates which channel is active. This switch should be in the out position when the footswitch is used.
11.
GAIN SWITCH / CLASSIC or HIGH – This gain switch sets the gain structure for the Hot channel. Use this
switch in conjunction with the Hot channel gain control. With a little experimentation it will be easy to hear that driving
the gain control in the maximum position is not as critical as on other amps. Articulate high gain splendor can be
achieved without cranking the gain to 10. When using the footswitch this switch should be in the out position.
12.
TEXTURE SWITCH / DYNAMIC or COMPRESSED – This switch changes the character of this tube
channel. Changing from Dynamic to Compressed provides another tonal variation for the guitarist. The compressed
setting offers additional compression of the signal along with a more aggressive, overdriven character, ideal for tight
and punchy bass response. This feature is more distinctive depending upon the setting of the gain control. When
using the footswitch this switch should be in the out position.
13.
GAIN CONTROL – The Hot channel gain control provides a variety of gain settings; from a richly saturated
clean tone to fully overdriven high gain nirvana. Use this control in conjunction with the gain switch for this channel.
Lower settings will provide a less overdriven tone.
14.
VOLUME CONTROL - This preamp volume controls the overall volume of the Hot channel. Use this control
together with the gain control and gain switch to set the overall volume of this channel. If your channel Gain control
is set very high, we do not recommend running this control “all the way up”. Due to the tremendous potential gain of
the El Diablo 60 this may cause some unwanted feedback or squeal from the preamp tubes becoming micro-phonic.
15.
TUBE CONTOUR CONTROL – This is a unique circuit to the EL DIABLO design. This Contour control
adds an additional “tone stack” within the tube preamp, which interacts with and changes the loading of the tube
as the control knob is turned. When the control is left of center it produces a more midrange tone and adds a more
“vintage” character to the tone. When used from the center position to the far right it produces a more modern tone
with more bass and highs. This circuit will also interact with the Classic and High gain settings and the Dynamic and
Compressed settings.
16-18. TONE SECTION – Three tone circuits are included for the Hot channel. The bass, mid and treble
frequencies have been pre-selected in order to provide articulate, full-range tone shaping response specifically
tailored to the design of the EL DIABLO 60. As you can see these circuits provide a huge cut or boost of 15db
offering untold flexibility in tone shaping. We do not recommend running all tone controls at the full +15db position.
To avoid having the preamp tubes becoming micro-phonic and producing feedback or squeal, keep the treble and
attack features to moderate (below 2:00) settings, when using maximum gain settings at high volumes.
19.
REVERB CONTROL – This control pot adjusts the signal send level to the on-board ACCUTRONICS® long
pan reverb. This control works in conjunction with the global reverb control, and different styles of lush or “splashy”
warm analog reverbs are possible by running the channel reverb high and the global control low and also vise versa.
Experiment with these settings to find the sound that best suits your style.
20.
GLOBAL ATTACK SWITCH – Different than a presence, this unique circuit boosts a specific range of upper
mid frequencies which enhances pick attack and bite. This “frequency multiplier” circuit is extremely effective as a
lead boost and helps to cut through the mix. This circuit can be engaged in either preamp channel or gain setting
and can add a more aggressive attack to any tone setting on the amp. When the footswitch is used, this switch
should be in the out position.
21. GLOBAL ATTACK LEVEL CONTROL – This level control provides a variable amount of Attack ”boost” to
the amp.
22.
GLOBAL REVERB CONTROL – This control adjusts the level of the reverb return signal from the on board
ACCUTRONICS® long pan reverb pan. This control works in conjunction with the channel reverb send controls to
provide different styles of warm, lush analog reverb.
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23.
GLOBAL VOLUME CONTROL – This knob controls the final output stage of the amplifier and is the master
volume for EL DIABLO. It should be noted that this control is best set between the 9 o’clock and 2 o’clock positions.
Each channel volume should be adjusted accordingly to achieve the desired total amplifier output. For lower volume
settings, you can power the unit down to 30 watts with the PENTODE / TRIODE power level selector switch on the
back panel.
24.
STANDBY SWITCH – The standby switch removes the high voltage from the plate circuit of the output tubes
to protect the tubes from “cathode stripping” when first powering up the amplifier. The recommended start-up
procedure is to place the standby switch in the standby position, turn on the power switch and allow the amplifier to
warm up for at least 30 seconds before switching the standby switch to the operate position. This will help to prolong
the life of your output tubes.
25.
POWER SWITCH – This switch turns on the AC power to the amp. When this switch is turned on, power is
applied to the heater circuits of all tubes, the high voltage power supplies are allowed to stabilize and the low voltage
power supplies are energized. Power should be switched on only with the standby switch in the standby
position. Refer to #25 for information concerning the operation of the standby function.
REAR PANEL OVERVIEW:
1.
VOLTAGE CHART – Your EL DIABLO 60 is truly a “world class” amplifier. This voltage chart is provided
so that choosing the correct fusing for the desired international country is simple and accurate. The EL DIABLO’s
internal power transformer can be re-wired for 100 volt use for JAPAN.
WARNING: ONLY A FACTORY QUALIFIED SERVICE TECHNICIAN SHOULD EVER ATTEMPT THIS ALTERA-
TION.
2.
VOLTAGE SELECTOR SWITCH - This switch changes the voltage of the AC power with which the amp will
operate. 115 volts is the standard in the USA and CANADA. 230 volts is the standard for most of EUROPE and
SOUTH AMERICA. Consult the voltage chart if you plan to use this amp for a different voltage other than how it was
shipped from the factory so that the proper fuse can be inserted. The DIABLO 60 is rated for operation on both 50
Hz and 60 Hz power sources.
3.
IEC RECEPTACLE & FUSE HOLDER – The detachable power cord should be inserted here before the
cord is plugged into an AC power source. Within the bottom portion of this receptacle is a small drawer that holds
the mains power fuse. An extra fuse is included in this plastic receptacle. It may be necessary to use a small tool to
pry the small drawer open.
WARNINGS:
• NEVER OPEN THIS FUSE HOLDER WITH THE POWER CORD PLUGGED IN .
• USE ONLY THE FUSE VALUE AS INDICATED IN THE VOLTAGE CHART.
• NEVER ATTEMPT TO DISABLE THE MAINS POWER FUSE.
4.
FOOTSWITCH INPUT – This 5 pin DIN connector is where EL DIABLO’s 4-button footswitch should be
attached. A 25-foot cord is attached to the heavy-duty steel footswitch. This should provide plenty of room for the
performer to get out in front of the amp. Some internal circuitry “clicking” may be heard if the amp is on when this
footswitch is plugged in. This is normal and is actually part of the circuitry that provides the noiseless switching on
the EL DIABLO 60. NOTE: The front panel function switches over-ride the footswitch functions. The front panel func-
tion switches should be in the out position when the footswitch is used.
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5.
EFFECTS LOOP – The EL DIABLO is designed with a serial effects loop. The effects loop is a post master
section loop and is an ideal place to send the entire preamp signal out to another amp using only the send jack, or to
insert a global effect such as a compressor (serial effect) or a digital effects processor (a serial effect when used with
the processor’s own “wet/dry” mix control). The return is also a handy input for connecting the power amp stage to
the output of another preamp or signal source.
6.
LINE OUTPUT – This ¼” jack provides an unbalanced signal that is derived after the power amplifier and
output transformer. This line level output is ideal for driving a powered speaker that requires a line level input, or for
driving an additional instrument amplifier that requires an instrument level signal. This signal is frequency compen-
sated to emulate the same tone coming through the amplifiers speaker cabinet.
7.
SPEAKER OUTPUTS – These parallel speaker jacks are provided for connecting to the guitar cabinet of
choice. It is important to become familiar with using the impedance selector switch and impedance calculator so that
the proper cabinet impedance is selected for the safe and efficient operation of this high output tube amplifier. Note:
The El Diablo 60 combo version comes loaded with an 8-ohm loudspeaker.
WARNINGS:
• NEVER UNPLUG THE SPEAKER CABLE FROM THE GUITAR CABINET WHEN THE AMP IS ON!!!
• DO NOT OPERATE THIS AMP WITHOUT A SPEAKER LOAD PLUGGED INTO ONE OF THE SPEAKER
JACKS.
• THE DIABLO OFFERS SOME PROTECTION AGAINST THIS DAMAGE BUT IT IS NEVER A GOOD IDEA TO
OPERATE ANY TUBE AMP WITHOUT A SPEAKER LOAD ATTACHED.
8.
IMPEDANCE SELECTOR SWITCH – This 3 position switch is designed to easily select the appropriate
output transformer impedance tap for the desired cabinet load being used. A 16 ohm, 8 ohm and 4 ohm position is
offered. It is important to know the total impedance of the guitar cabinets being used with your amp. It is
important for amplifier performance, tube life and output transformer protection to select the correct impedance for
your chosen guitar cabinet. Consult the rear panel impedance calculator for this information.
9.
IMPEDANCE CALCULATOR – As part of making the GENZ BENZ EL DIABLO 60 both user- friendly and
convenient to use, we have included a comprehensive impedance chart so that this information is always accessible
to the user.
10. PENTODE 60/TRIODE 30 POWER MODE – This switch easily and safely reduces the output power
of the amp from 60 watts to 30 watts by changing the parameters by which the power tubes function—Pentode or
Triode. In the 60-watt PENTODE MODE the amp responds with its “spanky”, rich Clean tone and Classic overdrive
sustain, all the way into aggressive Hi Gain brutality and all points in between. In the 30-watt TRIODE MODE the
El Diablo 60 produces a more vintage, fuller, fatter tone with a more dynamic response and increased power tube
break-up with a darker complexity.
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Pentode/Triode Background Information – The native mode of virtually all power tubes in guitar amplification is
the power pentode. In a conventional pentode topology, fixed bias amplifier, the screen grid connects to the screen
supply via screen resistors and the screen potential varies (somewhat) with the audio signal thus increasing the
efficiency of the amplifying process and maintaining more controlled linear high frequency response. There is a
sonic difference that is added by these additional control elements though, and some may prefer alternate modes of
operation.
Power triodes do have a mellowness and warmth that is a desirable tonal character for many players. A true power
triode has only an anode, cathode and one control grid. Without suppressor (and beam forming) grids there is a lack
of control of the electron stream, which can cause electrons to stray from the intended path and collide with
unintentional targets. This wastes energy and thus efficiency but provides a unique tonal character that guitarists
seek. Fortunately, several methods exist that allow us to operate pentode power tubes in triode mode by fixing the
screen grid more solidly to the plate supply (with the TRIODE/PENTODE switch), effectively eliminating the screen’s
“useful” effect from the circuit. This “false-triode” mode effectively makes the circuit (including the tube itself) behave
as a power triode. The high frequency character changes, the output impedance changes, and the circuit’s efficiency
decreases just as one would expect from a power triode output circuit. This provides the mellower/darker
complexity of the amp in the Triode mode. This is a personal choice that is available to you on the El Diablo 60 and
provides you the flexibility for further experimentation in tone.
11.
TUBE BIAS SECTION – The Tube Selector switch is provided for setting the correct bias for the power
tubes used. EL DIABLO 60 ships from the factory with a matched set of Ruby Tubes™ EL 34 power tubes. The EL
DIABLO will also operate with 6L6 or 5881 power tubes. When using either of these tubes the bias should be set to
the 6L6 position. For harmonic complexity and maximum power, we recommend EL34’s. When switching the tube
types or brand of tubes, your amp should be re-biased to obtain optimum performance, tone and tube longevity.
SETTING THE BIAS – Generally your amp will only need to be re-biased if you are replacing the power tubes.
However, if you replace the Ruby Tubes® EL34 power tubes with the same brand and type having the same “PC’
number located on the label at the base of the tube then re-biasing is not necessary. To re-bias your amp you will
need a small screwdriver and a multi-meter or volt/ohm meter set to measure DC voltage. (If you do not have this
equipment, skill, experience or do not feel comfortable making these adjustments you should have a qualified techni-
cian perform this procedure.)
1.
First make sure the Tube Selector switch located in the Tube Bias section on the rear panel matches the
tube type installed. Then with the Master Volume turned all the way down turn the Power switch ON leaving
the Standby switch in the Standby position.
Set your test meter to read DC voltage. Then place the negative (black) lead of your meter into the black
Test Point located in the Tube Bias section on the rear panel. Then place the positive (red) lead of
your meter into the red Test Point. Depending on the size of your test leads you may have to hold them in
the Test Points to assure a good connection.
2.
3.
After the tubes have warmed up for about a minute turn the Standby switch to the Operate position and
read the voltage on your meter. With a small screwdriver you will need to adjust the Bias Adjust trim
pot located just above the Test Points so that your meter reads about 0.600 volts if you are using EL34
tubes and about 0.450 volts if you are using 6L6 tubes. Turning the Bias Adjust trim pot clockwise
will increase the voltage and turning it counterclockwise will decrease the voltage.
After initially setting the bias allow your amp to warm up for about 5 more minutes then retest and readjust
the bias as indicated above. Exact readings are not critical and some fluctuation is normal. Just try to get
as close to the target voltage as possible.
4.
5.
Your amp is now biased and ready to play!
Tube Bias Background Information – All amplifiers (solid-state or tube) require bias to work properly. In a single
ended amplifier, the requirements are simple in that the tube should be “biased” or operated so that with no signal
present, DC current should flow through the output stage (tube and transformer) at approximately 1/2 the maximum
design value. When the signal transitions “positive” the current increases from the quiescent position and when the
signal transitions “negative” the current decreases from the quiescent position. So you can see that if there was no
bias, there would be no quiescent current, thus no way to operate properly for the negative “going” portion of the
signal, limiting the negative side of the waveform. Too much bias would limit the amount of current you could add for
positive “going” signals, limiting that side of the waveform.
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For a push-pull output stage (tube amps), the scenario is different, since one tube amplifies the positive “going”
portion of the signal and the other tube amplifies the negative “going” portion of the signal. In fact, if the world was
perfect, we would need no bias since the positive side of zero would be handled completely by one tube and the
negative side of zero would be handled completely by the other tube. This would be the proper definition of “class B
operation”. Since tubes are not perfect devices, the transition at zero is not very linear…this is as one tube turns off,
the other tube may not be quite ready to turn on. This can lead to a discontinuity of the signal around zero which is
the worst possible place for it to occur—as it is highly audible and rather ugly sounding. The solution once again is
to bias both tubes slightly “on” to allow for a more graceful handoff between the positive and negative sides of the
signal, called “AB operation”. This is done by adjusting the bias just enough to achieve the necessary results. Too
much bias and current will be wasted as heat dissipated within the power tubes and output transformer greatly
shortening your power tube’s useful life. Too little bias may give the amp a cold, grainy texture.
WARNINGS:
·
·
·
·
POWER TUBES BECOME VERY HOT DURING AND AFTER BEING USED.
NEVER CHANGE THE POWER TUBES UNTIL THEY HAVE COOLED FOR AT LEAST 15 MINUTES.
NEVER CHANGE THE TUBES WITH THE AMP ON!!!
DANGEROUS AND/OR LEATHAL HIGH VOLTAGES ARE PRESENT INSIDE THE AMPLIFIER CHASSIS.
REFER ALL SERVICING TO QUALIFIED SERVICE PERSONS.
SPEAKER CABINET (combo version)
• The El Diablo 60 combo’s enclosure is constructed from ¾” birch plywood in a rear-ported cabinet design. This
helps to support the low frequency response of the internal loudspeaker.
• The loudspeaker is our GBE 1240-V75 loudspeaker—the same model used in our popular GFLEX cabinets.
• The combo offers a removable back if desired but we recommend keeping the back attached for the full response
of the El Diablo 60’s brute force.
GETTING STARTED:
• Since your EL DIABLO 60 ships with all tubes installed and the amplifier fully tested, biased and burned-in at the
factory, the user set-up is quite simple.
• Un-box your EL DIABLO and verify that the AC input voltage selector switch matches the power in your area.
• Verify that you have the correct mains cord-set for your area. This piece of information is primarily for our
international customers who may have a choice of power receptacles in their country.
• Make sure to send in your warranty registration card.
• Read your owner’s manual. There is valuable information and safety tips in this manual and the knowledge you
learn here will translate into enjoyable quality tone for years to come.
OPERATING EXAMPLES:
The sample settings that follow are intended as guidelines and a starting place to help you explore all the tones your
new El Diablo has to offer.
Ultimately, your guitar, pickups and technique will have a tremendous effect on your tone; adjust these settings to
suit your own unique style. Please remember though, your El Diablo has a highly reactive EQ section. The controls
have detents to encourage the player to use subtle adjustments. You will be amazed how a “few clicks” will change
the tone and feel of your amp.
DROP TUNING
(Pentode Mode)
High gain, modern metal
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INDUSTRIAL
(Pentode Mode)
Tight grind with edge
CLASSIC EDGE “BROWN” SOUND
(Pentode Mode)
Need we say more?
HI-GAIN BRITTISH STACK
(Pentode Mode)
“BLACK MAGIC WOMAN”
(Triode Mode)
(Triode Mode)
Warm and vocal solo time
BLACK FACE WARMTH
Setting is very touch sensitive-Dig in for a nice break-up
CRUNCH RHYTHM
(Pentode Mode)
Turn up the master for tons of bark and grind
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TEXAS THING
(Pentode Mode)
Big and gritty
HOT BLUES
(Pentode Mode)
Expressive lead tone with gain clarity
WOOLY BLUES
(Triode Mode)
Great vintage blues overdrive
WARM JAZZ
(Pentode Mode)
(Pentode Mode)
SPANK & SPARKLE
Add a touch of reverb for a Chicago blues tone
SPECIFICATIONS: (All Models)
TUBE COMPLIMENT (as shipped):
1 ea. 12AX7CZ (Tesla/JJ) - Input Buffer and Hot Channel Gain
2 ea. 12AX7AC4 (Ruby Tubes™) - Warm and Hot Channel Preamp Tubes
RATED OUTPUT POWER:
2 x EL 34 power tubes: Pentode 60 watts / Triode 30 watts
2 x 6L6 power tubes: Pentode 50 watts / Triode 25 watts
POWER CONSUMPTION:
350 watts max.
FUSES:
Main power fuse (rear panel): 3 amp Slo Blo (100v, 115v), 1.5 amp Slo Blo (230 v)
Power tube heater fuse (internal): 3 amp Slo Blo
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CHANGING TUBES:
Always use caution when changing tubes. The power switch on the amplifier should be turned off and the power
cable unplugged from the source.
CHANGING POWER TUBES - The tubes should be cool. When changing the power amp tubes slip off the spring-
loaded silver tube retainer and carefully work the tubes out of the ceramic socket by pulling down while rocking
the tube slightly and gently. When re-installing power tubes, note that both the tube base and the pin positions are
“keyed” to the socket. Make sure that you seat the tube base properly in the socket and carefully push it tight into
the socket. Confirm that the BIAS SWITCH is in the correct position for the type of power tubes being used.
CHANGING PREAMP TUBES - The tubes should be cool. Each preamp tube is secured with a special tube retainer
that keeps the tube seated properly and also helps to counter-act unwanted tube micro-phonics. A small Phillips
screwdriver will be needed to unscrew the round tube retainer. After this retainer has been removed, rock the tube
slightly and gently while pulling up on the tube and remove it carefully. When re-installing preamp tubes, note that
the pin positions are “keyed” to the socket. Make sure that you seat the tube pins properly in the socket and care-
fully push it tight into the socket. Reattach the round tube retainer. Make sure the rubber grommet inside the tube
retainer securely holds down the preamp tube.
Important note: It is critical to the optimum performance of the El Diablo 60 that a premium high grade
12AX7 tube is used for the first tube in the signal chain (located directly behind the input jack). This tube
must be selected for its very low micro-phonic content in order to minimize high gain feedback or squeal in
the Hot channel when using maximum gain settings at high volumes.
OUTPUT TUBE BIAS – Refer to the Tube Bias Section listed previously in this owner’s manual.
WARRANTY AND SERVICE INFO:
THREE YEAR LIMITED WARRANTY
TRANSFERABLE
Genz Benz Enclosures warrants the El DIABLO 60 to be free from defects in materials and workmanship, for a
period of 3 years from the date of purchase, when purchased from an authorized Genz Benz dealer. Tubes are
warranted for a period of 6 months from the date of purchase.
This warranty does not cover wear and tear incurred from the normal designed use of the product.
This warranty is only effective if a copy of the original sales receipt is presented at the time of warranty service.
This limited warranty is completely transferable to any subsequent buyer as long as the original sales receipt is
transferred to such subsequent buyer. See your warranty card for all details.
ALL WARRANTY SERVICE MUST BE PERFORMED BY A GENZ BENZ AUTHORIZED SERVICE CENTER. Before
returning any unit to the manufacturer for service, a RETURN MERCHANDISE AUTHORIZATION (RA#) must be
obtained by calling 480-941-0705.
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Declaration of Conformity
(89/336 EEC-EMC Directive)
Manufacturer’s Name:
Manufacturer’s Address:
Genz Benz, a division of Kaman Music
7811 East Pierce Street
Scottsdale, AZ 85287, U.S.A.
Product Type:
Audio Amplifier
Model Number:
ELDIABLO60, ELDIABLO60-C, ELDIABLO60-TS
115/230 V, 50/60 Hz
Operating Power Condition:
Effective Date:
01-01-2006
Conforms to the Following Standards:
[X] EN 55013: 2001 + A1: 2003
[X] EN 55020: 2002 + A1: 2003
[X] EN 60065
[X] IEC 61000-3.3: 1994 + A1: 2001
[X] IEC 61000-4.2
[X] IEC 61000-4.3
[X] IEC 61000-4.4
[ ] FCC 47CFR Part 15-B, Class B
[X] RoHS Directive 2002/95/EC
[X] WEEE Directive 2002/96/EC
[X] CE Mark LV Directive 73/23 EEC
7811 E. Pierce Street, Scottsdale, AZ 85257
PH: 480-941-0705 FAX: 480-946-2412
A Kaman Music Company, Bloomfield, CT
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