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REBEL-30 OVERVIEW
Rebel: One who opposes or disobeys authority or control.
Rebel-30: The Rebel-30 head is an extention of the award-winning
Rebel-20 head, adding a whole new level of flexibility and tone-shaping
power. These 30-watt all-tube, 2-channel heads feature Egnater’s
unique TUBE MIX knob, giving you access to an incredible variety of
tones, from American to British and all points in between. Channel 1
delivers rich cleans with controls for volume, treble and bass. Channel
2 dishes out powerful, touch-responsive overdrive with treble, middle
and bass EQ, as well as a wide-range gain knob that takes you from
growl to scream. Both channels feature Egnater’s signature BRIGHT
and TIGHT switches and each channel has its own WATTS knob so you
can access both low-wattage crunch and serious clean headroom, or any
combination you choose.
The REBEL-30’s specially designed and easily accessible back panel
holds more welcome surprises, such as independent REVERB controls
for each channel and a tone-preserving series effects loop. A speakeremulated
line out lets you go directly to the board live or in the studio.
Set the standby switch to ‘Silent Record’ for great direct-recorded tones
that spare both your ears and your neighbors. And the easy-access chassis
makes swapping tubes quick and painless. The REBEL-30 is also
available as a 1x12” combo with the same dimensions as the REBEL-
112x cab and as a 2x12” combo. Both include a dual-function footswitch
for channel selection and reverb on/off.
REBELLEN-30 OVERZICHT
Rebel: wie zich of disobeys gezag of controle verzet.
Rebellen-30: Hoofd rebellen-30 is een extention van met een prijs bekroond Rebellen-20 een geheel nieuw niveau van flexibiliteit toevoegt en toon-vormt hoofd, dat macht. De deze 30 watts alle-buis, 2 kanaal hoofden kenmerkt Egnater de unieke knop van de MENGELING van de BUIS, die u toegang tot een ongelooflijke verscheidenheid geeft van tonen, van Amerikaans aan Britten en alle punten ertussen.
Kanaal 1 levert rijken schoon maakt met controles voor volume, drievoud en baarzen.
Kanaal 2 schotels uit krachtige, aanraking-ontvankelijke overdrive met drievoudig, midden en basEQ, evenals een knop van de breed-waaier aanwinst die u van neemt gegrom aan schreeuw. Beide HELDERE handtekening van Egnater van de kanaleneigenschap en de STRAKKE schakelaars en elk kanaal hebben zo zijn eigen knop van WATTS u kan zowel tot kraken met weinig watt als ernstige schone vrije hoogte, of om het even welk toegang hebben combinatie u kiest.
Het in het leven geroepen en gemakkelijk toegankelijke achter paneel van rebellen-JAREN '30 speciaal houdt meer welkome verrassingen, zoals onafhankelijke controles REVERB voor elk kanaal en een toon-bewarende lijn van reeksgevolgen.
A speakeremulated de lijn laat uit u rechtstreeks naar de levende raad of in de studio gaan. Plaats de reserveschakelaar aan Stil Verslag `' voor grote direct-geregistreerde tonen die reserveonderdelen zowel uw oren als uw buren. En de gemakkelijk-toegangschassis maakt snel het ruilen van buizen en pijnloos. Rebellen-30 zijn ook beschikbaar als 1x12“ combo met de zelfde afmetingen zoals de REBEL 112x cabine en als 2x12“ combo. Allebei omvatten een dubbel-functie footswitch voor kanaalselectie en reverb on/off.



1) STANDBY SWITCH: In the cen­ter (STANDBY) position, the Rebel is warmed up and ready to go instantly when switched to PLAY or SILENT RECORD. Move the switch to the PLAY position for live performance. The SILENT RECORD mode is a great feature that allows you mute the speaker output(s) and automati­cally connect the internal load resistor. This lets you to record directly from the RECORD LINE OUT on the rear without having to listen to the speaker(s). Perfect for late night recording when the family is asleep
2) PILOT LED: Cool blue color.
3) TUBE MIX: This is one of the neatest features on the Rebel 30. Inside the amp you will find a pair of EL84 tubes AND a pair of 6V6 tubes. This unique knob allows you to select a tone with a more “British bark” by rotating the knob all the way to the EL84 side. Setting the knob all the way clockwise brings out the smoother, creamier tone of the 6V6 tubes. If that alone wasn’t enough, you can also blend the tubes together for a unique combina­tion of the two giving you a tonal range not found in other amps.
Note: When the knob is all the way to the EL84 or 6V6 end of the control, the maximum power output is about 20 watts. Setting the control around 12:00 creates a unique mix of the tubes and also ups the power to 30 watts.
4) CHANNEL 1 WATTS: This knob lets you adjust the actual power output on CHANNEL 1 from 30 watts for maximum headroom all the way down to 1 watt for a lower volume, squishier feel. This is cool if you are looking for a little more power amp breakup.
Note: Keep in mind, especially when playing live with the band, your amp will only go as loud as your power setting will allow. If you find you need to be louder, be sure to increase the WATTS knob instead of the volume. If you have the WATTS knob too low, turning up the VOLUME control will only result in more distortion, not more volume.
5) CHANNEL 2 WATTS: Same as CHANNEL 1 WATTS but only affects CHANNEL 2. How cool is that? You can set each channel’s power individually! Try turning down the power on CHANNEL 1 for a bit of classic breakup when pushed and set CHANNEL 2 for maximum power and definition.
6) VOLUME CHANNEL 2: Adjusts the overall loudness of the overdrive channel.
7,8 & 9) TONE CONTROLS FOR CHANNEL 2: The Rebel overdrive channel features the passive tone control circuit similar in design to the one found in many classic British amps. The range and feel of these controls should be famil­iar to most players and makes it really easy to dial in great tones with minimal knob “twiddling”.
10) GAIN CHANNEL 2: The gain con­trol adjusts the amount of overdrive (dis­tortion). You’ll find the control “comes on” rather slowly to make it easy to zero in on just the right amount of moderate breakup. Past about 1:00, the gain really ramps up quickly and moves into serious high gain territory. As always, lower settings of the gain control will result in a tighter, more defined sound. Higher gain settings are more fun and make an amp easier to play but can get more compressed and muddy.
11) CHANNEL 2 BRIGHT: Just as you expect, the up (BRIGHT) setting of the switch boosts the high end. Do experi­ment with different combinations of the BRIGHT switch ON and TREBLE down compared to the TREBLE turned up and the BRIGHT switch off. You will find that with the BRIGHT ON and TREBLE down, the sound will be a little less midr­angy compared to the BRIGHT OFF and TREBLE turned up.
12) CHANNEL 2 LED: ON indicates CHANNEL 2 is active.
13) CHANNEL 2 TIGHT: This switch is really useful for tightening up the low end, especially when using a lot of gain. It works by cutting the deep bass at the beginning of the high gain preamp. Set­ting the TIGHT switch up will result on a clearer, less muddy distortion.
14 & 15) TONE CONTROLS FOR CHANNEL 1: Once again, the familiar passive tone control circuits from the clas­sic amps we all love. This channel can be very warm and friendly, like a great old vintage combo, or crystal clear and glassy for a pristine clean sound. Just turn the knobs to find your tone, it’s in there.
16) CHANNEL 1 VOLUME: Sets the overall loudness of CHANNEL 1. Remem­ber what we said earlier about the interac­tion between the VOLUME control and the WATTS knob.
17) CHANNEL 1 BRIGHT: Same as CHANNEL 2. Adds high end sparkle. Experiment with different combinations of the TREBLE knob and the BRIGHT switch.
18) CHANNEL 1 TIGHT: Same effect as CHANNEL 2. The tight (up) position cuts out the deep bass to better balance the tone with different guitars. TIGHT will also help clean up the low end if you are crank­ing the VOLUME knob up and overdriv­ing the channel.
19) CHANNEL 1 LED: ON indicates CHANNEL 1 is active.
20) CHANNEL SELECT: A pushbutton switch to select CHANNEL 1 or CHAN­NEL 2. NOTE: This switch is disabled when using the footswitch.
21) GUITAR INPUT: Plug your guitar in here using a high quality, shielded instru­ment cable.
FINDING THE SOUND YOU WANT!
Below are some suggested knob settings to get you started. Keep in mind these are merely suggestions. You are encouraged to experiment to find “your tone”.
A TIP FOR GETTING THE MOST OUT OF YOUR REBEL-30
The less gain you use, the tighter and more defined your low end will be.
TUBE MIX KNOB: We did not include suggested settings for the TUBE MIX because it is truly up to you as to what sounds best. Experiment with different TUBE MIX settings to find “your sweet spot”. Keep in mind turning the knob more towards the EL84 will sound a bit more aggressive while the 6V6 setting will tend to be smoother.



ACHTERKANT



1&2) EFFECTS 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 shouldn’t “mess” with your tone. The input and output levels must be properly set for maximum headroom and lowest noise. Proper setting of the levels can be achieved using the fol­lowing method:
a) 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.
b) Adjust the effects unit input level to “just peak” while playing your most aggressive licks.
c) Now connect another high quality shielded cable from the effect output to the return jack.
d) 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 of the return jack while playing and verifying there is no substantial volume difference. This is called “unity gain”. A cool “techie” phrase for “you get out what you put in”. If your effects gadget does not have level controls, it can be assumed you will get unity gain when plugged in.
NOTE: Depending on how loud you play, the level at the loop may be higher than normal guitar level. Though many floor type and tabletop effects may work, some may tend to overload. You will know an effect is not made for higher levels if, when you plug it the effect into the loop, you notice distor­tion and/or a loss of volume. Most modern effects (including many pedals) can operate just fine in an effects loop. We have gone to great lengths to make the Rebel loop compatible with as many different effects gadgets as pos­sible.
3&4) REVERB LEVELS: These controls allow you to add any amount of reverb to each channel individu­ally. The Rebel 30 reverb has a unique feature we call “spillover”. Most amps with separate reverb knobs for each channel simply switch controls when changing channels often causing either an abrupt cutoff of the reverb tail or a swell in the reverb level before decay­ing away. The “spillover” feature al­lows the reverb to decay naturally even when switching channels.
5) RECORD LINE OUT: This is a balanced cabinet simulating output designed for silent direct recording or as an alternate to placing a microphone in front of the speaker for live sound or recording. The frequency response curve of this output very closely mimics the sound of a mic’d speaker cabinet. The RECORD LINE OUT is always on when the STANDBY switch is in the PLAY or SILENT RECORD mode. It is OFF in the standby (middle) position. With the STANDBY switch in the SILENT RECORD setting (down), an internal load is active along with the RECORD LINE OUT to allow the all tube power amp to be safely operated.
CAUTION: In the PLAY mode, you MUST always have a speaker connected to the MAIN speaker output jack.
6) IMPEDANCE SWITCH: Set this switch to match the impedance of the speakers. The proper setting for the Rebel 30-1x12 combo is 16 ohms. The setting for the Rebel 30-2x12 combo is 8 ohms.
The correct setting for the IMPED­ANCE switch, when in the SILENT RECORD mode, is 16 ohms for the Rebel-30 1x12 and 8 ohms on the 2x12 to properly match the internal load impedance. These settings are the same as for the internal speakers.
7) MAIN SPEAKER OUTPUT: Labeled “USE FIRST” because you must….use this jack first. There is a special circuit in the Rebel 30 that helps protect the amplifier from dam­age in case you forget to plug in a speaker and try to play the amp. As we all know, NEVER operate any tube amp without a proper speaker load connected! The exception would be the Rebel 30 combo only when used in the SILENT RECORD mode. This would be the only instance where it is OK to use the amp with no speaker connected.
8) EXTENSION SPEAKER: Used for connecting an external speaker along with the internal combo speaker(s). Since the MAIN speaker output is labeled “USE FIRST”, you can assume the EXTENSION speaker output would be “use second”. See the chart later in this manual for proper set­ting of the IMPEDANCE switch when using extension speakers.
9) FOOTSWITCH: Plug the supplied Rebel 30 pedal in here for remote con­trol of the channel selection and reverb on/off functions.
10) 315mA FAST BLO FUSE: This fuse is to protect the internal ampli­fier circuits against damage that can be caused by a shorted output tube. In case of a power tube failure, this fuse will blow and there will be no sound. If the amp appears to be “lighting up” normally but there is not output, check this fuse. If it is blown (open), this indicates on or more output tubes has failed and must be replaced.
Use the troubleshooting method be­low to determine if a power tube has shorted.
a) Turn the power off.
b) Set the TUBE MIX control to the 12:00 position.
c) Allow the power tubes to cool and remove the two 6V6 tubes.
d) Install a new 315mA FAST BLO fuse in the holder.
e) Place the STANDBY switch in the standby (center) position
f) Move the STANDBY switch to the PLAY position.
g) If the amp makes sound and the tone is normal, this is a clue that one of the 6V6 tubes is bad.
h) If the 315mA fuse blows, one of the EL84 tubes is bad.
i) Next, turn the power OFF again and allow the tubes to cool.
j) Remove the EL84 tubes and reinstall the 6V6 tubes.
k) Turn the power back ON while in the STANDBY mode.
l) Move the Standby switch to the PLAY position.
m) If the 315mA fuse does not blow, the 6V6 tubes should be fine.
n) If the fuse does blow, one of the 6V6 tubes is shorted.
o) Replace the bad PAIR of tubes with a same rated pair from Egnater (1-877-EGNATER) and you will be fine.
NOTE: This is a useful trouble shooting technique if you are on the job and your amp dies. Once you deter­mine which pair of tubes is bad, you can safely operate the amp with only the remaining good pair until you can get the amp properly serviced. Obvi­ously you must at least carry extra 315mA fuses in order to do this. Spare tubes would also be a really good idea.
11) AC VOLTAGE SELECTOR: Makes the Rebel 30 compatible with the line voltage in any country. Proper setting of this switch is absolutely critical. Be sure the switch position matches the line voltage in your coun­try. Severe damage will result from improperly setting this switch and will void your warranty, as well as destroy­ing your amp.
12) AC INLET & FUSE: Connect a universal IEC type power cord. Be sure the proper value fuse is installed that matches the ratings for your country as indicated on the rear panel.
13) AC POWER SWITCH: Turns the main power on/off.



TECH NOTE #101 WATTS vs VOLUME and other stuff….
There is some confusion about the relationship between watts and volume (loudness). There is much discussion about how this many dB is twice as loud as that many and that many dB is double the power and blah blah…… lot’s of techie rambling but no real world explanations. I’ll try. Let’s say you have a guitar amp with a knob to adjust the power (watts). Now say this amp is 20 watts at its maximum power setting and 1 watt at the lowest knob position. It would be reasonable to assume that 20 watts should be loud enough to play with the band and 1 watt would be whisper volume. Anyone who has had the op­portunity to test this theory has found quite the contrary. 20 watts through a reasonably efficient speaker is quite loud. 1 watt through the same speaker is also quite loud. What’s up with that? Have you ever seen the specs for a 12” speaker? A typical guitar speaker will produce about 95 to 100dB at 1 meter (about 3.3ft) with 1 watt of input power. Now put 2 or 4 of that same speaker in a cabinet and the output is even higher. What this is saying is that even with a mere 1 watt of power, that speaker will put out the volume about equal to a per­son yelling. Obviously not “TV watch­ing” volume. To obtain that whisper volume, you might need as little as 1/10 of a watt but…….at that low a volume, most guitar speakers start to sound ter­rible. In addition, there is a phenomenon that occurs with human hearing that is documented by Fletcher and Munson (two really smart guys) that graphs the way we hear things at different volumes. Look it up on the internet. The Fletcher/Munson curves show how our ears, at lower volumes, are less responsive to low and high frequencies. That means the quieter you play, the more we tend to want to boost the bass and treble to compensate for our own hearing. Ever seen the “loudness” contour switch on a home stereo? That is what the switch does. It boosts the treble and bass to make it sound better quiet. On a guitar amp you often find knobs for boosting the low and high end in the power amp section. Typically these controls are called Presence for the high end boost and Resonance or Depth or Density (Eg­nater) for the low end. At low volumes you typically turn those controls up but the louder you play, the more you find you need to turn them down. Fletcher/Munson again.
Because we make guitar amps with variable power (Rebel) and switch­able power (Tourmaster and Modular), we get inquires about this all the time. Often players will use one of our amps and it appears that the power cut feature doesn’t do much. Please allow me to explain.
Let’s say you are playing an amp at home or in a music store at relatively low volume. Recall what was said ear­lier about how little power it really takes to get a fairly loud volume. If you’re playing quiet, you might be using even less than 1 watt to obtain the loudness you’re at. If you have a chance, try this on a Rebel. Play fairly quiet and turn the WATTS knob from 20 watts to 1 watt. What do you hear? Very little change! Why? Because at that volume you prob­ably are not even using up 1 watt let alone 20 watts. Sort of like driving a car at 5MPH. It doesn’t matter if the engine is a 100HP or 500HP, you are still only going 5MPH and using very little HP to maintain that speed. Same with your amp. To cruise along at low volume requires very little power (watts). Hav­ing the extra horsepower (watts) doesn’t make the amp louder when you play at low to medium volume.
Now try this with your Rebel. Set the power to 20 watts, turn the master full up and turn up the gain knob until you start to hear some distortion. It will be loud. While you’re playing turn the WATTS knob down. You will clearly hear and feel the way less power creates a spongier, lower volume tone. Some players are saying the knob isn’t really cutting the power but is reducing the headroom. Call it what you will, the re­sult of reducing power is more of a “feel thing” than a volume thing. Ultimately the idea is to set it to where you like the sound and be happy…..play your guitar.
While we’re on the subject of the Rebel, there has been some talk about how, when panning from the 6V6 tubes to the EL84 tubes, the tone difference is not what some expected. It is believed that by simply changing power tubes you can make a Fender (6L6 power tubes) sound like a Marshall (EL34 power tubes) or a Vox (EL84 power tubes). What you are hearing in the Rebel when you go from 6V6 to EL84 is the real differ­ence in the sound of those two types of tubes. It may not be quite as dramatic as many believe but that is the reality of it. The tonal difference between vari­ous types of tubes is more subtle than many believe. A few people have even been disappointed when using the TUBE MIX features because their expectations of what should happen were really not based in fact. The intangible charac­teristic is the change in “feel” between different types of tubes. These subtle differences do become more apparent at higher volume when the power tubes are “pushed” a little more into overloading. What you are hearing in the Rebel is “the truth” about power tubes.
TECH NOTE #102 Sound dispersion
Ever wonder why your 4x12 cabinet sounds better when you stand off to the side? Did you consider why the pros mic a speaker from the edge instead of in the center? Ever have people in the audience tell you your guitar tone is really loud and shrill but it sounds great to you on­stage? This is a result of the directional­ity of loudspeakers. Speakers inherently do not project all frequencies equally. As the frequency increases, the dispersion decreases. In non technical terms, this means the higher you play on your guitar neck, the more directional your sound will be. By nature, speakers tend to be somewhat non-directional at lower fre­quencies. This means you can stand off to the side of your cabinet and you will hear basically the same bass and lower mids as your audience is hearing right in front of your speakers. On the other hand, and this is where the trouble starts, higher frequencies tend to “beam” from the speaker. While you are standing off axis from your cabinet (not directly in front of it) you are hearing an even bal­ance of lows, mids and highs and feeling pretty pumped about your awesome tone. Unfortunately, unbeknownst to you, the listeners directly in front of your cabinets are being killed by the high end that is “beaming”. FYI, contrary to what one might deduce, having more speak­ers in a 2 by 2 arrangement, as in a 4x12 cabinet compounds the problem and makes the beaming even worse. Next time you play take a moment to walk from side to side and squat down in front of your speakers. You will be amazed at the difference between listening off axis (to the side) and listening on axis (directly in front). Have you ever seen a band in a small place where you are hearing the stage volume and wonder why the guitars sound so bright? Doesn’t that guitar player hear that obnoxious high end? That knucklehead must be deaf!?!? More likely he is standing close to his cabinets and all that high end is just blowing past his/her legs so he/she doesn’t even hear it.
OK..so now I’ve pointed out how we’ve all been playing for years believ­ing everyone in the crowd thinks our tone is as awesome as we think……or is it? Great, so what can you do about it? The key is to place your speakers so you are hearing the same thing as everyone else. If you can get the cabinets far enough behind you, you probably will pretty much hear everything just fine. If that is not possible, try placing the cabinets pointing across the stage side­ways instead of forward at the audience. At least then you will only be killing your other band members instead of the audience. Chances are you often want to kill the drummer or bass player anyway, right? The best thing you can do is to tilt your cabinets so that they are pointed at your head. I guarantee you will set your controls way different from what you normally do.
There are a number of possible op­tions to combat the beaming problem. A few companies make a solid disc that you install in front of the speakers to help disperse or attenuate the high end. These discs have met with some suc­cess though they do introduce some phasing issues. Also, because there is a solid piece in front of the speaker, if one places a microphone in front of the disc (which happens quite often at shows), it can sound weird because the disc is altering the sound into the mic. There are some other smart people attempting to address the problem. Most involve using some form of foam piece in front of the speakers. The method we find works best for both live, and when placing a mic in front of the speakers, utilizes a sound absorbing 4” x 1” foam disc placed on the back side of the grill cloth directly in front of the speaker. The discs are made of an acoustical foam material that attenuates the beaming highs instead of blocking them.
I’m always surprised whenever this subject is discussed and many guitar players make the statement “I hate the way my guitar sounds when I stand in front of my speakers”. The answer is not to simply stand off to the side so it only sounds good to you because everyone else is still hearing the sound that you hate. Remember why we play music? It is for others to enjoy. We should always make a conscious effort to think about what the audience is hearing, too.
FEATURES & SPECIFICATIONS*
REBEL-30 112 & REBEL-30 212


Impedance Switch Settings When Adding an Extension Speaker
4 OHM EXT 8 OHM EXT 16 OHM EXT
REBEL-30 112 SET TO 4 OHMS SET TO 8 OHMS SET TO 8 OHMS
REBEL-30 212 DO NOT USE SET TO 4 OHMS SET TO 4 OHMS
Power Output: 30 watts maximum into 4, 8 or 16 ohms
Master TUBE MIX
Silent Mode with Direct Record Out
Buffered Effects Loop
4/8/16 ohm Impedance Selector Switch
International Voltage Selector
Rebel 30 1x12 speaker - One Egnater Elite 80
Rebel 30 2x12 speakers - One Egnater Elite 80 and One Celestion Vintage 30
Clean Channel:
Volume, Treble and Bass
Tight and Bright switches
1 to 30 Watts Control
Reverb Level with “spillover”.
Overdrive Channel:
Gain, Treble, Middle, Bass and Volume
Tight and Bright switches
1 to 30 Watts control
Reverb Level with “spillover”
Tubes:
Five 12AX7
Two EL84
Two 6V6
Dimensions:
Rebel 30 112 18.5”W x 15.5”H x 12.75”D
Rebel 30 212 26.0”W x 21.0”H x 12.75”D

• Features and specifications are subject to change without notice.

LIMITED WARRANTY
Thank you for choosing Egnater. Egnater manufactures some of the world’s most innovative all-tube amplifier, combos and speaker cabinets. Egnater takes great pride in thoroughly testing each product prior to shipment.
AMPLIFIERS, COMBOS AND SPEAKERCABINETS: Egnater offers a three (3) year warranty to the original purchaser that an Egnater product will be free from defects in material and workmanship. A dated sales receipt will establish coverage under this warranty. This warranty does not cover service or parts to repair damage caused by accident, neglect, abuse, normal & wear, disaster, misuse, abuse, over-powering, negligence, inadequate packing or shipping procedures and service, repair or modifications to the product which have not been authorized or approved by Egnater. If this product is defective in materials or workmanship as warranted above, your sole remedy shall be repair or replacement as provided below.
TUBES: Egnater warrants the original purchaser that the tubes used in an Egnater amplifier/combo will be free from defects in material and workmanship for a period of 90 days from the original date of purchase. A dated sales receipt will establish coverage under this warranty. This warranty will automatically terminate 90 days after the original retail sales date. This warranty is in lieu of all other expressed warranties. If tubes fail within the 90 day warrant period your sole remedy shall be replacement of tubes as provided below.
RETURN PROCEDURES: In the unlikely event that a defect should occur, follow the procedure outlined below. Defective products must be shipped, together with proof of purchase, freight pre-paid and insured to the Autho­rized Egnater Service Center or directly to Egnater. If a product must be returned to Egnater for warranty replace­ment/repair, a Return Authorization Number must be obtained from our Customer Service Department prior to shipping the product.
Please contact our Customer Service Department for the Authorized Egnater Service Center nearest you. Products must be shipped in their original packaging or its equiva­lent; in any case, the risk of loss or damage in transit is to be borne by the purchaser. The Return Authorization Number must appear in large print directly below the shipping address. Always include a brief description of the defect, along with your correct return address and telephone number.
When calling to inquire about a returned product, always refer to the Return Authorization Number. If Egnater de­termines that the unit was defective in materials or work­manship at any time during the warranty period, Egnater has the option of repairing or replacing the product at no additional charge, except as set forth below. All replaced parts become a property of Egnater. Products replaced or repaired under this warranty will be returned via ground shipping within the United States-freight prepaid. Egnater is not responsible for costs associated with expedited shipping, either to Egnater or the return of the product to the customer.
INCIDENTAL OR CONSEQUENTIAL DAMAGE: In no event will Egnater be liable for any incidental or consequential damages arising out of the use or inability to use of any Egnater product, even if an Egnater dealer has been advised of the possibility of such damages, or any other claim by any other party. Some states do not al­low the exclusion or limitation of consequential damages, so the above limitation and exclusion may not apply to you. This warranty gives you specific legal rights and you may also have other rights which may vary from state to state.
FOR YOUR PROTECTION: Please complete and mail the Purchase Information Card within (10) ten days of the date of purchase so that we may contact you directly in the event a safety notification issued in accordance with the 1972 Consumer Product Safety Act.
CUSTOMER SUPPORT: Our dedicated staff is ready to help you with any warranty or product questions you may have. Please call 1-877-EGNATER (9:00AM to 4:00PM Pacific Standard Time).