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The
Basic Black's tone-shaping section, including the Aural Enhancer
(found in all SWR Preamps and Integrated Amplifiers) and the
Tone Controls, will not impose a character on your sound. They
will instead make the interface between your instrument and
the speaker system, the two biggest factors in your final tone,
a simple matter and a minimal effort. The center frequencies
of the Tone Controls were chosen for their musical effect on
most basses.
The
Basic Black speaker system features a single die-cast frame
(as opposed to the more frequently found stamped frame) 15 inch
bass driver from Professional Audio Systems coupled with a piezo
tweeter for frequencies above 5KHz. The cabinet is constructed
from 3/4" Douglas fir and 7-ply birch.
We
truly hope that the Basic Black helps bring out the best in
your playing and adds to the enjoyment of your profession.
EVERY
BASIC BLACK FROM SWR IS ENTIRELY ASSEMBLED BY HAND IN CALIFORNIA.
AT LEAST 75% OF OUR COST IN RAW PARTS ARE MADE IN CALIFORNIA.
TRULY "HAND MADE IN THE U.S.A."
SPECIFICATIONS
- ELECTRONIC
Note: All measurements were taken with
a line voltage of 120V AC. Maximum power at 1KHz under clipping:
120
Watts RMS @ 8 ohms
160 Watts RMS @ 4 ohms
*current limited at 2 ohms for thermal stability.
*160 Watts RMS @ 2 ohms
Power
Amp Distortion (1KHz)
0.05% THD at rated output, 8 ohms
Intermodulation Distortion @ 8 ohms,
100 Watts RMS, 60/7KHZ, 4:1, = 0.11%
Frequency Response (power amp): -3db at 10 Hz and 30KHz
System
Distortion (Gain and Master Volume full, enhancer and tone controls
set flat,
1KHz) 0.175%THD
Sensitivity
(for full output @ 8 ohms, 1 KHz)
Passive Input Jack = 10 millivolts
Active Input Jack = 50 millivolts
Input
Impedance
Passive Input Jack = 800K ohms
Active Input Jack = 60K ohms
Effects Return Jack = 27K ohms
Output
Impedance
Effects Send Jack = 100 ohms
Tuner Out Jack = 100 ohms
Signal
to Noise Ratio, unweighted
-70db (10 millivolts typical, mostly hum)
Equivalent
Input Noise
3.2 micro-volts
CABINET/SPEAKERS
Size: 22.75" wide X 20.5" high X 16.5" deep
Weight: 50 lbs.
Impedance: 8 ohms
15" Woofer
2" edgewound copper voice coil; die cast frame with bolt
on magnet; 150 Watts RMS power handling capacity; custom designed
and hand made in the U.S.A. for SWR by Professional Audio Systems
Tweeter
Inductive type piezo crossed over @ 5KHz
Cabinet
Construction
Interlocking dado, glued and nailed using 3/4" Douglas
fir
TOP
PANEL FEATURES
INPUT
JACKS
PASSIVE:
This input can be used if your instrument has passive electronics
(no built-in preamp). Some pickups, such as EMG, etc., employ
batteries for operation and will work perfectly using this input.
Technically speaking, this input should be used if your instrument
has an output voltage of 1 volt RMS or LESS. Consult your owner's
manual or ask the manufacturer if you are unsure.
NOTE:
Generally speaking, you should try the Passive input jack first.
Some built-in preamps, such as those made by Bartolini and Music
Man, can be used with this input depending on their internal
gain settings. If you hear a small amount of distortion and
neither the Preamp Clip LED or the Power Amp Clip LED are activated,
try using the Active input jack. And please note, some passive
pickups DO distort. If you would like to overdrive the first
TUBE stage, this can be done by using a preamp between your
instrument and the Passive input. To obtain optimum sound when
trying this, make sure the Preamp clip LED is not activated.
If this occurs, turn down the Gain control. The first preamp
stage is NOT monitored by the Preamp clip circuit for this reason.
ACTIVE:
The Active input jack should be used with instruments having
a built-in (on-board) preamp that will produce signals over
1 volt RMS. Known basses that should use the Active input only
are the Kubicki X-Factor and some Ovation electrics. Some really
"hot" pickups installed in your instrument may find
the Active input more compatible. The best judge is your own
ears.
NOTE:
Using the Active input with passive basses may result in a loss
of high-end transients. Players who roll off their high-end
starting at around 2K to 3KHz may find this input more to their
liking.
If
your hear some distortion from your active bass and are using
the Active input jack, CHECK YOUR BATTERY!! Also, make sure
none of the overload indicators are lit.
PREAMP
CLIP LED: The Preamp Clip LED will
light whenever the Preamp, Tone section or output buffer reach
clipping (run out of headroom). This function DOES NOT monitor
the first tube stage of the Passive input jack (see that section
for more info). In the event the Preamp clip indicator lights,
turn down the Gain control. Since the Preamp Clip also monitors
the Tone section, boosting any one of the tone controls can
cause the LED to activate. Again, turn down the Gain control
if this happens.
PREAMP
CLIP LED:
NOTE: Constant clipping of the preamp
will not harm the electronics in your Basic Black. However,
damage can occur to speakers due to near-DC content present
in a clipped waveform. Overdriving the first tube stage as described
in the Passive input jack section does not apply to the above.
GAIN
CONTROL: The gain control adjusts
the volume of the preamp section. After the Tone controls, Aural
Enhancer and any effects you may be using have been set to your
liking, the Gain control should be set to where the Preamp Clip
LED barely flashes upon hitting your loudest note. After setting
the Gain, use the Master Volume to set the desired volume level.
Using these controls in this manner assures the maximum signal-to-noise
ratio with no distortion caused by the preamp circuits clipping.
Since the Gain
control is similar to a "pad", a small amount of signal
will get through with the Gain control turned all the way down.
AURAL
ENHANCER: The Aural Enhancer was developed
to bring out the fundamental low notes of the bass, reduce certain
frequencies that can "mask" fundamentals and enhance
the high-end transients. The effect becomes more pronounced
as the control is turned up. The result is a more transparent
sound. Listening to a passive bass with the control set all
the way down, and then turning it all the way up, can be likened
to listening to the bass suddenly become "active".
TONE
CONTROL SECTION
The
Basic Black's Tone Control section is a three-band set of level
controls centered around the frequencies 80 Hz (Bass), 800 Hz
(Mid Range) and 5KHz (Treble). Each control can cut or boost
its band a maximum of 15dB. Each control has a flat (center
click) position that defeats its function. In this position,
the tone controls are inactive.
For
each tone control, rotating the knob counter-clockwise from
the center "click" position will reduce or cut its
designated frequency. Rotating the knob clockwise will boost
its designated band or frequency.
EFFECTS
BLEND: The Effects Blend control mixes
the signal coming from your instrument with the sound coming
from your effect. With the Blend control fully counter-clockwise,
no signal from your effect will be heard. As you turn this control
clockwise, more of the effect can be heard in the overall sound.
When the Blend control is fully clockwise, no dry or unaffected
signal is heard other than the output of your effect device.
This
type of control and patching arrangement is very effective in
reducing noise caused by effects devices and in maintaining
a more natural sound. If your effects device has a similar control,
we suggest leaving it set to its maximum effect/minimum dry
signal position and using the Effects Blend control for this
function. Please read the "Effects Loop" section for
more information.
MASTER
VOLUME: The Master Volume adjusts
the signal level going to the power amplifier. It DOES NOT control
the output of the effects send jack or Balanced Direct Record
XLR output. It DOES affect the output of the extension speaker
jack. If the Power Amp clip LED lights more than occasionally,
turn down the Master Volume control to correct this condition.
POWER
AMP CLIP LED: The Power Amp Clip LED
will light when the internal amplifier reaches clipping (runs
out of headroom). Although no harm will come to the electronics
due to the power amp clipping, continual clipping of the power
amp will shorten the life of the internal (or any) speakers
and could cause speaker failure. SPEAKERS
THAT HAVE FAILED DUE TO CONTINUOUS CLIPPING OF THE POWER AMP
WILL NOT BE COVERED UNDER WARRANTY! Occasional clipping
of the power amp (no more than every fourth or fifth note) will
not harm the internal speakers. Turning down the Master Volume
control will correct this condition.
EFFECTS
LOOP: The Effects Loop is located
POST EQ and PRE Master Volume in the signal path. The level
appearing at the Send jack is controlled by the Gain control
on the top panel. If you are getting too hot a signal to the
input of your effect, reduce the level of the Gain control and
raise the level of your Master Volume control to retain similar
overall volume levels. By using the Gain, Master Volume and
Effects Blend controls, optimum performance should be easily
obtainable with any effects device.
The
Effects Loop is designed as a "sidechain" (parallel)
function similar to those found on mixing consoles. Use of the
Effects Loop should greatly reduce noise generated by effects
devices (as compared to in-line effects loops). Additional features
of this type of loop can be found below under the Receive jack
section.
SEND:
Run a shielded patch cable from the Send jack to the input of
your effects device. This jack may be used as an additional
line level output, in which case its level is determined by
the setting of the Gain control.
RECEIVE:
Run a shielded patch cable from the output
of your effects device to the Receive jack.
One
unique feature of the Receive jack is the ability to practice
along with pre-recorded music. Insert a sound source into the
Receive jack (make sure it is a mono source). Use the Effects
Blend control to mix the level of the recorded music with your
instrument's level. The combined signal will be heard from the
internal speakers.
NOTE:
Inserting a plug into the Receive jack activates the Effects
Blend control, which receives this "command" through
the ground created by the insertion of a plug in the jack. Therefore,
best performance can only be obtained using a mono (2-conductor)
phone plug. If you have a stereo (3-conductor) plug only, tie
the ring and the sleeve (ground) together.
If
you are not getting any "effect" through the speakers,
check the position of the Effects Blend control.
REAR
PANEL FEATURES
POWER
SWITCH: Pressing the Power Switch
to the ON position activates the Basic Black's electronics as
indicated by the red LED on the top panel lighting.
A/C
LINE FUSE: The line fuse can open
(blow) due to power surges or high power line transients. This
fuse will also open in the event of an electronics failure inside
your amplifier. Correct size and rating of the Line (Mains)
fuse: 3AG, 3 amp slo-blo for 120V operation, and 1 1/2 amp slo-blo
for 240V operation.
A/C
LINE CORD RECEPTACLE: Accepts a standard
A/C power cable (supplied with the Basic Black), used with almost
all current musical, professional and household electronic devices.
We recommend taking great care when packing up. Put the cable
in your instrument case, accessory case, etc. If it does become
misplaced, replacement will be easy at almost any appliance
store, super market or the like. But
PLEASE
NOTE: the rating for this cable is 3-conductor, 10 amperes.
This is a rating of the current capacity of the cable, designated
for higher power-drawing devices like amplifiers. If replacement
is necessary, or if you wish to buy a longer cable, look for
the rating on the cable and be sure it is at least 10 amps.
SPEAKER
FUSE: This feature is provided to
protect your speakers in the unlikely event of a power amp failure
or your power amp from bad speakers or their respective cables.
This fuse can open (blow) if your amp is on and you are playing
while plugging in an extension speaker cabinet. This is because
the power amp is momentarily shorted out to ground. Always check
this fuse first if no sound is coming from your cabinet. Correct
size and rating of the speaker fuse is: 3AG, 8 amp, fast blo.
(3AG = fuse size, amp = current capacity).
EXTENSION
SPEAKER: Use an unshielded 2-conductor
cable with phone plugs (NOT A GUITAR CORD!) to connect additional
speaker cabinets. Use a high quality, heavy gauge cable of at
least 18 gauge (the lower the gauge, the heavier the cable).
The impedance of the speaker(s) can be either 4 or 8 Ohms. If
you wish to connect two additional cabinets be sure their combined
load impedance is not below 4 Ohms (equivalent to two 8-Ohm
speakers connected in parallel).
Recommended
extension speaker cabinets for the Basic Black manufactured
by SWR are the Basic 2-Way, the Triad and the Goliath II.
TO
TUNER INPUT: The To Tuner Input jack
allows the user to connect their instrument tuner to the Basic
Black without having to unplug and go back and forth from amp
to tuner to amp. This feature is totally isolated from the rest
of the amp and will function regardless of the settings of the
controls on the top panel. Being on a sidechain (isolated) also
avoids loading down of the instrument causing a loss in its
dynamic range.
To
use this feature, plug in a shielded patch cord from this jack
to the INPUT of your tuning device. Turn the amp on and you're
ready. If you don't want to monitor your sound while tuning,
turn down the Master Volume control.
BALANCED
DIRECT RECORD OUT: The Balanced XLR
output is true balanced 600- ohm output. It is the equivalent
of an ACTIVE TUBE DIRECT BOX, and no top panel controls affect
its signal. When using this output for recording, optimum results
can be achieved by driving the tape machine's input direct.
This should always be tried; however, its output level may be
too hot for some tape machines.
This
output is also suitable for sending a signal to a house mixer
in live situations.
Wiring
for the XLR connector is as follows: Pin 1 = ground, Pin 2 =
+, Pin 3 = -
(American standard)
USING
THE TONE CONTROLS
To
get the most out of the Tone Controls of your Basic Black, it
would be best to first understand how the Aural Enhancer works,
and how it interacts with the Bass, Midrange and Treble controls.
Think of it as a variable tone curve, changing with its position.
As you raise the control from its "0", or fully counterclockwise
position, you are elevating the whole range of sound (lows,
mids, and highs) at frequency points different than those selected
for the individual Tone Controls. This remains true up to about
the "2 o'clock" position, at which point the mids
start to drop off. The curves involved here are gentle, as opposed
to the very extreme curves you can create with the Tone Controls.
Most significantly, the Aural Enhancer will raise the low end
at a point lower than the Bass control itself. For a "normal"
bass (4-string), the Bass control itself will suffice. For the
5- string player, the Aural Enhancer will help bring out the
fundamentals of your instrument, in the 30-60 Hz range. Discretion
should be used when doing this with a Basic Black with no extension
cabinet. True low fundamentals (one of the sonic signatures
of all SWR amplifiers) require lots of headroom and air motion.
It is for this reason that we recommend that 5-string players
use an extension cabinet to increase the power output of the
amplifier and get more air moving.
The
Bass control itself, as stated above, works in a range that
will be useful under most "normal" conditions. Its
musical use might be thought of as a "fatness" control.
Leaving the Aural Enhancer in a position lower than 12 o'clock
will not boost the extreme bottom so much as to make indistinct
the working of the Bass control. The overall "punch"
of your instrument, from your low E-string on up about two octaves
(midway up the G- string), will be determined with this control.
With passive instruments, this will be straightforward. With
active instruments having bass-boost controls more exploration
will
be worthwhile. (Some active tone circuits have boost-cut controls
such as Tobias, Sadowsky, etc. Others such as Music Man, are
straight boost controls).
The
Mid Range control operates in a crucial area for most instruments.
Many basses, particularly with roundwound strings, can have
a very "honky", or nasal, sound. Dropping the Mid
Range control can go a long way toward smoothing out your tone.
We suggest, though, that what sounds best when your listening
to your tone by yourself may not be what works best in a band
or recording. Sometimes that objectionable quality may be just
the right "hair" on your note to still have an audible
presence in the track or on stage.
The
Treble control operates in a tonal area that extends through
and beyond the usual Treble control range. It may be thought
of as a "Transparency" control (it functions similarly
to the option which we offer on our SM-400 amplifier; over time,
we have found this approach to result in a more musically useful
"treble"). Boosting the control will open up the sound
of a dull instrument, particularly in conjunction with the piezo
tweeter in the Basic Black's speaker complement. However, this
is also the range of string rattle, finger slides, pickup clicks,
etc. Again, we recommend you experiment with the control alone
with your instrument while finding your tone, and listen again
in a band context, both near to and away from the Basic Black.
Qualities like punch, fatness, presence and bite can be fairly
well spread out. Treble, despite the broad dispersion of the
piezo tweeter, is a very directional quality. Spend some time
exploring what you can hear in this area as you move around.
In
the prototyping stage of the Basic Black we were asked why we
didn't include an attenuator for the tweeter. The Treble control
operates in the same frequency range as the tweeter, and can
thus be used as a level control for it, in effect reducing the
Basic Black's output in that tonal region rather than the tweeter
itself, accomplishing the same function.
CAUTION!
The expanded metal grill that covers and protects your speakers
has extremely sharp edges. If, for any reason, you intend to
remove the grill, use a pair of pliers or an equivalent to lift
the grill out after removing all the retaining screws.
When
installing the grill, try and use the exact same screw holes
as previously used to prevent any future "air leaks".
You
may be interested to know that we have used a "powder coat"
technique for the painting process on the grill. It is very
hard and weather resistant and will keep it from rusting or
corroding for many years.
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