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FRONT
PANEL FEATURES
TUNER
INPUT: The Tuner Input allows the
user to plug their instrument tuner into this jack and "tune
up" without having to unplug and go back and forth from
amp to tuner. This feature is totally isolated from the rest
of the preamp and will function regardless of the settings on
the front panel. Being on a side chain (isolated) also avoids
loading down of the instrument causing a loss in dynamic range.
To
use this feature, plug in a shielded patch cord from the Tuner
Input to the input on your tuner. Turn the amplifier on and
you're ready to go. If you do not wish to monitor your sound
during tuning, you may either turn the Master Volume off or
turn the Speaker On/Off switch to the Off position.
INPUT
JACKS
PASSIVE/ACTIVE:
This input can and should 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 the Passive/Active input. Generally
speaking, this input should be used if your instrument will
put out a maximum of 1 volt RMS or LESS. Consult your owners
manual or ask the manufacturer if you are unsure.
NOTE: If you hear a small amount of distortion and neither the
Preamp Clip LED or Power Amp clip LED are activated, try using
the Active input jack. Also, some built-in preamps such as used
by Tobias Guitars can be used in the Passive/Active input.
If
you would like to overdrive the first TUBE stage, this can be
accomplished by using a preamp between your instrument and the
Passive/Active input. To obtain optimum sound when trying this,
make sure the Preamp clip LED is not activated. If this occurs,
turn down your Gain Control. The first preamp stage is NOT monitored
by the Preamp clip circuit for this reason.
ACTIVE
INPUT:
The Active input jack should be used with
instruments having a built-in (on-board) preamp that will put
out signals over 1 Volt RMS. Known basses that should use the
Active input only are Kubicki X-Factor and 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:
The input impedance in the Active input jack is 82K Ohms. Using
the Active input on passive basses (active instruments will
always employ a battery) may result in a loss in high-end transients.
Players who roll off their high end starting at about 2K to
3K Hz may find this input more to their liking.
If
you hear some distortion on your active bass and are using the
Active input jack, check your battery! Also, make sure none
of the overload indicators on the Redhead are lit.
PREAMP
CLIP LED:
The preamp clip led will become lit whenever
the preamp, tone section or output buffer reach clipping (run
out of headroom). The function does NOT monitor the first tube
stage of the Passive/Active input jack (see that section for
more info). In the event this occurs, turn down your Gain Control.
Since the Preamp Clip LED also monitors the tone section, boosting
any one of the tone controls can cause the LED to activate.
As already stated, turning down the Gain Control will correct
the situation.
NOTE:
CONSTANT CLIPPING OF THE PREAMP WILL NOT HARM THE ELECTRONICS
IN YOUR REDHEAD, HOWEVER, DAMAGE MAY RESULT TO THE SPEAKERS
DUE TO NEAR-DC CONTENT PRESENT IN A CLIPPED WAVEFORM.
GAIN
CONTROL:
The Gain Control adjusts the volume of
the preamp section. After the tone controls, Aural Enhancer
etc. have been adjusted to your liking, the Gain Control should
be set to where the Preamp clip LED barely flashes upon striking
your loudest note. Adjust the Master Volume to desired volume
level. Since the Gain Control is similar to a "Pad"
a small amount of signal will get through with the Gain Control
rotated fully counter-clockwise. Utilizing these controls in
this manner assures the user of maximum signal to noise ratio
with no distortion caused by the preamp circuits clipping.
AURAL
ENHANCER:
The Aural Enhancer was developed to bring
out the fundamental low notes of the bass guitar, reduce certain
frequencies that help "mask" the fundamentals and
enhance the high-end transients. This effect becomes more radical
as the control is turned to maximum. The result is a more transparent
sound and is especially noticeable with a slap style technique
of playing.
BASS
CONTROL:
The Bass Control cuts or boosts the lower
or bass frequencies. Starting at mid-position, turning the control
counter clockwise cuts the bass response and turning the control
clockwise boosts the bass response.
PULL
TURBO FUNCTION
Pulling the bass control to the out position
widens the bandwidth of the bass control to include frequencies
down to 30 cycles (low B on a five string bass). Since some
of these notes can be felt more than heard, it is especially
important to keep an eye on the preamp and power amp clip LED's.
Constant clipping of these frequencies can diminish the life
of the speakers or cause them to fail!
MID
RANGE SECTION
LEVEL:
The Level control cuts or boosts the frequency
set by the Frequency control a maximum of + or - 15db. Starting
at mid-position, turning the Level control counter-clockwise
cuts the desired frequency. Turning the Level control clockwise
boosts the frequency set by the Frequency control. With the
Level control set at mid-position, turning the Frequency control
will have NO affect on the sound.
It
is suggested that to find the midrange area you are looking
for:
1.
Put the Level control in the full boost or cut position.
2. Rotate the Frequency control until the desired area you wish
to cut or boost is found.
3. Adjust the Level control to the amount of cut or boost desired.
FREQUENCY:
The Frequency control sets the area that
is to be cut of boosted by the Level function. If the Level
control is set at mid-position, turning the Frequency knob will
have NO affect.
Some
hints: If you need to "cut through" the band a little
more, try boosting 200 to 400 Hz. If you like a more transparent
sound, try cutting 800 cycles. The midrange area is especially
useful in controlling fretless basses and their inherent qualities.
TREBLE:
The Treble control is a shelving type
tone control that cuts or boosts the high frequencies. Starting
from mid-position, turning the control counter-clockwise cuts
the highs and turning the control clockwise boosts
the high frequencies.
PULL
SHIFT FUNCTION: In the normal (in)
position, the shelving point of the treble control is approximately
2k Hz. By pulling the knob outward, the shelving point is changed
to 4k Hz. By changing the shelving point to 4K hz, you will
essentially be controlling the output of the tweeter. This is
because the built in crossover incorporated in the Redhead has
a turnover point of 4K Hz. The end result should be a clearer,
more transparent sound.
MASTER
VOLUME: The Master Volume control
adjusts the signal level going to the power amplifier, the Effects
Send jack, and the Record Out section when set in the LINE mode.
The Master Volume does not control the level of the Record Out
section when set in the Direct mode. If the Power Amp Clip LED
lights, turn down the Master Volume to correct the overload
condition.
POWER
AMP CLIP LED:
The Power Amp Clip LED will light when
the internal power amp reaches clipping or 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 speakers and could cause them to fail.
Turn the Master Volume down to correct the situation.
RECORD/LINE
OUTS
UNBALANCED
OUT: The Unbalanced Out can be patched
into any unbalanced input on tape decks, mixing consoles, etc.
The signal at the unbalanced out corresponds to the position
of the Line/Direct switch. In the Line position, the level or
volume is adjustable by the XLR Pad and all front panel controls
are functional (affect the sound or level). In the Direct position,
the front panel controls do not affect the signal and once again,
the level or volume is set by the XLR Pad.
Output
impedance of the unbalanced out is 1.5K Ohms.
BALANCED
XLR OUT: The Balanced XLR out is a
true balanced output whose level is set by the XLR Pad. The
signal appearing at the XLR out is governed by the position
of the Line/Direct Switch. In the Line position, all front panel
controls are functional and the signal is essentially the same
that is being sent to the internal power amplifier. If you are
using an effect, this will also appear mixed in the signal when
you are in the Line mode. In the Direct position, the Balanced
out becomes an active TUBE direct box. No front panel controls
are functional and once again, the level is adjusted by the
XLR Pad.
When
using the Balanced Out for recording, optimum results can be
achieved by DRIVING THE TAPE DECK DIRECT. Of course, if this
is not possible, any matching level can be achieved via the
XLR Pad.
A
ground lift is built into the XLR Pad control. To lift the ground,
just pull the knob outward until it clicks.
If
a persistent hum still exists after lifting the ground, there
is probably a problem with the AC wiring or just a dirty AC
line. If this is the case, we suggest using an isolation transformer
between the Redhead and the wall socket.
Wiring
for the XLR connector is as follows:
Pin 1 = ground, Pin 2 = +, Pin 3 = -
(American Standard)
XLR
PAD: To pad or adjust the level of
BOTH the balanced and unbalanced record outs, use the XLR Pad.
Rotating the control clockwise raises these levels.
The
XLR Pad has a built-in ground lift for the Balanced out. Pulling
the knob outward lifts the ground (pin 1).
If
you are in the LINE position and change the Gain level, this
will also affect the output level of the record outputs. You
may readjust the record level if necessary with the XLR Pad
without affecting any other function.
LINE/DIRECT
SWITCH: The line/Direct switch gives
the user the option of either a line signal (preamp out) or
direct signal from the instrument. The direct signal is active
and generally hotter than most active direct boxes. Both the
line or direct signal can be adjusted with the XLR Pad.
To
use the Line/Direct switch, position the switch in the desired
location. Make sure the switch is all the way to the left or
right to avoid intermittants.
NOTE:
Turn off transients appear at the record outs when the amplifier
is turned off. It is recommended that equipment that is being
used in conjunction with the record outs be turned down, off,
or disconnected BEFORE the Redhead is turned off.
EFFECTS
BLEND CONTROL
The Effects Blend control allows the user
to mix their normal (raw or dry) signal with the signal coming
from an effect when the effect is used in the EFFECTS LOOP on
the back panel. The Effects Blend control functions ONLY WHEN
THE EFFECTS LOOP IS BEING USED. It is activated when a 1/4"
phone plug is inserted into the Effects Receive jack.
HEADPHONE
JACK
The headphone feature allows the user
to monitor their sound via the use of stereo headphones. "Silent"
practicing can be achieved by turning the speaker ON/OFF switch
to the off position and using the headphones only. Stereo headphones
must be used in this jack. Mono headphones will short out one
side.
Since
the headphone "amp" is actually a reduced signal from
the power amp, the Headphone volume is controlled by the Master
Volume.
SPEAKER
ON/OFF SWITCH
Turning the switch to the On position
allows the speakers to function as normal. Turning the switch
to the Off position cuts the signal off to the internal speakers
in your Redhead.
This
feature allows the user to:
1. Use the record out system without using the internal speakers.
This is especially useful when you are done "miking"
the speakers and only a direct signal is needed.
2. Practice in a quiet environment without disturbing your neighbors
by using headphones only.
3. Tune up without interfering with other band members while
using the TUNER feature.
This
feature DOES NOT AFFECT the external speaker outlet.
POWER
ON/OFF SWITCH
Turning the switch to the ON position
turns the Redhead on as indicated by the green LED lighting.
REAR
PANEL FEATURES
EFFECTS
LOOP:
The Effects Loop will accept any LINE
LEVEL effect such as a chorus, etc. Many high quality effects
on the market have input level adjustments. For instance, some
units have a switch that you can set for either -20db or +4db.
In all cases, these should be set for either 0db or +4db. The
level going to your effect is controlled by the Gain Control.
The Effects Loop is designed as a "side chain" function
and works similar to studio mixers.
Use
of this effect loop should greatly reduce the noise heard at
the speakers generated by the effect (as compared to using it
between your instrument and the input to the Redhead).
SEND:
Run a shielded patch cord from the SEND
jack to the INPUT of your effects unit. Output impedance of
the Send jack is 100 ohms. This jack may also be used as a line
level output to use in conjunction with a slave power amp.
RECEIVE:
Run a shielded patch cord from the RECEIVE
jack to the OUTPUT jack of your effects unit.
One
unique feature of the receive jack is your ability to practice
a part along with pre-recorded music. To accomplish this, insert
a tape recorder or other sound source into the Receive jack
(make sure it is a mono source). Using the Blend control, adjust
the level of recorded music from the Receive jack to the "live"
sound of your instrument. The mixed sound will be heard through
the internal speakers or, of course, through the Headphones!
This is also especially useful for playing along with drum machines,
etc.
Input
impedance of the Receive jack is 27k Ohms minimum.
NOTE:
Inserting a plug into the Receive jack activates the Effects
Blend control. The Effects Blend control "receives"
this command through the ground created by insertion of the
plug in the Receive jack. Therefore, best results can only be
obtained by using a mono phone plug. If you have a stereo plug
only, tie the ring and the ground together.
If
you are not getting any "effect" through your speakers,
check the position of the Blend control on the front panel.
INTERNAL
SPEAKER CORD:
If you intend on using the internal speakers
in the Redhead, make sure the speaker cord from the chassis
to the input jack is properly connected. Switching the internal
speakers off via the speaker on/off switch on the front panel
will not harm the amplifier in any way.
EXTENSION
SPEAKER JACK:
The extension speaker jack can be used
to plug in a second set of speakers. If you use this feature,
make SURE that the impedance of the cabinet that you are plugging
in is NOT LESS than 4 ohms. Also, be sure and use a good quality
speaker cable that is at least 18 gauge or heavier (the lower
the gauge, the heavier the wire).
DO
NOT USE INSTRUMENT CABLE FOR HOOKING UP SPEAKER CABINETS!!!
The
Speaker ON/OFF switch DOES NOT turn on or off the extension
speakers.
SPEAKER
FUSE and HORN FUSE:
This feature is provided to protect your
speakers and horn from the unlikely event of a power amp failure
or vice-versa. The fuses can also blow due to improper connections,
shorted speaker cable, or playing while plugging or unplugging
speaker cabinets.
Correct
size and rating of the speaker fuse is 3AG, 10 AMP FAST BLO.
Correct size and rating of the horn fuse is 3AG, 3 AMP FAST
BLO.
DO
NOT DEFEAT THE PURPOSE OF THIS FEATURE BY USING A FUSE WITH
A HIGHER
RATING.
LINE
FUSE:
The line fuse will open (blow) if an internal
problem exists with the electronics. Power surges or high power
line transients may also cause the line fuse to open.
Correct
size and rating of the line fuse is 3AG, 7 AMP SLOW BLO FOR
120 VOLT OPERATION AND 4 AMP SLOW BLO FOR 220/240 VOLT OPERATION.
DO
NOT DEFEAT THE PURPOSE OF THIS FEATURE BY USING A FUSE WITH
A HIGHER RATING.
AC
CONVENIENCE OUTLET:
Any electronic device that operates on
120 volts, 60 Hz and draws less than 3 amps or 360 watts may
be plugged into the convenience outlet.
It
should be noted that some appliances such as fluorescent lights
can cause interference or noise to be induced in the Redhead.
CABINET
FEATURES AND SPECIFICATIONS
CABINET
CONSTRUCTION:
3/4" 5 ply, Maple construction, waterproof
glue
All joints Dado and Rabbet, glued and nailed
Extremely heavy bracing
FINISH:
Black carpeting with stack lock corners
INTERNAL
VOLUME:
2.45 cubic feet
TUNING:
Front slot port. Specially designed to
eliminate unwanted noise.
POWER
HANDLING:
300 Watts RMS continuous program
CROSSOVER:
Third order, 6db rolloff, 18db butterworth
high pass 4KHz turnover
The crossover is located inside the Super Redhead's chassis.
SPL:
101 dB SPL @ 1W 1 meter
WOOFER
ASSEMBLY:
10" woofer assembly, 2" Hi temp.
copper wound high efficiency Kapton voice coil. Massive 60 oz.
focussed magnet/150 watts RMS
INPUT:
Stereo phone jack assembly.
WEIGHT:
80 pounds total with cover
GENERAL
FEATURES
The
overall size of the Redhead is 22 1.2" wide x 21 1/4"
high x 16" deep. With the front cover attached the depth
is increased to 16 3/4".
FRONT
COVER PLATE AND ANGLE STAND
The front cover plate was made to serve
two main purposes. The first being to protect the speakers and
electronics during transportation, the second is it doubles
as a stand. After removing the cover, place it carpet side up
in the desired location. Next, remove the casters from the bottom
of the Redhead and place the unit on the cover plate. You now
have an angled unit that still couples the low end to the floor.
Since all things have their limits, we do not suggest using
the cover plate for a ramp.
BUILT
IN RACK SPACE:
The rack space directly below the Super
Redheads electronics has been added for your convenience and
should accept any unit taking up ONE rack space (1 3/4").
REMOVABLE
CASTERS:
Because of possible rattles, the decision
to include casters had only one alternative and that was to
make them removable. To remove the casters, simply turn the
Redhead on its side and pull them out, You will need to do this
when using the angle stand. To avoid losing the casters once
removed you may want to put them in your instrument case until
needed for transporting.
HANDLES:
The handles on either side of the Redhead
were chosen for their rattle free properties and the extra thick
padding of the hand grips. You might also note that when the
Redhead is picked up on either side, the handles were placed
for perfect balance, meaning the unit does not tilt forward
or backwards.
THE
TOP:
Just about every musician we talked to
told us that at some time or another they were going to end
up sitting on the amp. With this in mind, we would like you
to know that we spent a great deal of time and effort to remove
all mounting screws, vents and other obstacles from the top
and covered it with carpet just to make these times more comfortable.
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