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FREQUENCY
RESPONSE (Power Amplifier): -3dB @ 20Hz and 40KHz
SENSITIVITY
*(full output under clipping, 8 ohms load, 100 Hz)
Passive Input Jack: 38 millivolts
Active Input Jack: 160 millivolts
Power Amplifier (Effects Return Jack "in"): 1.5 volts
*With limiter circuit defeated.
INPUT
IMPEDANCE
Passive/Active Input: 800K Ohms
Active Input: 60K Ohms
Effects Return: 27K Ohms
OUTPUT
IMPEDANCE
Effects Send: 100 Ohms
Tuner Send: 100 Ohms
XLR Balanced Out: 750 Ohms
SIGNAL
TO NOISE RATIO: -72 dB (<10 millivolts typical)
EQUIVALENT
INPUT NOISE: 9 microvolts
WEIGHT:
90 lbs.
SIZE:
22.5"W x 28"H x 18"D
SPEAKER
ENCLOSURE SPECIFICATIONS
POWER
HANDLING: 500 watts RMS
IMPEDANCE:
4 Ohms
SPEAKER
COMPLIMENT
Two 12" custom-designed SWR drivers
One Foster Horn
Front Ported Enclosure
GENERAL
INFORMATION AND DESCRIPTION
The
Silverado Special Integrated Bass System from SWR Sound Corporation
was designed for the player who prefers a straightforward, no-frills
preamp combined with a power amp and speaker system capable
of delivering enough power and headroom for most live applications.
The
Silverado Special maintains the same quality components and
materials found in all SWR products and is assembled by hand
at our factory in Sun Valley, California.
The
two preamp gain stages utilize a specially selected 12AX7 preamp
tube. The tone controls incorporate I.C.'s and the power amp
is designed with very high quality bi-polar devices. Each type
of device was chosen for its performance and reliability in
the application used. Aluminum is used for the chassis because
of its good electrical and thermal characteristics and is much
lighter than commonly used cold rolled steel. All primary electrical
components are U.L. approved and we use Beldon Cable for all
shielded wire.
The
speaker cabinet is constructed of 5/8" plywood and uses
interlocking dado and rabbet joints with heavy duty internal
bracing. The speaker configuration features two SWR 12"
speakers and an inductive type Piezo tweeter.
Everybody
at SWR sincerely hopes that the purchase of our product adds
to the enjoyment of your playing and that it lives up to all
your expectations and more!
FRONT
PANEL FEATURES
BALANCED
XLR OUTPUT
The Balanced XLR Out is a true balanced
output and serves two functions. In the "Direct" position,
the Balanced Out serves as a tube direct box and can be used
for recording or patching into a house P.A. System. No controls
on the front or back panel affect the signal appearing at the
XLR connector except the "XLR Pad." In the "Line"
position, all controls on the front and rear panels affect the
signal appearing at the XLR connector with the exception of
the Master Volume.
The
"Line" position can be used for recording directly
into a tape machine as well as going directly to the studio
board. An external power amplifier with a balanced input can
be driven in the "Line" mode.
Pin
out for the XLR connector are as follows:
Pin 1 = Ground Pin 2 = + Pin 3 = - (American Standard)
XLR
PAD AND GROUND LIFT
The XLR pad adjusts the level (volume)
appearing at the XLR connector directly below in either the
Line or Direct mode. Volume increases as the control is turned
clockwise.
If
you are in the LINE position and change the Gain control on
the front panel, the level will also change at the balanced
output. You may readjust the XLR pad if necessary without affecting
any other function.
A
GROUND LIFT is provided for the record out XLR socket. It is
built into the XLR Pad. With the knob on the XLR pad in the
"in" position, the ground to pin one is engaged. Pulling
the knob to the out or "ground lift" position will
interrupt or defeat the ground on pin 1.
If
a persistent hum exists after trying both positions of the ground
lift, there is probably a mis-wire or bad ground in the feed
lines to the board or console or a dirty or miswired A/C socket.
For a few dollars, you can buy an AC wall socket tester. A light
comes on if the AC socket has been wired correctly. We recommend
everyone having one of these if they value their equipment and
life.
WARNING:
The phantom power (generally a 48V supply) found in some mixing
consoles should not be applied to this output. Doing so may
damage the internal circuitry.
EFFECTS
LOOP
THE EFFECTS LOOP MUST BE USED IN CONJUNCTION WITH THE BLEND
CONTROL ON THE FRONT PANEL. WHEN THE BLEND CONTROL IS IN THE
"DRY" POSITION, NO EFFECTS WILL BE HEARD.
The
Effects Loop should accept any effect such as a chorus, etc.
It is designed as a "side chain" function and works
exactly like that of studio consoles. Many effects on the market
have input level adjustments. For instance, some units have
a switch that you can set for either -20 dB or +4 dB. In all
cases, these should be set for 0 dB (if available) or +4 dB.
The level going to your effect is controlled by the Gain
control on the front panel.
Use
of the effects loop should greatly reduce the noise generated
by effects units (as compared to using the effect between your
instrument and the input jack). This is because the loop is
after the
preamp gain stages.
SEND
JACK
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 can be used
as a line level output to use in conjunction with a slave power
amp such as SWR's Stereo 800. It may also be used as an unbalanced
record out.
RECEIVE
JACK
Run a shielded patch cord from the RECEIVE
jack to the OUTPUT jack of your effects unit.
All
patch cords used with effects should be as short as possible
and should be routed as directly as possible. Running patch
cables over the top of the Silverado (as with any amplifier)
could induce hum in the cables.
One
unique feature of the receive jack is the 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 to the "live"
sound of your instrument. The mixed sound will be heard through
your speakers. Besides pre-recorded music, this is an excellent
way to practice along with drum machines.
Input
impedance of the Receive jack is 27K Ohms minimum.
NOTE:
Inserting a plug into the Receive jack activates the Effects
Blend control. The control receives this command through the
ground created by the phone plug making contact with the jack.
The plug must be a mono plug (tip and ground). If you have a
stereo plug only, tie the ring and the ground together.
TUNER
INPUT
The To 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 To
Tuner Input to the input jack on your tuner. Turn the amplifier
on and you're ready to go. If you do not wish to monitor your
sound during the tuning process, you may turn down the Master
Volume.
PASSIVE/ACTIVE
INPUT JACK
A "passive" instrument has no
built in preamp and does not use a battery. On the other hand,
an "active" bass utilizes a battery operated preamp
for gain, tone controls, or both. This input has 14db more gain
than the Active.
Although
labeled "Passive," the Passive Input will work with
all instruments having a maximum output of less than 1 volt
RMS. Some pickups such as EMG, Bartolini, etc., employ batteries
for operation and will work perfectly using the Passive input.
Instruments made by Pedulla, Tobias, Sadowsky, Modulus Graphite,
etc., have active electronics and should also be operated in
the Passive input.
Generally
speaking, try the Passive input first. If you hear a small amount
of distortion and the preamp clip LED is not activated, try
using the Active input jack. If the Active input does not correct
any audible distortion, check the battery in your bass.
NOTE:
If you would like to overdrive the first TUBE stage, this can
be accomplished by using an external 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 your Gain control until the LED does not light. The
first preamp tube 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 or other sound
sources that will produce output levels exceeding 1 volt RMS.
Known basses that should use the Active input are the Kubicki
X-Factor and some older Ovation electrics. Some really "hot"
pickups installed in your instrument may find the Active input
more compatible. The best judge is your own ears.
If
you are using a KEYBOARD or BASS PEDAL with the Silverado Special,
we have found the best choice to be the Active input.
NOTE:
Using the Active input with passive basses (active instruments
will always employ a battery) may result in a loss of high end
transients. Players who roll off their high end starting at
about 2KHz, or prefer a "darker" sound, may find this
input more to their liking. If you hear some distortion with
your active bass and are using the Active input, CHECK YOUR
BATTERY!! Also, make sure the preamp clip LED indicator is not
lighting. This will save you and a service technician a lot
of aggravation.
GAIN
CONTROL
The Gain control adjusts the volume of
the preamp section. Since the Gain control is similar to a "pad,"
a small amount of signal will be heard even with the Gain control
rotated fully counter-clockwise (with the Master Volume up).
After all EQ settings and the Aural Enhancer are set, the Gain
control should be raised until the preamp clip LED barely flashes
when your loudest note is struck. This will insure maximum signal
to noise ratio and prevent unwanted clipping of the preamp section.
After this is achieved, use the Master Volume to obtain the
desired overall volume level.
NOTE:
The Gain can serve as an EFFECTS SEND LEVEL ADJUSTMENT. If your
effect is being overdriven, turn down the Gain control and readjust
your Master volume for correct overall loudness.
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. See that section for more info.
In
the event the clip indicator lights, turn down the Gain control.
Since this circuit monitors the tone controls, boosting any
one of them can cause the clip LED to activate. Once again,
you may leave the tone control at its desired level, but turn
the Gain control down further.
AURAL
ENHANCER
The Aural Enhancer is a passive R/C network
that alters the frequency response throughout the bass spectrum.
This pre-shaping is "blended" into the original signal
via the Aural Enhancer Control. Exact frequencies affected are
dependent on the characteristics of the instrument used. The
Aural Enhancer was developed to help bring out the fundamental
notes of the bass guitar, reduce certain frequencies that help
mask the fundamentals, and enhance the high end transients.
The resulting frequency response is similar to that used for
recording the bass in the studio. This effect becomes more radical
as the control is turned toward maximum, resulting in a more
"transparent" sound that is especially noticeable
with a slap style technique of playing.
ACTIVE
TONE CONTROL SECTION
BASS
CONTROL
The Bass Control cuts or boosts the lower
or bass frequencies. Starting at mid-center click-position,
turning the control counter clockwise cuts the bass response
and turning the control clockwise boosts the bass response.
The Bass Control employs a shelving type circuit and boosts
or cuts the bass response + or - 15dB from about 30 Hz to 100
Hz.
MID
RANGE SECTION
LEVEL
CONTROL
The Level control cuts or boosts the frequency
set by the Frequency control. Starting at mid-position, turning
the Level control counter clockwise cuts the desired tone. Turning
the Level control clockwise boosts the desired tone (set by
the Frequency control).
WHEN
THE LEVEL CONTROL IS SET AT MID (CENTER CLICK) 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. Adjust the LEVEL control to 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 desired amount of cut or
boost.
FREQUENCY
CONTROL
The Frequency control sets the area that
is to be cut or 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
CONTROL
The Treble control is a shelving type
tone control that cuts or boosts the high notes and their octaves.
Starting from mid position, turning the control counter clockwise
cuts the highs while turning the control clockwise boosts the
treble region.
The
Treble Control employs a shelving type circuit and boosts or
cuts the Treble response + or - 15dB from about 2KHz to 14KHz.
EFFECTS
BLEND CONTROL
This function "blends" the signal
sent from your bass, etc., with that coming from your effects
unit. With the Effects Blend full counter clockwise, no signal
from your effects will be heard (dry). As you turn this control
clockwise, more of the effect can be heard in the overall sound.
When the Blend knob is full clockwise (wet), no true or unaffected
signal is heard other than what your effects unit provides.
If
your effects unit has a similar control, adjust it to the FULL
"WET" POSITION. This will avoid any possible phasing
problems.
The
Blend circuit is similar to that used on recording consoles
with the effects loop on a "side chain" to the normal
circuit. Unless the control is set to the full wet position,
you will always get the full sound of your instrument AND get
the diversity an effects unit offers. This circuit is also effective
in reducing noise generated by effects units because it is located
after the gain stages in the preamp.
The
Effects Blend 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. See the "Effects Loop"
section for more information.
PULL
LIMITER DEFEAT SWITCH
Pulling the Effects Blend knob out defeats
the built in Limiter circuit. Pushing the knob back in engages
the Limiter circuit.
The
Limiter circuit’s threshold is factory set so that the
user can get maximum overall apparent volume without overdriving
the power amplifier or internal speakers. It is situated after
the Master Volume and before the input to the power amplifier.
Therefore, the circuit is driven by the Master Volume.
As
a "rule of thumb", having set the Gain control as
per the instructions given in the Gain Control section, the
Limiter circuit will generally not be needed until the Master
Volume is raised past the 10 o'clock position. If you need more
volume, engage the Limiter circuit and raise the Master Volume
to the desired overall volume level.
MASTER
VOLUME
The Master Volume adjusts the level being
sent to the power amplifier and the Limiter circuit (when engaged)
in your Silverado Special. Therefore, the Master Volume controls
the overall volume of the product. It DOES NOT affect the level
of the record XLR output in the "line" position.
Losses
caused by effects units can be recovered by increasing the Master
Volume.
LIMITER
ACTIVE LED
With the Limiter engaged (Blend Control
knob in the "In" position), the Limiter Active LED
will light when the threshold of the circuit is reached. The
threshold is factory set for optimum performance. For more information
see the "Limiter Defeat Switch" section above.
POWER
ON LED
Moving the On/Off switch located on the
back panel to the "On" position activates the electronics
as indicated by the blue LED being lit.
REAR
PANEL FEATURES
SPEAKER
FUSE
The speaker fuse is provided to protect
your speakers in the unlikely event of a power amp failure or
to protect your power amplifier from incorrect speaker impedances
or hookups. Size and rating of the fuse is 10 amp, fast blow.
Do not defeat the purpose of this feature by using a higher
rated fuse as it could void your warranty and further damage
your amp.
The
fuse can open as a result of a fault in the speaker cable, the
speakers themselves, or the power amp being sent well into clipping.
With this in mind, it is wise to carry extra fuses at all times.
A/C
OR MAINS FUSE
This fuse is provided to protect the internal
electronics against power surges, etc. It also protects the
unit against itself should one of the internal components fail.
If this fuse should open, replace it with the same type of fuse
and rating. DO NOT DEFEAT THE PURPOSE OF THIS FEATURE
BY USING A FUSE OF A HIGHER VALUE. IT WILL ONLY VOID YOUR WARRANTY!
Proper
size of the AC fuse for all countries is 3AG. Proper rating
of the fuse is as follows:
Japan: 8 amp slo-blo
United States: 7 amp slo-blo
Europe (240V): 4 amp slo-blo
POWER
ON/OFF SWITCH
Moving this switch to the ON (far right)
position activates the Silverado Special as indicated by the
blue LED lighting on the front panel. Turn the unit OFF (far
left position) after use and in between sets to allow the unit
to cool.
THREE-WAY
SELECTOR SWITCH
FULL
RANGE
In the Full Range or far left position,
the switch activates the internal speaker system. This includes
the two 12" speakers and high end tweeter. This also sends
a signal to the extension speaker jack should you wish to use
an additional speaker cabinet.
TWEETER
OFF
The Tweeter Off position does just that,
eliminates the signal going to the tweeter. If you are getting
too many highs, too much "finger" noise or like a
"darker" sound, this position is for you. This function
does NOT affect the extension speaker jack.
HEADPHONES
ONLY
In the Headphones Only or middle position,
the switch disconnects the internal speaker system and any extension
speaker you may be using. Using STEREO HEADPHONES you are now
able to tune up silently or practice without disturbing your
neighbors.
HEADPHONES
JACK
This Jack accepts any set of STEREO headphones.
The Three Way Selector Switch should be turned to the "headphones
only" position. The headphone volume is adjusted by the
Master Volume. We suggest you start with the Master Volume off
and slowly raise the volume to your desired level. The jack
may be rewired for mono headphones if so desired. Please contact
the factory for details.
EXTENSION
SPEAKER JACK
The Extension Speaker Jack provides an
outlet to attach an additional speaker cabinet to your system.
The total minimum impedance that can be driven by the power
amplifier section of the Silverado Special is 2 Ohms. This means
that you can connect an extension speaker with an impedance
of 4 OHMS OR GREATER to this jack.
ALWAYS
USE SPEAKER CABLE MADE OF 18 GAUGE WIRE OR HEAVIER (THE HEAVIER
THE WIRE, THE LOWER THE GAUGE). NEVER USE SHIELDED CABLE OR
CABLE INTENDED FOR USE WITH YOUR INSTRUMENT TO HOOK UP YOUR
CABINETS.
AC
CORD RECEPTACLE
This receptacle accepts a standard A/C
power cable (supplied with the Silverado Special in the United
States) used with almost all current musical, professional and
household electronic devices. We recommend great care when packing
up. If your unit is not in a rack case, put the cable in your
instrument or accessory case. If it does become misplaced, replacement
will be easy at almost any appliance store, supermarket or the
like. PLEASE NOTE: the rating for this cable is 3 conductor,
10 amperes minimum. Look for this rating on the cable. Make
sure the cable is plugged in all the way to both the amp and
the wall socket.
INTERNAL
FEATURES
VACUUM
TUBE (VALVE)
As stated earlier, SWR installs a specially
selected 12AX7 dual triode in every Silverado Special. If this
tube needs replacing, we recommend you replace it with a similar
high quality product. This tube will need replacing only if
it becomes noisy or microphonic (sounds like glass tinkling
in the background of certain notes), or completely fails causing
no signal.
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