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We
knew we had to think and listen. We are still grateful for input
given to us by: players such as Dan Schwartz, Nathan East, Neil
Stubenhaus, Danny Sheridan, Phil Lesh, Andy West, Bob Glaub
and Phil Chen; Luthiers Michael Tobias, Geoff Gould (Modulus
Graphite) and Mike Pedulla; and our friend Andy Brauer at Andy
Brauer Studio Rentals. We took all this input quite seriously
down to and including "amps should be heard and not seen"!
It seemed the band felt they should stand out more than their
equipment. Our first model, the PB-200 had a simple black front
panel, cream color silk screen and small SWR logo. We still
keep that philosophy today except that the logo on some top
of the line products is hand engraved and we keep naming our
combo's after colors (i.e. Redhead, Baby Blue, etc.).
When
the first amp was completed we took it down to Andy Brauer who
had set up an appointment with Louis Johnson of the "Brothers
Johnson". After playing the amp for about 5 minutes he
immediately wanted to buy one. Louis ended up purchasing the
fourth PB-200 made and used it to record the bass tracks on
the song "We Are the World" produced by Quincy Jones.
The fact that he was able to use his own amp in the studio under
his control with excellent results was quite a breakthrough
at the time. We also felt we were on the right "track"
(no pun intended).
The
PB-200's original design parameters have been the foundation
for all electronics produced by SWR. This along with constant
input from our advisory board has led to features first introduced
into the market place on a production basis by SWR including:
the Aural Enhancer; side chain effects loop; Tuner send; real
studio quality record XLR balanced outputs selectable for line
or direct, and adjustable send, mute and ground lift functions;
a combo unit with a built in rack space; separate independent
inputs for Active and Passive instruments; EQ settings down
to 30 Hz; stereo effects loops; stereo power sections; and full
range speaker monitors.
SWR's
next step was to produce a speaker cabinet capable of reproducing
all the information our amps were sending. After much experimentation,
the Goliath Bass Monitor System was introduced six years ago
at the January, 1988 NAMM Show. With four 10" speakers,
high frequency driver, 500 Watt RMS power handling capacity,
incredible frequency response and relatively small size, it
was quickly recognized as simply the most innovative bass cabinet
to come along in quite a while. Two years later we improved
the quality in every area and updated the name to Goliath II.
The Goliath II may be the most imitated bass cabinet in the
world with 10 look-a-likes that we know of.
The
above brief history was to let you know that we were listening
then and we are listening now! SWR has had numerous requests
from the casual player, beginner and even pro player to produce
a line of products that incorporate accurate sound, high reliability,
quality components and hand-made craftsmanship. All at a price
that the workingman (or woman) can afford. Going into our 10th
year anniversary, we felt this would be something worth pursuing.
Thus, the Workingman's 12 came into being. The Workingman's
160 is the third in a line of Workingman's products to be developed
by SWR with true sound, quality parts and price consciousness
in mind.
The
precision electronic section is entirely hand-built, employing
a variety of technologies selected for their sound quality and
practical usefulness in a road-able and studio-ready amplifier,
including an all discrete initial gain stage in the preamplifier
section and discrete solid-state design in the power amplifier.
Regardless of its lower price, the Workingman's 160 offers no
compromises of the essential SWR design and construction philosophy.
Corners are not cut from a more elaborate model: rather, each
product's design parameters are conceived from the ground up
and the best available components selected for each application.
Once again, with sound, reliability and price consciousness
in mind.
The
Workingman's 160 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.
Thank
you for putting your faith into our products. We truly hope
that the Workingman's 160 helps bring out the best in your playing
and adds to the enjoyment of your hobby or profession.
EVERY
WORKINGMAN'S ONE-SIXTY FROM SWR ENGINEERING IS ENTIRELY ASSEMBLED
BY HAND IN CALIFORNIA. TRULY "HAND MADE IN THE U.S.A."
FRONT
PANEL FEATURES
BALANCED
DIRECT RECORD OUT: The Balanced XLR
output is a true balanced output. No front panel controls affect
its signal. The tone and output level are controlled only by
the instrument plugged into one of the input jacks. To use this
feature, run an XLR (Cannon) cable from the Balanced D.I. to
the input of a tape machine, mixing console, etc. 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)
NO
PHANTOM POWER (48V SUPPLY) SHOULD BE APPLIED TO THIS OUTPUT.
DOING SO MAY DAMAGE THE INTERNAL CIRCUITRY.
TO
TUNER:
The To Tuner send jack allows the user
to connect their instrument tuner to the Workingman's 160 without
having to unplug and go back and forth from amp to tuner to
amp. Like the Balanced D.I. output, this feature is isolated
from the rest of the circuitry and no other controls other than
your instrument have an affect on this feature. 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 to go. If you don't want to monitor your sound while tuning,
turn down the Master Volume control or position the selector
switch on the back panel to the "headphones" (middle)
position.
INPUT
JACKS
Two
separate and independent input jacks are provided so that the
best signal to noise ratio can be obtained without overloading
the preamp section. The Passive input has over twice the gain
than that of the Active input. Both inputs can be used simultaneously
without affecting the volume or tone of the other. One use of
these inputs would be to plug your bass into the Passive input
and practice along with a drum machine by plugging it into the
Active input. A more detailed explanation of these inputs follows.
PASSIVE:
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 this input. Technically speaking, this input should be
used if your instrument has an output voltage of 1 volt RMS
or LESS. Consult the owner's manual that came with your instrument
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
the Preamp Clip LED is not activated, try using the Active input
jack. And please note, some passive pickups DO distort. Because
of the hi-fi nature of all SWR products, even the smallest amount
of distortion originating at the source (instrument) may be
heard.
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
you hear some distortion from your active bass and are using
the Active input jack, CHECK YOUR BATTERY!! Also, make sure
the Preamp Clip LED is not lighting.
PREAMP
CLIP LED: The Preamp Clip LED will
light whenever the Preamp, Tone section or output buffer reach
clipping (run out of headroom). 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.
NOTE:
Constant clipping of the preamp will not harm the electronics
in your Workingman's 160. However, damage can occur to speakers
due to near-DC content present in a clipped waveform. Do not
defeat the limiter when overdriving the preamp.
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. The Gain also adjusts the level sent
to the Effects send jack. If your effect is being overdriven,
turn down the Gain Control.
USING
THE TONE CONTROLS
To
get the most out of the Tone Controls of your Workingman's 160,
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
30-60Hz range.
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, may be 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. The Transparency
control "kicks in" at a much higher frequency. Boosting
the control will open up the sound of a dull instrument, particularly
in conjunction with a tweeter, should you have one in your speaker
system. 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 your speaker system. Qualities like punch, fatness, presence
and bite can be fairly well spread out. Treble, despite the
broad dispersion of most tweeters, is a very directional quality.
Spend some time exploring what you can hear in this area as
you move around.
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
Workingman's 160 Tone Control section is a four-band set of
level controls centered around the frequencies 80 Hz (Bass),
800 Hz (Mid Range), 2 kHz (Treble) and 5 kHz (Transparency).
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.
LIMITER
DEFEAT: Pulling out the Effects Blend
knob until a click is heard deactivates the Internal limiter
circuit. Pushing the control back in, activates the circuit.
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 at the "Speakers"
jacks and headphones jack. Losses caused by effects units can
be recovered by increasing the Master Volume.
LIMITER/COMPRESSOR
CIRCUIT: This circuit is located after
(post) the Master Volume and before (pre) the power amplifier.
Therefore, the circuit is driven by the Master Volume. Its threshold
(starting point) is preset by the factory so that the user can
get maximum overall apparent volume without unduly overdriving
the power amplifier or internal speakers. This feature may be
defeated by pulling out the Blend control. See "Blend Control"
for further info.
LIMITER
ACTIVE LED:
When the threshold of the Limiter circuit
is reached the green Limiter Active LED will light.
SPEAKER
ON/STANDBY SWITCH: The top
position labeled "ON" completes the circuit from your
power amplifier to the speaker jacks located on the back panel.
In other words, in turns your speakers on (provided they are
hooked up). The bottom position labeled "Stand By"
interrupts this path and turns your speakers off.
Note:
This switch does NOT affect the Headphone jack.
The
"Stand By" position allows you to: tune up silently;
use headphones "only" with speakers still plugged
in; change or add speaker cabinets with the unit still on; silent
turn- on or turn-off transients.
IF
NO SOUND IS COMING FROM YOUR SPEAKERS, CHECK THE POSITION OF
THIS SWITCH. IF THIS IS NOT THE CAUSE, CHECK THE SPEAKER FUSE,
CABLES, ETC.
POWER
SWITCH: Pressing the Power Switch
to the ON position activates the Workingman's electronics as
indicated by the red LED above the switch lighting.
NOTE:
Because of the tight regulation in the power supply, a transient
(pop) may occur when turning on or off the unit. This is normal
and will not harm you speaker. If you wish to avoid this condition,
turn the Speaker switch to the "Stand By" position
before turning the unit on or off.
REAR
PANEL FEATURES
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 front 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 through
your speakers, headphones, or both. The send jack is not used.
NOTE:
Inserting a plug into the Receive jack activates the Effects
Blend control by receiving a "command" through the
ground created. Therefore, only a mono (2-conductor) phone plug
should be used. 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.
SPEAKER
JACKS:
Use an unshielded 2-conductor cable (NOT
A GUITAR CORD!) to connect any speakers to your Workingman's
160. Use a high quality, heavy gauge cable of at least 18 gauge
(the lower the gauge, the heavier the cable). The total impedance
of the speakers should be 4 Ohms or greater. This means you
can use 1- 4 ohm cabinet, 2- 8 ohm enclosures or 4- 16 ohm cabinets.
STEREO
HEADPHONES JACK: By inserting a set
of stereo headphones into this jack you will be able to monitor
your sound or practice without disturbing your neighbors. The
headphone volume level is adjusted by the Master Volume. We
suggest you begin with the Master Volume full off (counter-clockwise),
then slowly bring up the volume to the desired level. If you
hear some distortion in your headphones that is not present
with the speakers on, turn down the volume as you are probably
overdriving your headphones and could ruin them.
Any
impedance headphones will work. However, optimum impedance is
75 ohms.
DO
NOT PLUG A SPEAKER CABINET INTO THE HEADPHONE JACK! DO NOT USE
MONO HEADPHONES. REMEMBER, STEREO ONLY!
SPEAKER
FUSE: The speaker fuse is provided
to protect the power amplifier from a fault in the speaker cable
or the speakers themselves. It can also open (blow) if an impedance
less than 4 ohms is used or in the unlikely event of a power
amp failure. Size and rating of the fuse is 3AG, 6 AMP FAST
BLO. Do not defeat the purpose of this feature by using a higher
rated fuse.
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-blow for 120V operation, and 1 1/2 amp
slo-blo for 240V operation. DO NOT REPLACE THIS FUSE WITH ONE
OF A HIGHER RATING. IT MAY VOID YOUR WARRANTY AND DAMAGE YOUR
AMPLIFIERS ELECTRONICS.
A/C
LINE CORD RECEPTACLE:
Accepts a standard A/C power cable (supplied
with the Workingman's 160 in the United States), 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.
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