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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 300 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 300 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 300 helps bring out the best in your playing
and adds to the enjoyment of your hobby or profession.
EVERY
WORKINGMAN'S 300 FROM SWR IS ENTIRELY ASSEMBLED BY HAND IN CALIFORNIA.
TRULY "HAND MADE IN THE U.S.A."
FRONT
PANEL FEATURES
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. You are probably
overdriving your headphones and could ruin them (not to mention
your ears!).
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, USE STEREO HEADPHONES ONLY!
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, Bartolini, 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 Sadowsky 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. 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 2 kHz to 3 kHz 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, EQ 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 EQ section, boosting any one of the bands 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 300. 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 EQ section, 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 SECTION:
To
get the most out of the Tone Controls of your Workingman's 300,
it would be best to first understand how the Aural Enhancer
works, and how it interacts with the 5 band EQ section. 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 EQ bands. 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 EQ 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 (band 1) 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 controls (bands 2, 3, & 4) operate in the crucial
area for most instruments. Many basses, particularly with roundwound
strings, can have a very "honky", or nasal, sound.
Locating and cutting the correct 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 (band 5) operates in a tonal area that extends
through and beyond the usual Treble control range. 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".
FIVE
BAND EQ: The
Workingman's 300 Tone Control section is a five-band set of
level slide controls centered around the frequencies 80 Hz (Bass),
160 Hz (Low Mid), 400 Hz (Mid), 800 Hz (Hi Mid) and 3KHz (Treble).
Each control can cut or boost its band a maximum of 15dB.
Each
slider has a flat (center click) position that defeats its function.
In this position, the band is inactive.
For
each EQ control, sliding the knob down from the center "click"
position will reduce or cut its designated frequency. Sliding
the knob up will boost its designated band or frequency.
MID
EQ FOOT SWITCH: The three mid EQ bands
can be defeated (or activated) via this footswitch function.
It DOES NOT affect the bass or treble bands.
Finger
and slap styles generally call for opposite mid EQ settings.
As well, certain mids will help you cut through better during
a solo, etc. By pre-setting these curves, they can be activated
(or deactivated) when desired.
NOTE:
To avoid hum pickup in the "off" mode, a completely
shielded footswitch must be used! This means having a metal
casing or chassis with shielded cable. Footswitches are available
from SWR factory direct or through your dealer.
POORMAN'S
FOOTSWITCH: Should you be in a pinch
and need to switch back and forth and don't have a footswitch,
help is on the way! Take a perfectly good guitar cable (or preferably
a bad, worn out one that didn't get thrown away) and cut the
1/4" phone plug off. An unattached phone plug will do as
well. Inserting the phone plug all the way into the jack will
defeat the Mid EQ section. Pulling it partially, or all the
way out, will re-activate these bands.
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.
VARIABLE
LIMITER & "ACTIVE" LED: The
function of a limiter is to "limit" the signal level
to a certain volume. The point at which the limiter is engaged
is called the "threshold". The threshold of the limiter
circuit in your WM300 is set by the Limiter control. When the
limiter circuit is engaged, the "Active" LED will
light.
Since
the limiter circuit is placed between the EQ and Master Volume,
adjust the limiter control for the desired effect and then readjust
your Master Volume for the right level if needed. For maximum
apparent volume without distorting your power amp, set the limiter
at approximately 2 o'clock. The Master Volume can be raised
almost all the way without overdriving the power amp. BE SURE
to listen for any distortion under these circumstances so as
not to damage your speakers. This being the case, increase the
threshold level. Also, make sure your preamp clip LED is not
lit.
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.
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, it turns your
speakers on (provided they are hooked up). The bottom position
labeled "Off" or standby, 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 "off" position before
turning the unit on or off.
REAR
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
300 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 the speaker on/off switch to the "off" position.
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
can 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
300. 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 2.6 Ohms or greater. This means you
can use 1- 4 ohm cabinet in conjunction with 1- 8 ohm, 3- 8
ohm enclosures or 6- 16 ohm cabinets. Recommended speaker cabs
from SWR are: Goliath III, Workingman's 2x10T or 4x10T, and
Big Ben 18" (you can use any three of these as they are
all 8 ohms). You may use one of the following: Henry 8x8, Triad
I and Goliath Jr.III (4 ohm) in conjunction with one 8 ohm enclosure.
Power Output: 160 Watts @ 8 Ohms, 270 Watts @ 4 Ohms, 350 Watts
@ 2.6 Ohms.
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 2.6 ohms is used or in the unlikely event of a power
amp failure. Size and rating of the fuse is 3AG, 8 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 powerline 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, 5 amp slo-blow for 120V operation, and 3 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 300 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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