Warwick Amplifier Manual English

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Warwick Amplifier Manual English Powered By Docstoc
					OFFICIAL WARWICK AMP OWNER MANUAL

ENGLISH

OFFICIAL WARWICK AMP OWNER MANUAL
Congratulations on the purchase of the new Warwick amplifier head/combo. Please read these instructions through before connecting and operating the device. If you keep to the guidelines set out in this manual, you will soon be able to appreciate the quality of this new Warwick amplifier. Please keep this instruction booklet handy in case you need to consult it again. Please send the PASSPORT to the address indicated therein. Hints Protective Circuits Instructions Take12 Sweet 15 CL CCL Sub III Pro Fet III Pro Fet IV X-treme Quadruplet Quad IV / VI Pro Tube IV Pro Tube IX 06 07

08 09 10 11 12 13 14 16 18 20 22 27

Suffix Technical Data Schematic Diagrams Take12 Sweet 15 CL CCL Pro Fet III Pro Fet IV X-treme Quadruplet Quad IV Quad VI Pro Tube IV Pro Tube IX 34

36 37 38 39 40 41 42 43 44 45 46 47

RECOMMENDATIONS
The following recommendations are designed to ensure that the device always functions reliably: • Never open the casing! To do so would expose you to the risk of an electric shock. Should repairs prove necessary, leave them to qualified service personnel. • Avoid dust and high moisture levels, direct sunlight and extremely high or low temperature. • Safeguard the device from excessive vibration. Always place the unit on a stable and horizontal surface. • See to adequate ventilation. The device should not be placed on soft surfaces (carpet, cushions, etc.). When mounting it in a rack, make sure that the rear and lateral cooling vents remain unobstructed (amp heads), resp. that the rear cooling vents remain unobstructed (combos). • Avoid leaving the unit near radiators or other objects producing heat. • Internal components should only be adjusted or cleaned by qualified service technicians. Ensure no object or liquid penetrates the device through its cooling vents. • When replacing a fuse make sure you fit in one of identical value! Have the device examined by a qualified service technician in the following cases: • the mains lead or mains switch have been damaged, • objects or liquids have penetrated the device, • it has been exposed to excessive moisture, • malfunctions or abnormal operating conditions have occurred, • the device has been dropped or the casing damaged.

HINTS
To ensure secure rack or sleeve mounting you will find two nuts on the bottom side of the amplifier for additional fastening (all amp heads). Do only operate effects pedals in-between the instrument and the amplifier, as these devices are not designed for the supplied load of an effects loop. Remove the plug whenever changing a fuse. - Only ever replace a fuse with another of the same type. Never bridge defective fuses. - Make sure the top and bottom of the device are properly ventilated and that the vents are not blocked. In the rack, leave at least 2cm free above the unit and do not remove the feet. (Quadruplet) - Do not subject the device to excessive vibration or hard jolts as these could damage the valves ("tubes"). - After using the device, allow around 10 minutes for the valves to cool down before moving it. - At power-up, the valves (tubes) need at least 30 seconds to warm up before achieving operation readiness and a further few minutes before they can deliver full power. - When changing the valves, replace them only with valves selected by Warwick, to avoid problems like noise, microphonism and imbalance. (special selection criteria). - Valves can become very hot. Danger of combustion. - Don't undertake repairs yourself. - Only allow the case to be opened by qualified personnel. (Remove the plug). - Repairs and valve changes should only be undertaken Each W-Pro unit has been conceived to match perfectly as a system-component within this series. Therefore best sound results can be achieved by mutual combination of these devices. Many combinations are possible and allow gradual upgrading of several high-quality systems within different performance scales and for almost every kind of application. SHOULD YOU FIND YOURSELF ONE DAY WONDERING: "WHY IS THERE NO SOUND COMING OUT?" please check: - the position of the Balance Stereo BiAmp control (Pro Tube IX), - all stub cables, - all connections of these cables and proceed anew by following the guidelines of the chapter GETTING STARTED. Possibly the problem reveals to be an operational error.

AMPS
6

PROTECTIVE CIRCUITS
Your new Warwick amplifier is equipped with a series of circuits to prevent it from destruction in case of inadequate operating conditions: Power-up delay: SPEAKER OUT Short-circuit: When the unit is switched on, the sockets are activated with a slight delay to protect the loudspeakers. In the event of a short-circuit at the power amp outputs, this feature prevents the output stage transistors from destruction by quickly reducing current. Direct current (DC): This circuit continuously monitors the power amp output for direct current and protects the loud speakers from overload should a transistor burn out. HF oscillation: By switching the power amp off, this safety feature prevents from damages that could be caused by frequencies in excess of 20 kHz (feedback, etc.).

Excessive temperatures: Should the temperature-regulated fan cooler prove to be insufficient in extreme conditions, this circuit protects the output stage transistors from destruction by switching the device off. Limiter: Note: The combos CL and CCL are equipped with a limiter, that limits the poweramp outputs to 150 watts (CL), 250 watts (CCL) in order to protect the loudspeakers. You can recognise that one of these circuits has been activated as a result of a fault, when the MUTE LED glows continuously even though you have not selected the MUTE mode. In case of a short-circuit please check the speaker cable. The amplifier must then be switched off and on again, to get back into playing mode after having removed the short-circuit. In any other situati on the amplifier switches automatically back to playing mode as soon as it detects the fault has disappeared (e.g. the amplifier has overheated and cooled down again).

GETTING STARTED

TAKE 12, SWEET 15, CL, CCL, PRO FET III, PRO FET IV

AMPS
7

1. Make sure that loudspeakers capable of sustaining the load of a bass signal are connected to the SPEAKER OUT sockets (the speaker cables should meet a cross-section of at least 2 x 1.5 mm), resp. the speaker unit should be linked to the SPEAKER OUT at the combos. 2. Check that the mains supply has been plugged in and that all external (effects) units possibly used are correctly connected and operational. 3. Set the MASTER control to zero. 4. Plug your bass guitar into the amplifier's INPUT with a shielded line-cable. 5. Press the POWER switch to turn the device on. 6. Switch MUTE off and the red LED will extinguish. 7. Switch the LIMITER off (the 2-colored LED will extinguish). 8. Turn all volume controls of your bass guitar on to their maximum. 9. Adjust the GAIN control until the (loudly) played bass signal illuminates the OK LED. 10. Set the MASTER control to the volume you wish to play at. 11. Adjust the sound that you wish with the controls and switches described in the respective chapters FRONT PANEL CONTROLS. 12. If necessary readjust GAIN. 13. Should you seek for a peak limited sound, activate the LIMITER (LED green) and fix its threshold (LED shifts to red) with GAIN, respectively with the +/- 0dB ratio of the graphic EQ (Pro Fet IV).

FRONT PANEL CONTROLS

INPUT GAIN BASS MID LOW MID HIGH TREBLE EFF. LOOP LINE OUT MASTER MUTE PHONES

socket to plug in a bass guitar. control + CLIP LED to adjust the input level. control to boost/cut deep frequencies. control to boost/cut low mids control to boost/cut high mids control to boost/cut high frequencies. for the insertion of effects units. Connect SEND with the input and RETURN with the output of the effects device. socket allows to connect additional power amplifiers or active cabinets. control determines the mains level. switch + ON/MUTE LED cuts the signal from all outputs, except from the PHONES socket socket for connecting a headphone (min 200 Ω).

REAR PANEL

TAKE 12
8

MAINS IN AC POWER SPEAKER OUT HORN OFF

Terminal with integrated fuse compartment for connecting the amplifier to the current network. switch for turning the amplifier on and off. socket for connecting the loudspeaker. switch to switch off the hf horn.

FRONT PANEL CONTROLS

INPUT GAIN BASS MID LOW MID HIGH TREBLE LOW BOOST HIGH BOOST EFF. LOOP LINE OUT MASTER MUTE PHONES

REAR PANEL

MAINS IN AC POWER SPEAKER OUT HORN OFF

Terminal with integrated fuse compartment for connecting the amplifier to the current network. switch for turning the amplifier on and off. socket for connecting the loudspeaker. switch to switch off the hf horn.

SWEET 15
9

socket to plug in a bass guitar. control + CLIP LED to adjust the input level. control to boost/cut deep frequencies. control to boost/cut low mids control to boost/cut high mids control to boost/cut high frequencies. switch + LED to boost low end. switch + LED to boost treble. for the insertion of effects units. Connect SEND with the input and RETURN with the output of the effects device. socket allows to connect additional power amplifiers or active cabinets. control determines the mains level. switch + ON/MUTE LED cuts the signal from all outputs, except from the PHONES socket socket for connecting a headphone (min 200 Ω).

FRONT PANEL CONTROLS

INPUT GAIN LIMITER LOW BOOST BASS MID FREQ. MID LEVEL TREBLE HIGH BOOST MUTE

MASTER PHONES

socket to plug in a bass guitar. control + CLIP/LIMIT LED to adjust the input level. switch + 2-colored CLIP/LIMIT LED to compress the signal within the preamp. switch + LED to boost low end. control to boost/cut deep frequencies. control to determine a frequency. control to boost/cut the frequency adjusted with the MID FREQ. control. control to boost/cut high frequencies. switch + LED to boost treble. switch + ON/MUTE LED cuts the signal from all outputs, except from the PHONES socket, and activates the TUNER output (rear panel). In case of signal flow at the power section (Input or Effects Return), there might appear a popping noise when MUTE is pressed. To avoid this, mute your strings or have effects like delays muted when pressing the MUTE button. control determines the mains level. socket for connecting a headphone (min 200 Ω).

REAR PANEL

MAINS IN AC POWER GROUND LIFT

CL
10

TUNER OUT LINE OUT EFF. LOOP DI OUT DI PRE/POST DI OUT SUBSONIC SPEAKER OUT HORN OFF

Terminal with integrated fuse compartment for connecting the amplifier to the current network. switch for turning the amplifier on and off. switch isolates the earth connection from the ground of signal. Should several devices be simultaneously connected to earth by the same conductor as well as via line connections, a so called hum loop might appear. In this case operate GROUND LIFT to eliminate the current hum (when pressed). socket for the connection of a tuner. When MUTE mode is activated, the unmodified bass signal is retained here socket allows to connect additional power amplifiers or active cabinets. for the insertion of effects units. Connect SEND with the input and RETURN with the output of the effects device symmetrical output for supplying a stage or studio mixing console. switches the signal lying at the socket, PRE (pressed) unmodified bass signal, or POST (unpressed) bass signal treated by tone controls and possibly by connected effects devices. switch for cutting low end from the poweramp. socket for connecting the loudspeaker and the tweeter. switch to switch off the hf horn.

FRONT PANEL CONTROLS

INPUT GAIN LIMITER LOW BOOST BASS PUNCH MID FREQ. MID LEVEL ATTACK TREBLE HIGH BOOST MUTE

MASTER PHONES

socket to plug in a bass guitar. control + CLIP/LIMIT LED to adjust the input level. switch + 2-colored CLIP/LIMIT LED to compress the signal within the preamp. switch + LED to boost low end. control to boost/cut deep frequencies. control for boosting/cutting deep mids. control to determine a frequency. control to boost/cut the frequency adjusted with the MID FREQ. control. control for boosting/cutting high mids. control to boost/cut high frequencies. switch + LED to boost treble. switch + ON/MUTE LED cuts the signal from all outputs, except from the PHONES socket, and activates the TUNER output (rear panel). In case of signal flow at the power section (Input or Effects Return), there might appear a popping noise when MUTE is pressed. To avoid this, mute your strings or have effects like delays muted when pressing the MUTE button. control determines the mains level. socket for connecting a headphone (min 200 Ω)

REAR PANEL

MAINS IN AC POWER GROUND LIFT

TUNER OUT LINE OUT EFF. LOOP DI OUT DI PRE/POST SUBSONIC SPEAKER OUT HORN OFF

CCL
11

Terminal with integrated fuse compartment for connecting the amplifier to the current network. switch for turning the amplifier on and off. switch isolates the earth connection from the ground of signal. Should several devices be simultaneously connected to earth by the same conductor as well as via line connections, a so called hum loop might appear. In this case operate GROUND LIFT to eliminate the current hum (when pressed). socket for the connection of a tuner. When MUTE mode is activated, the unmodified bass signal is retained here. socket allows to connect additional power amplifiers or active cabinets. for the insertion of effects units. Connect SEND with the input and RETURN with the output of the effects device. symmetrical output for supplying a stage or studio mixing console. switches the signal lying at the DI OUT socket, PRE (pressed) unmodified bass signal, or POST (unpressed) bass signal treated by tone controls and possibly by connected effects devices. switch for cutting low end from the poweramp. socket for connecting the loudspeaker and the tweeter. switch to switch off the hf horn

ELEMENTS

LINE OUT LINE IN INPUT MAINS IN AC POWER UNFUSED MAINS OUT

socket allows to connect additional power amplifiers or active cabinets. socket to connect the (post master prefered) LINE OUT of an amplifier or preamplifier. - 3 DB PAD switch to adjust the loudness (not pressed -3dB, depressed 0dB) Terminal with integrated fuse compartment for connecting the amplifier to the current network. switch for turning the amplifier on and off. Terminal allows to supply other units (daisy chain connection together with LINE OUT possible).

TECHNICAL DATA

SUB III
12

Frequency response: SPL max. SPL 1W/1m Dimensions: Weight: Speaker:

40 -120 Hz 123 dB 98 dB 445 x 605 x 485 mm 32 kg 15” 300 W 4Ω 300 W/4Ω

Internal Poweramp

FRONT PANEL CONTROLS
4 6 CLIP 2 8 OK LOW 0 GAIN 0 2 4 6 BASS 6 2 4 4 6 6 2 0 2 4 700 400 250 7K 1K 1,8K 4K 4 6 6 2 0 2 4 4 6 6 2 0 2 4 4 6 6 2 0 2 4 10 4 6

PRO FET III

ON

2

8

0 MASTER

10

INPUT

LIMITER

LOW BOOST

PUNCH

MID FREQ.

MID LEVEL

ATTACK

TREBLE

HIGH BOOST

DI PRE/ POST

DI OUT

MUTE

PHONES

POWER

INPUT GAIN LIMITER LOW BOOST BASS PUNCH MID FREQ. MID LEVEL ATTACK TREBLE HIGH BOOST DI PRE/POST DI OUT MUTE

MASTER PHONES POWER

REAR PANEL

MAINS IN AC GROUND LIFT

TUNER OUT LINE OUT EFF. LOOP SPEAKER OUT

Terminal with integrated fuse compartment for connecting the amplifier to the current network. switch isolates the earth connection from the ground of signal. Should several devices be simultaneously connected to earth by the same conductor as well as via line connections, a so called hum loop might appear. In this case operate GROUND LIFT to eliminate the current hum (when pressed). socket for the connection of a tuner. When MUTE mode is activated, the unmodified bass signal is retained here. sockets allow to connect additional power amplifiers or active speakers. for the insertion of effects units. Connect SEND with the input and RETURN with the output of the effects device. for supplying loudspeaker cabinets. One XLR and one Lockable Coaxial Speaker Connection socket are provided. Both are connected in parallel. The signal from the Lockable Coaxial Speaker Connection outputs is lead by 1+ and 1-.

PRO FET III
13

socket to plug in a bass guitar. control + 3 LEDs to adjust the input level: CLIP: too high, OK: optimum, LOW: too low switch + 2-colored LED to compress the signal within the preamp: LED green: Limiter on, LED red: the signal level is actually being reduced. switch + LED for boosting low frequencies. control for boosting/cutting low end. control for boosting/cutting deep mids. control to determine a frequency. control to boost/cut the frequency adjusted with the MID FREQ. control. control for boosting/cutting high mids. control to boost/cut high frequencies. switch + LED to boost treble. switches the signal lying at the DI OUT socket, PRE (pressed) unmodified bass signal, or POST (unpressed) bass signal treated by the tone controls and possibly by connected effects devices. symmetrical output for supplying a stage or studio mixing console. switch + LED cuts the signal from all outputs, except from the PHONES socket, and activates the TUNER output (rear panel). In case of signal flow at the power section (Input or Effects Return), there might appear a popping noise when MUTE is pressed. To avoid this, mute your strings or have effects like delays muted when pressing the MUTE button. control determines the mains level. socket for connecting a headphone (min 200 Ω). switch + green LED for turning the amplifier on and off

FRONT PANEL CONTROLS
4 6 CLIP 2 8 OK LOW 0 GAIN 10 +12 +8 +3 0dB -3 -8 -12 INPUT LIMITER 70 . . . . . . . 140 . . . . . . . 210 . . . . . . . 420 . . . . . . . 730 . . . . . . . 1,2k . . . . . . . 2,5k . . . . . . . 5k 4 6

+12 +8 +3 0dB -3 -8 -12 EQ ON/OFF LOW B/C MID B/C HIGH B/C

PRO FET IV

ON

2

8

0 MASTER

10

LOW

TONE

HIGH DI PRE/POST

DI OUT

MUTE

PHONES

POWER

PRO FET IV
14

socket to plug in a bass guitar. control + 3 LEDs to adjust the input level: CLIP too high, OK optimum, LOW too low. LIMITER 3-way switch + 2-colored LED to compress the signal within the preamp: LED green Limiter on, LED red the signal level is actually being reduced. switch in top position on, centered off, bottom position on, when graphic EQ is on. 70/140/210/420/7301.2k/2.5k/5k faders for boosting/cutting the respective frequencies by +/- 12 dB. EQ ON/OFF switch + LED for activating/bypassing the graphic EQ (and possibly the limiter). LOW B/C 3-way switch + 2-colored LED to boost/cut low frequencies. In boost position (LED red) the bottom-end is boosted, in cut position (LED yellow) it remains unmodified, but deep mids are attenuated to obtain a clearer sound (chords, tapping, harmonics, etc.) MID B/C 3-way switch + 2-colored LED for the boost (LED red)/cut (LED yellow) of the frequency determined via TONE control. It will be slightly boosted when the switch is centered. All boosts and attenuations are less intense in deeper frequency ranges than in higher spectra (300 Hz +6/+12 dB, 14 kHz +15/+20 dB, flat/boost). HIGH B/C 3-way switch + 2-colored LED to boost/cut high sound attributes. In boost position treble is boosted (fixed preset, LED red), in cut position (LED yellow) the TONE control works as a low-pass-filter, means that frequencies higher than the TONE control setting are eliminated. Moreover the MID-boosts are softened by about 5 dB. TONE control sets the basic sound characteristics (frequency control between 300 Hz&14 kHz) DI PRE/POST switches the signal lying at the DI OUT socket PRE (switch in top position) the unmodified bass signal is retained, POST (switch in bottom position) the tone controls and the effects loop are inserted into the signal path. DI OUT symmetrical output for supplying a stage or studio mixing console. PHONES socket for connecting a headphone (min 200 Ω). MUTE switch + LED cuts the signal from all outputs, except from the PHONES socket, and activates the TUNER output (rear panel). In case of signal flow at the power secti on (Input or Effects Return), there might appear a popping noise when MUTE is pressed. To avoid this, mute your strings or have effects like delays muted when pressing the MUTE button. MASTER control determines the mains level. POWER switch for turning the amplifier on and off

INPUT GAIN

TONE CONTROLS
As the functioning of the MID B/C, HIGH B/C switches and the TONE control is very complex, some remarks regarding this novel control stage will be shown in the following. The frequency fixed with the TONE control can be further boosted via the MID B/C switch (in center position it will be slightly boosted), or cut - similarly to a semi-parametric equalizer. Boosts and attenuations are less intense in deeper frequency ranges than in higher spectra. These have been determined so as to obtain efficient results by quick adjustment. The switch position HIGH cut makes the TONE control act like a low-pass filter. You can therefore cut treble that your bass does not produce anyway, so as to eliminate unnecessary noise. Moreover you can simulate different pickup characteristics: Each pickup has a peak in its resonance frequency in excess of which no treble can be transmitted. The main distinction in sound characteristics between different pickups is that this frequency is located elsewhere depending on pickup types. This is what you can obtain in combination of MID boost and HIGH cut by shifting the simulated resonance frequency with the TONE control (12 o'clock until full clockwise position). However it requires that the resonance frequency of your bass pickups lies beyond that of the desired simulation. Furthermore you can pre-adjust the desired basic sound characteristics with the TONE control, and use the LOW B/C, MID B/C, HIGH B/C and EQ ON/OFF switches as preset switches. You can also take advantage of the option to add the limiter automatically only when the graphic EQ is activated.

MAINS IN AC GROUND LIFT

Terminal with integrated fuse compartment for connecting the amplifier to the current network switch isolates the earth connection from the ground of signal. Should several devices be simultaneously connected to earth by the same conductor as well as via line connections, a so called hum loop might appear. In this case operate GROUND LIFT to eliminate the current hum (when pressed). TUNER OUT socket for the connection of a tuner. When MUTE mode is activated, the unmodified bass signal is retained here. LINE OUT socket allows to connect additional power amplifiers or active speakers. EFF. LOOP for the insertion of effects units. Connect SEND with the input and RETURN with the output of the effects device. EQ ON/OFF FOOTSWITCH allows to connect a footswitch for activating/bypassing the graphic EQ. To do so use a switch (latch) and not a key (unlatch). SPEAKER OUT for supplying loudspeaker cabinets. One XLR and one Lockable Coaxial Speaker Connection socket are provided. Both are connected in parallel. The signal from the Lockable Coaxial Speaker Connection outputs is leaded by 1+ and 1-.

PRO FET IV
15

REAR PANEL

FRONT PANEL CONTROLS

INPUT GAIN -10 dB PAD COMPRESSOR

COMPRESSION BOOST

EQ ON EQ BALANCE

socket to plug in a bass guitar. control + CLIP LED to adjust the input level*. switch to set the range of the GAIN control. Use it with high output basses. switch + 2-colored ON/COMPRESS LED to compress the signal. In position up the compressor is on, in middle position off, in down position it is on if the EQ section is activated. control to set the compression ratio. switch to activate a second volume level. In down position +2dB, in up position +6dB, in middle poistion the boost is off. Activating the BOOST does automatic ally activate the Compressor.* switch activates the EQ section*. control to balance the volume level with EQ on and EQ off.*

VOICING SECTION:*

X-TREME
MUTE
16

BOTTOM CONTOUR GROWL ATTACK

control to extend the low frequency range. Use this at lower volume settings or for ultra low sounds. At higher volumes it might be better to reduce the low range. control boosts lows and highs, while cutting mids. control for boosting/cutting low mids. control for boosting/cutting presence.

EQ SECTION:*
BASS MID FREQ. MID LEVEL TREBLE control to boost/cut deep frequencies. control to determine a frequency. control to boost/cut the frequency adjusted with the MID FREQ. control. control to boost/cut high frequencies. switch + ON/MUTE LED cuts the signal from all outputs, except from the PHONES socket, and activates the TUNER output (rear panel). In case of signal flow at the power section (Input or Effects Return), there might appear a popping noise when MUTE is switched. To avoid this, mute your strings and have effects like delays muted when switching MUTE. control determines the mains level. socket for connecting a headphone (min 200 Ω) on/off switch for the Mains Power.

MASTER PHONES POWER

* Note: after adjusting the voicing section, the BOOST or activating the EQ section the Gain control needs to be adjusted that the level is under the CLIP point.

REAR PANEL CONTROLS

MAINS IN AC GROUND LIFT

FOOTSWITCH TUNER OUT LINE OUT EFF. SEND & EFF. RETURN EFF MIX DI PRE/POST

DI OUT SPEAKER OUT

X-TREME
17

Terminal with integrated fuse compartment for connection to the mains power supply Switch to separate the grounding conductor from the audio signal ground. When several devices are grounded to the same point and interconnected with shielded cables, a ground loop hum can result. If this happens, depress the GROUND LIFT switch to eliminate the hum Socket to connect a double latch footswitch with a stereo jack. The tip switches EQ on/off, the ring switches the BOOST on/off. Socket for a tuning device. The pure bass signal is available at this socket when the amp is switched MUTE Output for connection to an external power stage (post MASTER). Sockets to implement the effects loop. Connect the input of the effects device to the SEND socket and its output to the RETURN socket. control determine the degree to which the effects within the parallel loop affect the signal. When this switch is depressed, the signal at the DI OUT socket is the pure bass signal (PRE). Otherwise it is the signal after the tone controls and any connected effects devices have done their work (POST) Balanced output for the connection to a mixing desk (PA or Studio). sockets designed to supply speaker cabinets. XLR and Lockable Coaxial Speaker Connection connected parallel.

FRONT PANEL CONTROLS

QUADRUPLET
18

INPUT BASS MID 1 SHIFT 1 MID 2 SHIFT TREBLE LOW BOOST HIGH BOOST QUADRUMATRIX

CRUNCH OUTPUT MUTE

PHONES POWER

Socket for the connection of a bass Rotary control to Cut or Boost low frequencies Rotary control to Cut or Boost low-mid frequencies Switch + LED to set the operating frequency of MID 1 Rotary control to Cut or Boost high-mid frequencies 2 Switch + LED to set the operating frequency of MID 2 Rotary control to Cut or Boost high frequencies Switch + LED to Boost low frequencies Switch + LED to Boost high frequencies Rotary switch to alter the basic character of the Quadruplet. Also alters the operating frequencies of the tone controls. (For frequency diagrams see below) Q1 and Q2 are pure preamp signals. With Q3 and Q4, the valve(tube)-based power amplifier (EL84 and output transformer) is included in the signal path. This gives you the sounds of a full-valve(tube) amplifier, even when you are using a transistorbased power amplifier. Amplifies the signal at the input to the preamp whilst simultaneously attenuating the signal at the output. This allows you to apply valve overdrive to compress or distort the signal from your bass Rotary control to determine the overall volume. Switch + LED mutes all the outputs of the Quadruplet except the PHONES socket and simultaneously activa tes the TUNER OUT socket (Rear Panel). When the MUTE switch is depressed, the LED shines red. In an operation ready state, the LED shines green. In case of sig nal flow at the power section (Input or Effects Return), there might appear a popping noise when MUTE is pressed. To avoid this, mute your strings or have effects like delays muted when pressing the MUTE button. Headphone socket (min 200Ω). On/Off switch for the Mains Power.

REAR PANEL

MAINS IN AC GROUND LIFT

Terminal with integrated fuse compartment for connection to the mains power supply Switch to separate the grounding conductor from the audio signal ground. When several devices are grounded to the same point and interconnected with shielded cables, a ground loop hum can result. If this happens, depress the GROUND LIFT switch to eliminate the hum. DI PRE/POST When this switch is depressed, the signal at the DI OUT socket is the pure bass signal (PRE). Otherwise it is the signal after the tone controls and any connected effects devices have done their work (POST) DI OUT LEFT + RIGHT Balanced outputs for the connection to a mixing desk (PA or Studio). LINE LEVEL When this switch is depressed, the output of the OUTPUT LEFT and RIGHT sockets is at Line Level (0dB). Otherwise it is at Instrument Level (+6dB) OUTPUT LEFT + RIGHT Outputs for connection to a power stage or amplifier (see above) EFF. SEND & EFF. RETURN L + R Sockets to implement the effects loop. Connect the input of the effects device to the SEND socket and its outputs to the RETURN L + R sockets TUNER OUT Socket for a tuning device. The pure bass signal is available at this socket when the Preamp is switched MUTE

POWERING UP
1. Make sure that the device is plugged in to the mains and that any external (effects) devices are correctly connected and operation-ready. 2. Connect your bass to the QUADRUPLET'S INPUT using a shielded line cable. 3. Turn on the power using the POWER switch. 4. At the conclusion of the valve(tube) warm-up phase turn the MUTE switch off 5. Use the OUTPUT controls to set the desired volume level. 6. Adjust the controls to obtain the desired sound. To get to know the fundamental sounds of the QUADRUPLET, it is advisable to begin by setting all the tone controls to 12 o'clock, before using the QUADRUMATIX switch to adjust each of the four fundamental sounds in turn. 7. Set the correct levels of the power or bass amplifier using the OUTPUT control and the Input controls of the power amplifier (or Gain control of the bass amp). It is advisable to begin by turning the OUTPUT control all the way to the right before adjusting the Input control(s) of the power amplifier/bass amp. Once you have done this, you can reduce the volume to the desired level by turning the OUTPUT control as far as necessary to the left again. This avoids the risk that you might later overload the power amplifier by turning the OUTPUT control too far to the right. Please note that...

- the tolerances of the counter-rotating potentiometers of the CRUNCH control can result in trivial level variations at the DI OUT socket. - when the unit is connected to a power amplifier, the LINE LEVEL switch on the rear panel should be depressed, but not when the unit is connected between a bass and a bass amplifier. When the unit is operating at Instrument level, avoid the use of over-long cables as these lead to signal loss (high ohm signal).

QUADRUMATRIX

Q1

Q2

Q3

Q4

QUADRUPLET
19

FRONT PANEL CONTROLS

INPUT GAIN

QUADRUMATRIX

QUAD IV / VI
20

LOW BOOST BASS MID 1 SHIFT 1 MID 2 SHIFT 2 TREBLE HIGH BOOST PHONES MUTE

POWER MASTER

Socket for the connection of a bass Control + LED to adjust the input level. LED lights green Minimum signal LED lights yellow Tube compression Rotary switch to alter the basic character of the Quadruplet. Also alters the operating frequencies of the tone controls. (For frequency diagrams see below) Q1 and Q2 are pure preamp signals. The Quad VI offers with Q3 and Q4 a tube based power amp (EL 84 and output transformer), which gives you the sound of a full-tube amplifier. The Quad IV simulates this by EQ-presets. Switch + LED to Boost low frequencies Rotary control to Cut or Boost low frequencies Rotary control to Cut or Boost low-mid frequencies Switch + LED to set the operating frequency of MID 1 Rotary control to Cut or Boost high-mid frequencies Switch + LED to set the operating frequency of MID 2 Rotary control to Cut or Boost high frequencies Switch + LED to Boost high frequencies Headphone socket (min 200?). Switch + LED mutes all the outputs of the Quadruplet except the PHONES socket and simultaneously activates the TUNER OUT socket (Rear Panel). When the MUTE switch is depressed, the LED shines red. In an operation ready state, the LED shines green. In case of signal flow at the power section (Input or Effects Return), there might appear a popping noise when MUTE is pressed. To avoid this, mute your strings or have effects like delays muted when pressing the MUTE button. On/Off switch for the Mains Power. Rotary control to determine the overall volume.

REAR PANEL

MAINS IN AC GROUND LIFT

TUNER OUT

Terminal with integrated fuse compartment for connection to the mains power supply Switch to separate the grounding conductor from the audio signal ground. When several devices are grounded to the same point and interconnected with shielded cables, a ground loop hum can result. If this happens, depress the GROUND LIFT switch to eliminate the hum Socket for a tuning device. The pure bass signal is available at this socket when the Preamp is switched MUTE

Output for connection to an external power stage (post MASTER). When this switch is depressed, the signal at the DI OUT socket is the pure bass signal (PRE). Otherwise it is the signal after the tone controls and any connected effects devices have done their work (POST) DI OUT Balanced output for the connection to a mixing desk (PA or Studio). DI OUT Balanced output for the connection to a mixing desk (PA or Studio). EFF. SEND & EFF. RETURN Sockets to implement the effects loop. Connect the input of the effects device to the SEND socket and its output to the RETURN socket. EFF MIX control determine the degree to which the effects within the parallel loop affect the signal. SPEAKER OUT sockets designed to supply speaker cabinets. XLR and Lockable Coaxial Speaker Connection connected parallel.

LINE OUT DI PRE/POST

POWERING UP
1. Make sure that the device is plugged in to the mains and that any external (effects) devices are correctly connected and operation-ready. 2. Connect your bass to the amplifier´s INPUT using a shielded line cable. 3. Turn on the power using the POWER switch. 4. At the conclusion of the valve(tube) warm-up phase turn the MUTE switch off 5. Use the GAIN control to set the minimum level or the desired tube compression 6. Set the desired output volume with the MASTER control. 7. Adjust the controls to obtain the desired sound. To get to know the fundamental sounds of the QUAD IV/VI, it is advisable to begin by setting all the tone controls to 12 o'clock, before using the QUADRUMATIX switch to adjust each of the four fundamental sounds in turn.

QUADRUMATRIX

QUAD IV / VI
21

FRONT PANEL CONTROLS

PRO TUBE IV
22

CLIP too high, OK optimum, LOW too low. LIMITER switch + 2-colored LED to compress the signal (channel 2 only): green Limiter on, red the signal level is actually being reduced. For features of CHANNEL 1, please refer to the chapter CHANNEL 1-TUBE. For features of CHANNEL 2, please refer to the chapter CHANNEL 2-SOLID STATE. OUTPUT control for each channel + OL (overload) LED to mutually balance both channel levels. Should the OL LED light up, reduce OUTPUT of the respective channel. The standard setting, i.e. with neither attenuation nor amplification, is position 8 (when tone controls are set linearly). CH. SELECT + two LEDs to switch from channel 1 (red) to channel 2 (green). PHONES socket for connecting a headphone (min 200 Ω). MUTE switch + red LED cuts the signal from all outputs, except from the PHONES socket, and activates the TUNER output (rear panel). In case of signal flow at the power section (Input or Effects Return), there might appear a popping noise when MUTE is pressed. To avoid this, mute your strings or have effects like delays muted when pressing the MUTE button. MASTER control determines the mains level. POWER switch for turning the amplifier on and off

INPUT GAIN

socket to plug in a bass guitar. control + 3 LEDs to adjust the input level:

REAR PANEL

GROUND LIFT

switch isolates the earth connection from the ground of signal. Should several devices be simultaneously connected to earth by the same conductor as well as via line connections, a so called hum loop might appear. In this case operate the GROUND LIFT switch to eliminate the current hum (when pressed) DI PRE/POST switches the signal lying at the DI OUT sockets. PRE unmodified bass signal (it is retained on both DI OUT sockets), POST the tone control and effects loops are inserted into the signal path in stereo. DI OUT LEFT and DI OUT RIGHT sockets for supplying a stage or studio mixing console. TUNER OUT socket for the connection of a tuner. When MUTE mode is activated, the unmodified bass signal is retained here. LINE OUT L + R sockets allow to connect additional power amplifiers. EFF. LOOP for the insertion of effects units. Connect SEND with the input and RETURN L. and RETURN R. with the outputs of the effects device. CHANNEL 1/2 FOOTSWITCH allows to connect a footswitch for selecting between both channels. To do so use a switch (latch) and not a key (unlatch). SPEAKER OUT sockets designed to supply loudspeaker cabinets. One XLR and one Lockable Coaxial Speaker Connection socket are provided. Both are connected in parallel. The signal from the Lockable Coaxial Speaker Connection output is leaded by 1+ and 1-.

CHANNEL 1 - TUBE
This channel is equipped with two tubes. One preamp tube is always included within the signal flow. 2ND STAGE switch adds one output stage tube into the circuit. This feature offers the choice between a so called hybrid amplifier (tube preamp with transistor power amp) and the sound of an all tube amplifier head. CRUNCH control adjusts the tube pre-amplification. TONE control sets the basic sound characteristics (frequency control 300 Hz - 14 kHz, see below). CONTOUR switch boosts bass and treble at once. LOW B/C 3-way switch for the boost/flat/cut of sub-bass frequencies. In boost position (red LED) the bottomend is boosted, in cut position (yellow LED) it remains unmodified, but the deep-mids region is attenuated to obtain a clearer sound (chords, tapping, harmonics, etc.). MID B/C 3-way switch for the boost/flat*/cut of the frequency determined via TONE control. In boost position (red LED) this frequency is boosted, in cut position (yellow LED) it is attenuated.
* The respective frequency will be slightly boosted when the switch is centered (flat). All boosts and attenuations are less intense in deeper frequency ranges than in higher spectra (300 Hz +6/+12 dB, 14 kHz +15/+20 dB, flat/boost).

3. Semi-parametric EQ: When the MID 3-way switch is set to boost, flat (center position, slight boost) or cut, you can pre-adjust the basic timbre of your sound with the TONE control like with a semi-parametric filter. As already mentioned, the degree of boosts or cuts depends on frequency ranges. These have been determined so as to obtain efficient results by quick adjustment.

PRO TUBE IV
23

3-way switch to boost/flat/cut high sound attributes. In boost position (red LED) treble is boosted (fixed preset), in cut position (yellow LED) the TONE control works as a low-pass-filter, means that frequencies higher than the TONE control setting are eliminated. Moreover the MID-boosts are softened by about 5 dB. As you can see, the three 3-way switches and TONE control act in a very complex way. Therefore I would like to introduce some remarks and suggestions regarding sound adjustments: 1. Simulation of different pickup characteristics: Each pickup has a peak in its resonance frequency in excess of which no treble can be transmitted. The main distinction in sound characteristics between different pickups is that this frequency is located elsewhere depending on pickup types. This is exactly what you can simulate in switch positions MID boost and HIGH cut by shifting the resonance frequency with the TONE control (12 o'clock until full clockwise position). This requires that the resonance frequency of your bass pickups lies beyond that of the desired simulation. Furthermore this adjustment allows to boost highest trebles that your bass can produce, by cutting even higher pitches so as to diminish unnecessary noise. 2. Speaker Emulator (when CRUNCH is driven highly until distortion): In case you have adjusted a distorted sound with the CRUNCH control and use a loudspeaker cabinet with tweeter (or send the sound via the DI OUTs to a mixer), you should eliminate high-pitched frequencies with HIGH cut, as they can be very unpleasant for the human ear. When MID boost is activated at the same time, the sound will be more aggressive, whereas the simultaneous use of MID cut results in a smooth but however deeper cut of treble (see graph). If necessary you can turn the TONE control further clockwise.

HIGH B/C

EXAMPLES
Clean Funk Hard Funk Straight Rock Fat and ugly
2ND STAGE OFF 2ND STAGE ON 2ND STAGE ON 2ND STAGE ON TONE SEE PICTURE TONE SEE PICTURE TONE SEE PICTURE TONE SEE PICTURE CRUNCH SEE PICTURE CRUNCH SEE PICTURE CRUNCH SEE PICTURE CRUNCH SEE PICTURE CONTOUR ON CONTOUR ON CONTOUR OFF CONTOUR ON LOW FLAT LOW BOOST LOW BOOST LOW BOOST MID BOOST MID CUT MID FLAT MID BOOST HIGH FLAT HIGH BOOST HIGH FLAT HIGH CUT
1
CONT.

1
LOW B/C

1
MID B/C

1
HIGH B/C

1
CONT.

1
LOW B/C

1
MID B/C

1
HIGH B/C

1
CONT.

1
LOW B/C

1
MID B/C

1
HIGH B/C

1
CONT.

1
LOW B/C

1
MID B/C

1
HIGH B/C

CRUNCH 6 4 8

2ND STAGE

TONE

CRUNCH 6 4 8

2ND STAGE

TONE

CRUNCH 6 4 8

2ND STAGE

TONE

CRUNCH 6 4 8

2ND STAGE

TONE

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

PRO TUBE IV

Hollow Reggae

Clear compress

Tapping/chords

Ballade

OFF OFF ON ON 2ND STAGE 2ND STAGE 2ND STAGE 2ND STAGE TONE SEE PICTURE TONE SEE PICTURE TONE SEE PICTURE TONE SEE PICTURE CRUNCH SEE PICTURE CRUNCH SEE PICTURE CRUNCH SEE PICTURE CRUNCH SEE PICTURE ON OFF ON OFF CONTOUR CONTOUR CONTOUR CONTOUR BOOST FLAT CUT BOOST LOW LOW LOW LOW CUT FLAT BOOST BOOST MID MID MID MID CUT BOOST FLAT CUT HIGH HIGH HIGH HIGH
1 1
LOW B/C

1
MID B/C

1
HIGH B/C

1
CONT.

1
LOW B/C

1
MID B/C

1
HIGH B/C

1
CONT.

1
LOW B/C

1
MID B/C

1
HIGH B/C

1
CONT.

1
LOW B/C

1
MID B/C

1
HIGH B/C

CONT.

CRUNCH 6

2ND STAGE

TONE

CRUNCH 6

2ND STAGE

TONE

CRUNCH 6

2ND STAGE

TONE

CRUNCH 6

2ND STAGE

TONE

4

8

4

8

4

8

4

8

2

10 12 LOW HIGH

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

0

These setting examples aim at helping you to better handle with the control stage and to utilise it for the realisation of your sound conceptions. Set channel 1 according to the examples and adjust the TONE control to the left and to the right within the suggested area, respectively. press the switches to learn more about their efficiency. CRUNCH settings are leveldependent. The examples suppose GAIN has been set to OK. As Rock-parts are usually performed harder than tappingtechniques, rather than compensating for this gap with GAIN to obtain the desired compression, you could just raise the CRUNCH control in this case

24

CHANNEL 2 - SOLID STATE
Two switches LOW BOOST and HIGH BOOST to pre-adjust the basic sound characteristics. Eight faders 70/140/210/420/730/1.2k/2.5k/5kHz to amplify/soften the respective frequency band by +/-12 dB. You should generally adjust the graphic EQ to approximately 0 dB. This means boosts and cuts should be effected with moderation. When adjusting the faders mostly within the positive area (1) the OL LED of the master section might illuminate, which means you enter the overload range before the master control. In this case reduce OUTPUT from channel 2. If the LIMITER is activated and threshold appears too high, readjust the EQ curve to lower levels (2). Reducing GAIN would result in a worse S/N ratio and can eventually not be recommended. Should you find the threshold is too low, i.e. more intense compression is desired, shift the EQ curve further to the positive area.

2
+12 +8 LOW BOOST +3 0dB -3 -8 -12 70 . . . . . . . 140 . . . . . . . 210 . . . . . . . 420 . . . . . . . 730 . . . . . . . 1,2k . . . . . . . 2,5k . . . . . . . 5k +12 +8 +3 0dB -3 -8 -12

2

2
+12 +8 . . . . . . . 70 140 . . . . . . . 210 . . . . . . . 420 . . . . . . . 730 . . . . . . . 1,2k . . . . . . . 2,5k . . . . . . . 5k +12 +8 +3 0dB -3

2

HIGH BOOST

LOW BOOST

+3 0dB -3 -8 -12

HIGH BOOST

-12

1

2

GETTING STARTED

1. Make sure that loudspeakers capable of sustaining the load of a bass signal are connected to the SPEAKER OUT sockets. The speaker cables should meet a cross-section of at least 2 x 1.5 mm. 2. Check that the mains supply has been plugged in and that all external (effects) units possibly used are correctly connected and operational. 3. Set the MASTER control to zero. 4. Plug your bass guitar into the amplifier's INPUT with a shielded line-cable. 5. Press the POWER switch to turn the device on. 6. Switch MUTE off and the red LED will extinguish. (Should the CH. SELECT switch be set to channel 1, it will take a few seconds before a signal can be processed, as the tubes must be heated first.) 7. Turn all volume controls of your bass guitar on to their maximum. 8. Adjust the GAIN control until the (loudly) played bass signal illuminates the OK LED. 9. Set both OUTPUT controls to their positions 8. 10. Set the MASTER control to the volume you wish to play at. 11. Adjust the controls and switches of both channels according to your sound conceptions. If it appears necessary, reduce OUTPUT again with the appropriate controls. The OL LED might actually flash only occasionally, but it should not remain permanently lit. 12. Balance the levels from one channel to another with the OUTPUT controls. IMPORTANT: Make sure that gain of the elected louder channel is correctly determined and occasionally illuminates the OL LED, as either full power can actually not be used (level set too low), or undesired distortions might appear (level set too high).

PRO TUBE IV
25

-8

26

PRO TUBE IV
NOTES

FRONT PANEL CONTROLS

PRO TUBE IX
27

socket to plug in a bass guitar. control + 3 LEDs to adjust the input level: CLIP too high, OK optimum, LOW too low. 3. CH. SELECT + 2-colored LED to switch from channel 1 (red) to channel 2 (green). 4. LIMITER switch + 2-colored LED to compress the signal (channel 2 only): green Limiter on, redthe signal level is actually bein reduced. 5. For features of CHANNEL 1, please refer to the chapter CHANNEL 1-TUBE. 6. For features of CHANNEL 2, please refer to the chapter CHANNEL 2-SOLID STATE. control for each channel + OL (overload) LED to mutually balance both channel levels. Should the 7. OUTPUT OL LED light up, reduce OUTPUT of the respective channel. The standard setting, i.e. with neither attenuation nor amplification, is position 8 (when tone controls are set linearly). 8. EFF. MIX controls determine the degree to which the effects within the parallel stereo loop (rear panel) affect the signal of each channel. 9. PHONES socket for connecting a headphone (min 200 Ω). switch + red LED cuts the signal from all outputs, except from the PHONES socket, and activates 10. MUTE the TUNER output (rear panel). In case of signal flow at the power section (Input or Effects Return), there might appear a popping noise when MUTE is pressed. To avoid this, mute your strings or have effects like delays muted when pressing the MUTE button. 11. MASTER control determines the mains level. 12. POWER switch for turning the amplifier on and off.

1. INPUT 2. GAIN

REAR PANEL CONTROLS

GROUND LIFT

PRO TUBE IX
28

switch isolates the earth connection from the ground of signal. Should several devices be simultaneously connected to earth by the same conductor as well as via line connections, a so called hum loop might appear. In this case operate GROUND LIFT to eliminate the current hum. DI PRE/POST switches the signal lying at the DI OUT sockets. PRE the unmodified bass signal is retained on both DI OUT sockets, POST the tone control and effects loops are inserted into the signal path in stereo. DI OUT LEFT and DI OUT RIGHT sockets for supplying a stage or studio mixing console. TUNER OUT socket for the connection of a tuner. When MUTE mode is activated, the unmodified bass signal is retained here. MONO LOOP for the serial insertion of dynamic effects units (e.g. compressor, auto wah, etc.). Connect SEND with the input and RETURN with the output of the effects device. PARALLEL STEREO LOOP: the degree to which external effects influence the signal can be determined with the EFF. MIX control located on the front panel. Connect SEND with the input and RETURN L. and RETURN R. with the outputs of the effects device. LO CUT switch confines the SEND output to frequencies above 200 Hz. Modulation effects (e.g. chorus) remain clear this way. Note: You can also use the RETURN sockets as LINE INs in case you wish to operate the amplifier as a power amp. To this purpose rotate the EFF. MIX controls on the front panel to their full clockwise positions. CHANNEL 1/2 FOOTSWITCH allows to connect a footswitch for selecting between both channels. To do so use a switch (latch) and not a key (unlatch). SPEAKER OUT sockets designed to supply loudspeaker cabinets. Each channel of the 2 x 450 watts power amplifier provides respectively one XLR and one Lockable Coaxial Speaker Connection socket in paral lel. The signal from the Lockable Coaxial Speaker Connection outputs is leaded by 1+ and 1-. LINE OUT PARALLEL TO SPEAKER OUT sockets allow to connect additional power amplifiers. BIAMP/FULLRANGE switches over between two operation modes of the power amplifier. In FULLRANGE mode the whole frequency range is provided by both SPEAKER OUT sockets. In BIAMP mode the signal is splitted by an active crossover. X-OVER control sets the transition frequency between 80 Hz and 4 kHz. STEREO/MONO switch to use the amplifier whether in stereo or in mono. The combination of BIAMP and STEREO switch settings give access to different operation modes. Signal splittings at the respective sockets are as follows: SPEAKER OUT A, LINE OUT PARALLEL TO SPEAKER OUT A, called "A" hereafter; SPEAKER OUT B, LINE OUT PARALLEL TO SPEAKER OUT B, called "B" hereafter; LINE OUT STEREO BIAMP HIGH - LEFT and RIGHT, called HIGH L and HIGH R hereafter, are shown in the following chart:

Mode Fullrange Mono Fullrange Stereo BiAmp Mono BiAmp Stereo

A Fullrange Left und Right Fullrange Left High Left und Right Low Left

B Fullrange Left und Right Fullrange Right Low Left und Right Low Right

HIGH L no signal no signal no signal high left

HIGH R no signal no signal no signal high right

Balances can be determined with the respective BALANCE controls. The right one acts on the outputs A and B (LINE OUTs and SPEAKER OUTs), whereas the left one regulates between low and high frequencies in STEREO BIAMP mode. In this operation mode whether external power amplifiers with cabinets or active loudspeakers must be connected to the LINE OUT STEREO BIAMP HIGH sockets. IMPORTANT:

The BALANCE STEREO BIAMP CONTROL should be centered or pointing to the right-hand range in the operation modes mono-fullrange, mono biamp and stereo fullrange, OTHERWISE NO SIGNAL WILL BE SENT TO A AND B, RESPECTIVELY THE INPUT LEVEL AT THE POWER AMPLIFIER WILL BE TOO LOW.

CHANNEL 1 - TUBE

This channel is equipped with two tubes. One preamp tube is always included within the signal flow. 2ND STAGE switch adds one output stage tube into the circuit. This feature offers the choice between a so called hybrid amplifier (tube preamp with transistor power amp) and the sound of an all tube amplifier head CONTOUR switch boosts bass and treble at once. CRUNCH control adjusts the tube pre-amplification. TONE control sets the basic sound characteristics (frequency control 300 Hz - 14 kHz, see below). LOW B/C 3-way switch for the boost/flat/cut of sub-bass frequencies. In boost position (red LED) the bottomend is boosted, in cut position (yellow LED) it remains unmodified, but the deep-mids region is attenuated to obtain a clearer sound (chords, tapping, harmonics, etc.). MID B/C 3-way switch for the boost/flat*/cut of the frequency determined via TONE control. In boost position (red LED) this frequency is boosted, in cut position (yellow LED) it is attenuated.
* The respective frequency will be slightly boosted when the switch is centered (flat). All boosts and attenuations are less intense in deeper frequency ranges than in higher spectra (300 Hz +6/+12 dB, 14 kHz +15/+20 dB, flat/boost).

HIGH B/C

3-way switch to boost/flat/cut high sound attributes. In boost position (red LED) treble is boosted (fixed preset), in cut position (yellow LED) the TONE control works as a low-pass-filter, means that frequencies higher than the TONE control setting are eliminated. Moreover the MID-boosts are softened by about 5 dB.

As you can see, the three 3-way switches and TONE control act in a very complex way. Therefore I would like to introduce some remarks and suggestions regarding sound adjustments: 1. Simulation of different pickup characteristics: Each pickup has a peak in its resonance frequency in excess of which no treble can be transmitted. The main distinction in sound characteristics between different pickups is that this frequency is located elsewhere depending on pickup types. This is exactly what you can simulate in switch positions MID boost and HIGH cut by shifting the resonance frequency with the TONE control (12 o'clock until full clockwise position). This requires that the resonance frequency of your bass pickups lies beyond that of the desired simulation. Furthermore this adjustment allows to boost highest trebles that your bass can produce, by cutting even higher pitches so as to diminish unnecessary noise.

PRO TUBE IX
29

2. Speaker Emulator (when CRUNCH is driven highly until distortion): In case you have adjusted a distorted sound with the CRUNCH control and use a loudspeaker cabinet with tweeter (or send the sound via the DI OUTs to a mixer), you should eliminate high-pitched frequencies with HIGH cut, as they can be very unpleasant for the human ear. When MID boost is activated at the same time, the sound will be more aggressive, whereas the simultaneous use of MID cut results in a smooth but however deeper cut of treble (see graph). If necessary you can turn the TONE control further clockwise.

PRO TUBE IX
30

3. Semi-parametric EQ: When the MID 3-way switch is set to boost, flat (center position, slight boost) or cut, you can pre-adjust the basic timbre of your sound with the TONE control like with a semi-parametric filter. As already mentioned, the degree of boosts or cuts depends on frequency ranges. These have been determined so as to obtain efficient results by quick adjustment.

EXAMPLES
Clean Funk
2ND STAGE OFF CONTOUR ON TONE S. PICTURE CRUNCH S. PICT. LOW FLAT MID BOOST HIGH FLAT
1
LOW B/C

Hard Funk
2ND STAGE ON CONTOUR ON TONE S. PICTURE CRUNCH S. PICT. LOW BOOST MID CUT HIGH BOOST
1
LOW B/C

Straight Rock
2ND STAGE ON CONTOUR OFF TONE S. PICTURE CRUNCH S. PICT. LOW BOOST MID FLAT HIGH FLAT
1
LOW B/C

Fat and ugly
2ND STAGE ON CONTOUR ON TONE S. PICTURE CRUNCH S. PICT. LOW BOOST MID BOOST HIGH CUT
1
LOW B/C

1
MID B/C

1
HIGH B/C

1
MID B/C

1
HIGH B/C

1
MID B/C

1
HIGH B/C

1
MID B/C

1
HIGH B/C

CRUNCH 6 4 8

TONE

CRUNCH 6 4 8

TONE

CRUNCH 6 4 8

TONE

CRUNCH 6 4 8

TONE

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

2 0 12

10 LOW

2ND STAGE

CONTOUR

2ND STAGE

CONTOUR

2ND STAGE

CONTOUR

2ND STAGE

CONTOUR

CHANNEL 1 - TUBE

CHANNEL 1 - TUBE

CHANNEL 1 - TUBE

CHANNEL 1 - TUBE

Hollow Reggae
2ND STAGE OFF CONTOUR ON TONE S. PICTURE CRUNCH S. PICT. LOW BOOST MID CUT HIGH CUT
1
LOW B/C

Clear compress
2ND STAGE OFF CONTOUR OFF TONE S. PICTURE CRUNCH S. PICT. LOW FLAT MID FLAT HIGH BOOST
1
LOW B/C

Tapping/chords
2ND STAGE ON CONTOUR ON TONE S. PICTURE CRUNCH S. PICT. LOW CUT MID BOOST HIGH FLAT
1
LOW B/C

Ballade

2ND STAGE ON CONTOUR OFF TONE S. PICTURE CRUNCH S. PICT. LOW BOOST MID BOOST HIGH CUT
1
LOW B/C

1
MID B/C

1
HIGH B/C

1
MID B/C

1
HIGH B/C

1
MID B/C

1
HIGH B/C

1
MID B/C

CRUNCH 6 4 8

TONE

CRUNCH 6 4 8

TONE

CRUNCH 6 4 8

TONE

CRUNCH 6 4 8

TONE

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

2 0 12

10 LOW HIGH

2 0 12

10 LOW

2ND STAGE

CONTOUR

2ND STAGE

CONTOUR

2ND STAGE

CONTOUR

2ND STAGE

CONTOUR

CHANNEL 1 - TUBE

CHANNEL 1 - TUBE

CHANNEL 1 - TUBE

CHANNEL 1 - TUBE

These setting examples aim at helping you to better handle with the control stage and to utilise it for the realisation of your sound conceptions. Set channel 1 according to the examples and adjust the TONE control to the left and to the right within the suggested area, respectively. press the switches to learn more about their efficiency. CRUNCH settings are leveldependent. The examples suppose GAIN has been set to OK. As Rock-parts are usually performed harder than tappingtechniques, rather than compensating for this gap with GAIN to obtain the desired compression, you could just raise the CRUNCH control in this case.

PRO TUBE IX
HIGH

1

HIGH B/C

HIGH

31

CHANNEL 2 - SOLID STATE
Two switches LOW BOOST and HIGH BOOST to pre-adjust the basic sound characteristics. Ten faders 35/70/140/210/420/730/1.2k/2.5k/5k/10k Hz to amplify/soften the respective frequency band by +/-12 dB. You should generally adjust the graphic EQ to approximately 0 dB. This means boosts and cuts should be effected with moderation. When adjusting the faders mostly within the positive area (1) the OL LED of the master section might illuminate, which means you enter the overload range before the master control. In this case reduce OUTPUT from channel 2. If the LIMITER is activated and threshold appears too high, readjust the EQ curve to lower levels (2). Reducing GAIN would result in a worse S/N ratio and can eventually not be recommended. Should you find the threshold is too low, i.e. more intense compression is desired, shift the EQ curve further to the positive area.
1
+12 +9 . . . . . . . . . 35 70 . . . . . . . . . 140 . . . . . . . . . 210 . . . . . . . . . 420 . . . . . . . . . 730 . . . . . . . . . 1,2k . . . . . . . . . 2,5k . . . . . . . . . 5k . . . . . . . . . 10k +12 +9 +6 +3 0dB -3 -6 -9 -12 HIGH BOOST LOW BOOST +12 +9 . . . . . . . . . 35 70 . . . . . . . . . 140 . . . . . . . . . 210 . . . . . . . . . 420

2
. . . . . . . . . 730 . . . . . . . . . 1,2k . . . . . . . . . 2,5k . . . . . . . . . 5k . . . . . . . . . 10k +12 +9 +6 +3 0dB -3 -6 -9 -12 HIGH BOOST

2

+6 +3

2

2

+6 +3 0dB -3 -6 -9 -12

2

LOW BOOST

0dB -3 -6 -9

PRO TUBE IX

-12

CHANNEL

2

-

SOLID

STATE

CHANNEL

2

-

SOLID

STATE

GETTING STARTED
1. Make sure that loudspeakers capable of sustaining the load of a bass signal are connected to the SPEAKER OUT sockets. The speaker cables should meet a cross-section of at least 2 x 1.5 mm. 2. Check that the mains supply has been plugged in and that all external (effects) units possibly used are correctly connected and operational. 3. Select the mode in which you wish to operate (Fullrange/BiAmp, Mono/Stereo). 4. Set the MASTER control to zero. 5. Plug your bass guitar into the amplifier's INPUT with a shielded line-cable. 6. Press the POWER switch to turn the device on. 7. Switch MUTE off and the red LED will extinguish. (Should the CH. SELECT switch be set to channel 1, it will take a few seconds before a signal can be processed, as the tubes must be heated first.) 8. Turn all volume controls of your bass guitar on to their maximum. 9. Adjust the GAIN control until the (loudly) played bass signal illuminates the OK LED. 10. Set both OUTPUT controls to their positions 8. 11. Set the MASTER control to the volume you wish to play at. 12. Adjust the controls and switches of both channels according to your sound conceptions. If it appears necessary, reduce OUTPUT again with the appropriate controls. The OL LED might actually flash only occasionally, but it should not remain permanently lit. 13. Balance the levels from one channel to another with the OUTPUT controls and set the EFF. MIX of the parallel stereo loop for both channels to regulate the amount of effects within the signal path. 14. If necessary readjust balances on the rear panel.

IMPORTANT: Make sure that gain of the elected louder channel is correctly determined and occasionally illuminates the OL LED, as either full power can actually not be used (level set too low), or undesired distortions might appear (level set too high).

32

NOTES

33

PRO TUBE IX

TECHNICAL DATA
Take 12 Sweet 15 CL CCL Quadruplet

Input

25 mV

25 mV

25 mV

25 mV

Preamp CH 1

transistor active controlled none fan cooled (non permanent)

transistor active controlled none fan cooled (non permanent)

transistor active controlled none fan cooled (non permanent) bass, param.mids with freq, and level controls, treble, low boost, high boost switches, Dyn. control with switchable limiter

transistor active controlled none fan cooled (non permanent) bass, punch, param. mids with freq. and level controls, attack, treble, low boost and high boost switches. Dyn. control with switchable limiter bass, mid1 (1+shift), mid2 (2+shift), treble, low boost and high boost switches

Preamp CH 2 Poweramp

CH 1 Equalizer

bass, mid low, mid high, bass. mid low, mid high, treble controls treble controls, low boost/high boost switches

CH 2 Equalizer

none

none

none

none

none

Headphone Direct Out

200 Ω

200 Ω

200 Ω 0 dB, 600 Ω

200 Ω 0 dB, 600 Ω

200 Ω 0 dB

Effects Loops

mono serial send 0 dBu, 600 Ω return 0 dBu, 10 kΩ

mono serial send 0 dBu, 600 Ω return 0 dBu, 10 kΩ

mono serial send 0 dBu, 600 Ω return 0 dBu, 10 kΩ

mono serial send 0 dBu, 600 Ω return 0 dBu, 10 kΩ

send -10 dBu return -10 dBu

Switches

Horn Off

Horn Off

ground lift. DI pre/post Horn Off

ground lift, DI pre/post Horn Off

DI pre/post

Rear Control Footswitch Jack Nominal Power

none none 80W / 4Ω jack

none none 150W / 4Ω jack

none none 150W / 4Ω jack

none none 250W / 4Ω jack

none none

THD Weight (kg) Dimensions

<0.1% 16,5 395 x 555 x 325

<0.1% 25 530 x 640 x 340

<0.1% 21,5 445 x 465 x 400/265

<0.1% 33,0 (ccl210 7 35) 535 x 590 x 485/330 4,2 19” / 458 x 45 x 280

34

Pro Fet III

Pro Fet IV

Pro Tube IV

Pro Tube IX

Quad IV / VI

X-treme

25 mV

25 mV

25 mV

25 mV

25 mV

25 mV / -10 dB pad

transistor active controlled none fan cooled (non permanent) bass, punch, param. mids with freq. and level controls, attack, treble, low boost and high boost switches. Dyn. control with switchable limiter

transistor active controlled none fan cooled (non permanent) 3-way switches for low boost/flat/cut, mid boost/ flat/cut, high boost/ flat/cut, param.freq.contr., 8-band graph.EQ +/-12 dB dyn.contr. with switchable limiter (3-way) none

transistor active controlled dual tube fan cooled (non permanent) 3-way switches for low boost/flat/cut, mid boost/ flat/cut, high boost/ flat/cut, param.freq.contr., contour switch, dyn.control with 2nd tube and crunch control 8-band graph.EQ +/-12dB low boost/high boost switches, dyn. control with switchable limiter 200 Ω, stereo

transistor active controlled dual tube fan cooled (non permanent) 3-way switches for low boost/flat/cut, mid boost/ flat/cut, high boost/ flat/cut, param.freq.contr., contour switch, dyn.control with 2nd tube and crunch control

all tube

transistor active controlled none fan cooled (temp. controlled) voicing section: bottom, contour, growl, attack.EQ (switchable), bass, mid freq., mid level, treble

none fan cooled (temp. controlled) Quadrumatrix bass, mid1 (1+shift), mid2 (2+shift), treble, low boost/high boost switches

none

10-band graph.EQ +/-12dB none low boost/high boost switches, dyn. control with switchable limiter 200 Ω, stereo 200 Ω, stereo

none

200 Ω 0 dB, 600 Ω

200 Ω 0 dB, 600 Ω

200 Ω 0 dB, 600 Ω

2 x 0 dB, 600 Ω, stereo or 2 x 0 dB, 600 Ω, stereo or 0 dB, 600 Ω 2x mono 2x mono

mono serial send 0 dBu, 600 Ω return 0 dBu, 10 kΩ

mono serial send 0 dBu, 600 Ω return 0 dBu, 10 kΩ

stereo serial send 0 dBu, 600 Ω return 2x0 dBu, 10 kΩ

mono serial mono parallel send 0 dBu, 600 Ω send 0 dBu, 600 Ω return 0 dBu, 10 kΩ return 0 dBu, 10 kΩ stereo parallel, send fullrange or 200 Hz low cut, same values ground lift, DI pre/post, stereo, biamp, low cut ground lift, DI pre/post

mono parallel send 0 dBu, 600 Ω return 0 dBu, 10 kΩ

ground lift, DI pre/post

ground lift, DI pre/post

ground lift, DI pre/post

DI pre/post, 10 dB pad, boost, EQ on, compressor, mute

none none 300 W / 4Ω XLR & Lockable Coaxial Speaker Connection <0.1% 11,5 19” / 483 x 90 x 375

none graph. EQ on 400 W / 4Ω XLR & Lockable Coaxial Speaker Connection <0.1% 12,5 19” / 483 x 90 x 375

none CH 1/2 400 W / 4Ω XLR & Lockable Coaxial Speaker Connection <0.1% 15,0 19” / 483 x 90 x 430

X-over, 2x balance CH 1/2

Effects mix none

Effects mix boost / EQ on 1000 W / 4Ω XLR & Lockable Coaxial Speaker Connection <0.1% 19,0 19” / 458 x 90 x 410

2 x 450 W / 4Ω IV: 400 W / 4Ω XLR & Lockable Coaxial VI: 600 W / 4Ω Speaker Connection <0.1% <0.1% 22,3 19” / 483 x 135 x 455 IV: 15,0 VI: 16,5 19” / 483 x 90 x 410

35

CIRCUIT DIAGRAM

TAKE 12
36

CIRCUIT DIAGRAM

SWEET 15
37

CIRCUIT DIAGRAM

CL
38

CIRCUIT DIAGRAM

CCL
39

CIRCUIT DIAGRAM

PRO FET III
40

CIRCUIT DIAGRAM

PRO FET IV
41

CIRCUIT DIAGRAM

X-TREME
42

CIRCUIT DIAGRAM

QUADRUPLET
43

CIRCUIT DIAGRAM

QUAD IV
44

CIRCUIT DIAGRAM

QUAD VI
45

CIRCUIT DIAGRAM

PRO TUBE IV
46

CIRCUIT DIAGRAM

PRO TUBE IX
47

Headquarters: Branch China: Branch UK: Branch Switzerland:

Warwick GmbH&Co.Music Equipment KG • Gewerbegebiet Wohlhausen • 08258 Markneukirchen/Germany • E-Mail: info@warwick.de Warwick Music Equipment (Shanghai) Ltd., Co.Shanghai Waigaoqiao Free Trade Zone • Shanghai 200131/P.R.China • E-Mail: info@warwick.sh.cn Warwick Music Equipment Trading (Manchester UK) Ltd. • 75 Bridge Street • Manchester M3 2RH / Great Britain • E-Mail: info@warwickbass.co.uk Warwick Music Equipment Trading (Zurich CH) • Kriesbachstrasse 30 • CH-8600 Dübendorf / Switzerland • E-Mail: info@warwick.ch Visit us on the World Wide Web: http://www.warwick.de


				
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