Adirondack Guitar - The Guitar Garage

3 Lafayette St., Hudson Falls, NY, USA - Phone 518.746.9500

Adirondack Guitar and Pro Audio, a music store in the Adirondack Region of Upstate New York and in Cyberspace.

SWR Bass Amplifiers

SWR Workingman's 15

Individually hand built in the U.S.A.

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Description

200 watt, 1x15 combo amplifier with tweeter. Perfect for small to medium size gigs. Lightweight

Features

Discrete solid state front end
Independent inputs for both active and passive instruments
Gain Control
Preamp clip LED
Aural Enhancer Control
Bass Control
Semi-parametric Midrange Control
Treble Control
Transparency Control
Effects Blend Control
Automatic compressor/limiter
Limiter active LED
Side Chain Effects Loop
Headphone Jack
Tuner Output
Extension Speaker Jack
Balanced XLR record out
3-Way Output Switch
Front Slot Port
Top Strap Handle
Midnight Blue Carpeting with Stack Lock Corners
Vibration-Free Grill

Speaker Compliment

(1) Custom designed, cast frame 15" SWR driver
(1) Le-Son TLX-1 Piezo tweeter
Suggested Extension Speakers:
Workingman's 1x15T
Workingman's 2x10T
Workingman's 4x10T
Son Of Bertha
Goliath III
Big Ben Subwoofer.

Power Output

160 Watts RMS (as stand-alone combo)
200 Watts RMS @ 4 Ohms (with 8 ohm extension speaker)

Impedance

8 Ohms (internal)

Dimensions

20.75"W x 27.625"H x 16.25"D

Weight

55 lbs.

U.S. RETAIL PRICE: $999.00

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Workingman's 15 Owner's Manual
FORWARD

In 1984, when SWR first opened its garage door, our goal was to make the finest sounding and most reliable bass equipment we could, geared for the professional market AND carry an honest price tag. The time had come to provide the dedicated bass player an amp that was more than "a guitar amp without the reverb", or a "studio amp" so called because it happened to be..... small. While the major companies were mass producing the above products, bassplayers were having to go "direct" in the studio (the sound quality was simply far better than most bass amplifiers could produce, much less reproduce). New styles of playing such as "slap" and "tapping" were becoming popular. The five string bass was surfacing. The frequency range and dynamics of the "latest" amps and cabinets just could not accommodate these new techniques and instruments. Bassplayers who wanted a natural sound were having to spend a fortune buying separate cabinets for lows and highs powered by expensive full range power amps (bi-amping).We wanted to change all this!

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 silkscreen 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 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 withmore than 20 look-alikes 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. Thus, the Workingman's 12 came into being. The Workingman's 15 is the second of 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 roadable 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 15 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 15 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.

The Workingman's 15 speaker system features a single custom made 15-inch bass driver from PAS coupled with a piezo tweeter for frequencies above 5kHz. Via a selector switch on the front panel, the tweeter can be disengaged or the entire speaker system can be turned off for quiet practicing with headphones. The rugged cabinet is constructed using dado and rabbet joints, glued and nailed.

Thank you for putting your faith into our products. We truly hope that the Workingman's15 helps bring out the best in your playing and adds to the enjoyment of your hobby or profession.

EVERY WORKINGMAN'S 15 FROM SWR SOUND CORPORATION 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 15 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 front 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 INPUT
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 INPUT
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 your 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 15. However, damage can occur to speakers due to near-DC content present in a clipped waveform.

GAIN CONTROL
The gain control adjusts the volume of the preamp section. After the Tone controls, Aural Enhancer 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 15, 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 30-60 Hz range. Discretion should be used when doing this with the Workingman's 15 with no extension cabinet. True low fundamentals (one of the sonic signatures of all SWR amplifiers) require lots of headroom and air motion. It is for this reason that we recommend that 5-string players use an extension cabinet to increase the power output of the amplifier and get more air moving. (Some of the freaks who use our equipment use up all the available headroom and power of our biggest amps and still beg for more!)

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 Controls operate in a crucial area for most instruments. Many basses, particularly with roundwound strings, can have a very "honky", or nasal, sound. Adjustments made with the Mid Range controls 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 Level Control cuts or boosts the frequency set by the Frequency control. Starting at mid-position, turning the Level control counter clockwise cuts the desired tone. Turning the Level control clockwise boosts the desired tone (set by the Frequency control). WHEN THE LEVEL CONTROL IS SET AT MID (CENTER CLICK) POSITION, TURNING THE FREQUENCY CONTROL WILL HAVE NO AFFECT ON THE SOUND.

It is suggested that to find the midrange area you are looking for:
1. Adjust the LEVEL control to the full boost or cut position.
2. Rotate the Frequency control until the desired area you wish to cut or boost is found.
3. Adjust the Level control to the desired amount of cut or boost FREQUENCY:
The Frequency control sets the area that is to be cut or boosted by the Level function. If the Level control is set at mid-position, turning the Frequency knob will have NO affect.

Some hints: If you need to "cut through" the band a little more, try boosting 200 to 400 Hz. If you like a more transparent sound, try cutting 800 cycles. The midrange area is especially useful in controlling fretless basses and their inherent qualities.

The Treble Control operates in a tonal area that extends through and beyond the usual Treble control range. It may be thought of as a "Transparency" control (it functions similarly to the option which we offer on our SM-400 amplifier; over time, we have found this approach to result in a more musically useful "treble"). Boosting the control will open up the sound of a dull instrument, particularly in conjunction with the piezo tweeter in the Workingman's 15 speaker complement. 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 the Workingman's 15. Qualities like punch, fatness, presence and bite can be fairly well spread out. Treble, despite the broad dispersion of the piezo tweeter, is a very directional quality. Spend some time exploring what you can hear in this area as you move around.

The Transparency Control is a shelving type tone control that cuts or boosts the high frequencies a full octave above the treble function. Shelving point for this control is about 5 KHz.

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".

EFFECTS BLEND CONTROL
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 SWITCH
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 of the internal speakers, headphones, and extension speaker jack. Losses caused by effects units can be recovered by increasing the Master Volume.

IF YOU NEED MORE VOLUME THAN THE WORKINGMAN'S SINGLE 15" CAN PROVIDE, ADD AN EXTENSION SPEAKER CABINET. THE EXTENSION CABINET SHOULD HAVE AN 8 OHM IMPEDANCE OR GREATER.

RECOMMENDED CABINETS MADE BY SWR ARE:
WORKINGMAN'S 2X10T, WORKINGMAN'S4X10T, WORKINGMAN'S 1X15T, SON OF BERTHA, BASIC 2-WAY, GOLIATH III, AND THE BIG BEN SUBWOOFER.

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.

LIMITER ACTIVE LED
When the threshold of the Limiter circuit is reached the green Limiter Active LED will light.

THREE WAY SELECTOR SWITCH
The top position labeled "Horn Off" disconnects the tweeter located in the upper right hand corner of the speaker cabinet. It will not affect the 15" woofer, headphones or any extension cabinet. If you prefer a "darker" sound or are getting a lot of fret buzz, clicks, pick or finger noise, you may want to use this position.

The middle position labeled "Head Phones" disconnects the signal going to the internal speakers and extension speaker jack. Use this selection when using headphones (stereo only) or for silent tuning. The Headphone jack is always active regardless of the position of this switch.

The bottom position labeled "Full Range" activates both the tweeter and woofer in the internal speaker cabinet as well as the extension speaker jack. This will generally be the selection you use the most.

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 heaphones and could ruin them.

Any impedance headphones will work. However, optimum impedance is 75 ohms.

POWER SWITCH
Pressing the Power Switch to the ON position activates the Workingman's 15 electronics as indicated by the red LED above the switch lighting.

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 JACK
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 JACK
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 the internal speakers or your headphones. 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.

EXTENSION SPEAKER JACK
Use an unshielded 2-conductor cable (NOT A GUITAR CORD!) to connect an additional speaker cabinet. Use a high quality, heavy gauge cable of at least 18 gauge (the lower the gauge, the heavier the cable). The impedance of the speaker should be 8 Ohms or greater. If you wish to connect two additional cabinets be sure their combined load impedance is not less than 8 ohms (equivalent to two 16 ohms speaker cabinets in parallel).

RECOMMENDED EXTENSION CABINETS MADE BY SWR ARE:
WORKINGMAN'S 2X10T, WORKINGMAN'S4X10T, WORKINGMAN'S 1X15T, SON OF BERTHA, BASIC 2-WAY, GOLIATH III, AND THE BIG BEN SUBWOOFER.

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, 3 amp slo-blow for 120V operation, and 1 1/2 amp slo-blo for 240V operation.

A/C LINE CORD RECEPTACLE
Accepts a standard A/C power cable (supplied with the Workingman's 15 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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