BLACK STAR S1-104EL34 User manual

Blackstar Amplification Ltd, Beckett House, 14 Billing Road, Northampton, NN1 5AW, UK
For the latest information go to: www.blackstaramps.com
Whilst the information contained herein is correct at the time of publication, due to our policy of constant improvement
and development, Blackstar Amplification Ltd reserves the right to alter specifications without prior notice.
Designed and Engineered by
Blackstar Amplification UK
Owner’s Manual
HBK-1032 01/11

Blackstar Amplification Ltd, Beckett House, 14 Billing Road, Northampton, NN1 5AW, UK
For the latest information go to: www.blackstaramps.com
Whilst the information contained herein is correct at the time of publication, due to our policy of constant improvement
and development, Blackstar Amplification Ltd reserves the right to alter specifications without prior notice.
Designed and Engineered by
Blackstar Amplification UK
Owner’s Manual
HBK-1032 01/11

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IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions.
2. Keep these instructions
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings.
Install in accordance with the manufacturer's instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or
other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety
purpose of the polarized or grounding-type plug. A
polarized plug has two blades with one wider than the other. A grounding
type plug has two blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug does not fit into
your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles, and the point where they exit from the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Unplug this apparatus during lightning storms or when unused for long periods
of time.
13. Refer all servicing to qualified service personnel. Servicing is required when the
apparatus has been damaged in any way, such as power-supply cord or plug is
damaged, liquid has been spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not operate normally, or
has been dropped.
“TO COMPLETELY DISCONNECT THIS APPARATUS FROM THE AC MAINS,
DISCONNECT THE POWER SUPPLY CORD PLUG FROM THE AC RECEPTACLE”.
“WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO
NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE AND OBJECTS
FILLED WITH LIQUIDS, SUCH AS VASES, SHOULD NOT BE PLACED ON THIS
APPARATUS”.
This symbol is intended to alert the user to the presence of
uninsulated “dangerous voltage” within the product’s enclosure that
may be of sufficient magnitude to constitute a risk of electric shock
to persons.
This symbol is intended to alert the user to the presence of important
operation and maintenance (servicing) instructions in the literature
accompanying the appliance.
USA / Canada

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Warning!
Important safety information!
READ THE FOLLOWING INFORMATION CAREFULLY. SAVE ALL
INSTRUCTIONS FOR FUTURE REFERENCE!
Follow all warnings and instructions marked on the product!
Danger! High internal operating voltages
Do not open the equipment case. There are no user serviceable parts in this
equipment. Refer all servicing to qualified service personnel.
Clean only with a dry cloth.
Condensation can form on the inside of an amplifier if it is moved from a cold
environment to a warmer location. Before switching the unit on, it is recommended
that that the unit me allowed to reach room temperature.
Unauthorised modification of this equipment is expressly forbidden by Blackstar
Amplification Ltd.
Never push objects of any kind into ventilation slots on the equipment casing.
Do not expose this apparatus to rain, liquids or moisture of any type.
Follow all warnings and instructions marked on the product!
Do not place this product on an unstable trolley, stand or table. The product may
fall, causing serious damage to the product or to persons!
Do not cover or block ventilation slots or openings.
This product should not be placed near a source of heat such as a stove, radiator,
or another heat producing amplifier.
Use only the supplied power cord which is compatible with the mains voltage supply
in your area.
Power supply cords should always be handled carefully and should be replaced if
damaged in any way.
Never break off the earth (ground) pin on the power supply cord.
The power supply cord should be unplugged when the unit is to be unused for long
periods of time.
Before the unit is switched on, the loudspeaker should be connected as described
in the handbook using the lead recommended by the manufacturer.
Always replace damaged fuses with the correct rating and type.
Never disconnect the protective mains earth connection.
High loudspeaker levels can cause permanent hearing damage. You should
therefore avoid the direct vicinity of loudspeakers operating at high levels. Wear
hearing protection if continuously exposed to high levels.
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If the product does not operate normally, when the operating instructions are
followed, then refer the product to a qualified service engineer.
The U.S. Government' s Occupational Safety and Health Administration (OSHA) has
specified the following permissible noise level exposures:
According to OSHA, any exposure in excess of the above permissible limits could
result in some hearing loss.
Ear plug protectors in the ear canals or over the ears must be worn when operating
this amplification system in order to prevent a permanent hearing loss if exposure is
in excess of the limits as set forth above. To ensure against potentially dangerous
exposure to high sound pressure levels, it is recommended that all persons
exposed to equipment capable of producing high sound pressure levels such as
this amplification system be protected by hearing protectors while this unit is in
operation.
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All electrical and electronic products should be disposed of separately
from the municipal waste stream via designated collection facilities
appointed by the government or the local authorities.
Duration Per Day In Hours Sound Level dBA, Slow Response
8 90
6 92
4 95
3 97
2 100
1 1/2102
1 105
1/2110
1/4 or less 115
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Introduction
Thank you for purchasing this Blackstar Series One amplifier. Like all our products,
this amp is the result of countless hours of painstaking Research and Development
by our world-class design team. Based in Northampton (UK), the Blackstar team are
all experienced musicians themselves and the sole aim of the development process
is to provide guitarists with products which are the ultimate tools for self expression.
All Blackstar products are subjected to extensive laboratory and road testing to
ensure that they are truly uncompromising in terms of reliability, quality and above
all TONE.
The S1-104 is available in two output valve configurations delivering two distinctly
different sonic signatures. The EL34 powered version, which is honed to deliver the
ultimate in Brit influenced rock tones and the 6L6 version which has been voiced for
a more aggressive US metal influenced sound.
The S1-104’s highly flexible four channel design features the unique DPR (Dynamic
Power Reduction) and ISF (Infinite Shape Feature) controls and although it has a
comprehensive control set, it is still simple and intuitive to use. Please read through
this handbook carefully to ensure you get the maximum benefit from your new
Blackstar product.
If you like what you hear and want to find out more about the Blackstar range of
products please visit our website at www.blackstaramps.com
Thanks!
The Blackstar Team
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Features
The S1-104 sees the distillation of decades of guitar amplifier design experience into
the ultimate 100W valve head. Every control has been honed for maximum sonic
benefit through hundreds of hours of listening.
The S1-104 Clean Channel sets the precedent for no-compromise design, by
featuring the unique Bright / Warm switch. This modestly named control actually
reconfigures the pre-amplifier voicing and power amplifier damping to reproduce
either ringing Class A performance in the Bright mode, or crunchy Class AB tones
in the Warm setting.
Careful attention was paid to the levels of overdrive available when designing the S1-
104 Crunch Channel. We thought it important to cover the widest range of crunch
gain levels from just on the edge clean break-up, to crushing modern rhythm tones.
To this end the Crunch / Super Crunch switch alters both gain levels and tonal
shaping for maximum crunch flexibility.
The overdrive channels are characterised by a tone which is high in gain, but lacks
any of the detached top-end often found in many similar designs. This is a result of
unique preamplifier and power amplifier shaping techniques, which also benefit the
player in the way the overdrives clean up beautifully as the guitar volume is reduced.
Even at the most extreme settings, the overdrive channels remain natural sounding.
The Patent-Applied-For ISF control is unique to Blackstar Amplification and
represents a major step forward in tone shaping flexibility. The ISF control shifts the
response of the three control tone stack between at one end a US response and at
the other a UK response. Importantly, an infinite number of alternative tone choices
lies in between that would be otherwise unavailable.
Completing the tonal feature set is another unique Patent-Applied-For Blackstar
innovation - the DPR (Dynamic Power Reduction) system. DPR reduces the power
of the output stage from full power (100W) down to 10% (10W) and any power
output in between. This means that the full tonal depth of the 100W power amplifier
can be enjoyed at any volume, making the S1-104 ideal for recording, smaller
gigs and even home practice use. Working in conjunction with the power amplifier
voltages, this method of power reduction suffers none of the loss in tone of other
power reduction systems.
The tonal flexibility of the S1-104 is augmented by full MIDI implementation of the
main channel switching functions. Used in conjunction with outboard gear such
as multi-effects units, MIDI allows a whole new level of creative performance to be
explored.
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Front Panel
1. Input
Plug your guitar in here. Always use a good quality screened guitar lead.
Clean Channel
2. Clean Indicator
When the green LED is on the Clean Channel is selected.
3. Clean Select
Press this switch to select the Clean Channel.
4. Clean Gain
The Clean Gain control adjusts the amount of the Clean Channel’s overdrive or
distortion. Low settings, counter clockwise, will deliver a clean sound. As the Clean
Gain control is increased clockwise the sound will begin to break-up, delivering a
subtle overdrive.
5. Bright / Warm Switch
The Bright / Warm Switch reconfigures both preamplifier and power amplifier circuits
to deliver Class A or Class AB style tones.
The table below describes the operation of the two modes:
6. Clean Volume
This controls the volume of the Clean Channel. Turning it clockwise increases the
volume.
Crunch Channel
7. Crunch Indicator
When the yellow LED is on the Crunch Channel is selected.
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Mode Preamp Character Power Amp Damping Use For
Bright Tighter bass, chiming mids
and highs
Low (greater emphasis on
lows and highs)
Ringing clean and jangly
rhythm
Warm Looser bass, glassy highs Medium (tighter bottom-
end for crunch)
Warm cleans and crunchy
rhythms
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8. Crunch Select
Press this switch to select the Crunch Channel.
9. Crunch Gain
The Crunch Gain control adjusts the amount of the Crunch Channel’s overdrive or
distortion. Low settings, counter clockwise, will deliver a clean sound on the edge of
break-up. As the Crunch Gain control is increased clockwise the sound will become
more overdriven, moving through beautiful crunch tones.
10. Super Crunch Switch
The Super Crunch switch allows the selection between a lower gain crunch with a
looser bass response (Super Crunch – out) and a higher gain crunch setting (Super
Crunch – in), which has a tighter bottom-end for modern rhythm playing.
11. Crunch Volume
This controls the volume of the Crunch Channel. Turning it clockwise increases the
volume.
Clean and Crunch Channel EQ
12. Bass
The Bass control adjusts the amount of low-end frequencies in your tone. This amp
has an advanced tone shaping circuit which allows the tone to be tight and cutting,
counter clockwise, to warm and thumping, clockwise.
13. Middle
The Middle control adjusts the amount of middle frequencies in your tone. The middle
frequencies are particularly important in setting the amount of ‘body’ your tone has.
With the Middle control set to its minimum position (fully counter clockwise) the
sound will be aggressive and scooped, a tone ideal for aggressive rhythm playing.
As the Middle control is increased (clockwise) the amount of ‘body’ is increased,
which is more suitable for sustained lead guitar tones.
14. Treble
The Treble control allows exact adjustment of the treble frequencies within the
sound. At low settings (counter clockwise) the sound will be warm and darker in
character. As the Treble control is increased (clockwise) the sound will become
brighter. At the maximum settings the sound will be aggressive and cutting.
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15. ISF (Infinite Shape Feature)
The ISF control works in conjunction with the Bass,
Middle and Treble controls. It allows you to choose the
exact tonal signature you prefer. Fully counter clockwise
has a more American characteristic with a tight bottom-
end and more aggressive middle, and fully clockwise
has a British characteristic which is more ‘woody’ and
less aggressive.
Unlike conventional ‘contour’ controls and parametric equalisation systems, the
Bass, Middle and Treble controls remain interactive with each other just like in a
traditional guitar amplifier tone stack. This leads to a very familiar, musical response.
Overdrive 1 Channel
16. Overdrive 1 Channel Indicator
When the orange LED is on, the Overdrive 1 Channel is selected.
17. Overdrive 1 Select
Press this switch to select the Overdrive 1 Channel.
18. Overdrive 1 Gain
The Overdrive 1 Gain control adjusts the amount of the Overdrive 1 Channel’s
overdrive or distortion. Low settings, counter clockwise, will deliver a clean sound
on the edge of break-up. As the Gain control is increased clockwise the sound
will become more overdriven, moving through crunch tones until, at its maximum
position, a full distorted tone is arrived at.
19. Overdrive 1 Volume
This controls the volume of the Overdrive 1 Channel. Turning it clockwise increases
the volume.
Overdrive 2 Channel
20. Overdrive 2 Indicator
When the red LED is on, the Overdrive 2 Channel is selected.
21. Overdrive 2 Select
Press this switch to select the Overdrive 2 Channel.
22. Overdrive 2 Gain
The Overdrive 2 Gain control adjusts the amount of the Overdrive 2 Channel’s
overdrive or distortion. Low settings, counter clockwise, will deliver a clean sound
on the edge of break-up. As the Gain control is increased clockwise the sound
will become more overdriven moving through crunch tones until, at its maximum
position, there is a full distorted lead tone.
23. Overdrive 2 Volume
This controls the volume of the Overdrive 2 Channel. Turning it clockwise increases
the volume.
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USA UK
English

Overdrive 1 and Overdrive 2 Channel EQ
24. Bass
The Bass control adjusts the amount of low-end frequencies in your tone. This amp
has an advanced tone shaping circuit which allows the tone to be tight and cutting,
counter clockwise, to warm and thumping, clockwise.
25. Middle
The Middle control adjusts the amount of middle frequencies in your tone. The
middle frequencies are particularly important in setting the amount of ‘body’ your
tone has.
With the Middle control set to its minimum position (fully counter clockwise) the
sound will be aggressive and scooped, a tone ideal for aggressive rhythm playing.
As the Middle control is increased (clockwise) the amount of ‘body’ is increased,
which is more suitable for sustained lead guitar tones.
26. Treble
The Treble control allows exact adjustment of the treble frequencies within the
sound. At low settings (counter clockwise) the sound will be warm and darker in
character.
As the Treble control is increased (clockwise) the sound will become brighter. At the
maximum settings the sound will be aggressive and cutting.
27. ISF (Infinite Shape Feature)
The ISF control works in conjunction with the Bass,
Middle and Treble controls. It allows you to choose
the exact tonal signature you prefer. Fully counter
clockwise has a more American characteristic with a
tight bottom-end and more aggressive middle, and fully
clockwise has a British characteristic which is more
‘woody’ and less aggressive.
Unlike conventional ‘contour’ controls and parametric equalisation systems, the
Bass, Middle and Treble controls remain interactive with each other just like in a
traditional guitar amplifier tone stack. This leads to a very familiar, musical response.
Master
28. Resonance
The Resonance control sets the overall bass response of the S1-104. At lower
settings the cleans will be tight and funky and overdrives will be focussed in their
bass response. At increased settings the clean sounds will be become full and
warm, whilst the crunch and overdrive tones will be more bass heavy and resonant.
29. Presence
The Presence control sets the overall treble response of the S1-104. Percussive
high-end can be accentuated on clean sounds and the amount of aggressive treble
controlled with crunch and overdrive settings.
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USA UK
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30. Volume
This controls the overall volume of your amplifier. Turning it clockwise increases
the volume.
31. DPR (Dynamic Power Reduction)
The DPR control allows the output power of the S1-104 to be reduced anywhere
from 100W (100%) down to 10W (10%) of the rated power.
DPR works by controlling the power supply voltages to the
100W output valves and also the level of drive signal into the
power amplifier stage. Importantly, there are no components
placed in between the output valves, the output transformer
and the loudspeaker – a relationship which is essential in the
delivery of valve tone.
In addition to reducing the output power of the S1-104, the
DPR system actually controls the amount of power amplifier
compression too. Power amplifier compression is a key
ingredient in the characteristics of low powered valve amplifier
tone and gives a very playable ‘feel’ to the S1-104 at reduced
power settings.
We would recommend experimenting with the channel Gain and Volume, Master
Volume and DPR Control to achieve various combinations of preamplifier and power
amplifier distortion / compression.
Note: Generally speaking the more DPR is applied (i.e. power is reduced) the more
dynamic compression and power amp clipping will be experienced at any given
volume.
Clean DPR Operation
The DPR control is extremely powerful in fine-tuning the exact dynamic compression
characteristics of the power amplifier.
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Channel Channel
Gain
Channel
Volume
Master
Volume
DPR Description/
Sound Character
Clean Low Mid Mid High Maximum pre and power amplifier headroom
yields extremely dynamic clean sounds.
Clean Low High High Low Increasing drive to the power amplifier and
reducing output power gives a compressed
clean sound rich in power amplifier induced
harmonics.
Clean High High High Low Higher channel gain further increases the
power amplifier drive producing a ‘full stack’
crunch tone at only 10W output power.
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Crunch DPR Operation
The DPR control allows you to pin-point exactly how much valve overdrive you want
to come from the preamplifier section and how much is coming from the valves in
the power amplifier section.
Overdrive DPR Operation
The DPR control allows you to add power amplifier compression to your high gain
lead and rhythm tones. This is superb for encouraging really fluid lead playing rich in
power amplifier sustain and feel.
32. Power Indicator Light
The power indicator will light when the amplifier is switched on.
33. Standby
This switch enables the output stage. Always turn this switch on at least 30 seconds
after the Power switch (34). During short breaks in playing use just this switch to turn
‘off’ and ‘on’ the amplifier’s output.
34. Power
This switch is used to turn the amplifier on and off. You should always turn this
switch on before turning on the Standby switch (33).
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Channel Channel
Gain
Channel
Volume
Master
Volume
DPR Description/
Sound Character
Crunch Low/Mid Mid Mid High Lower gain settings provide a dynamic
crunch utilising the full 100W of available
headroom.
Crunch Mid High High Mid At these settings there is a blend of the
distortion and compression generated in the
preamplifier and power amplifier valves. We
recommend that youexperiment to find your
‘sweet-spot’.
Crunch High Mid Mid Low Here maximum preamplifier gain is
combined with the lowest power amplifier
output for maximum valve saturation.
Channel Channel
Gain
Channel
Volume
Master
Volume
DPR Description/
Sound Character
Overdrive Mid Mid Mid High The maximum headroom from the 100W
power amplifier will yield incredibly tight
and dynamic overdrive at extreme volume
settings.
Overdrive High Mid Mid Low With maximum overdrive gain there is loads
of sustain from the preamplifier which is
augmented by the increased power amplifier
compression as the DPR is set to minimum.
Again, we recommend that you experiment
to find your ‘sweet-spot’.
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MIDI Channel Switching
The Series One offers the ability to control channel selection via MIDI Program
Change messages and interfacing with most MIDI controllers is a straight forward
process. The Series One can be placed in a MIDI chain allowing you to simultaneously
select a channel on the amplifier and change the patch on a MIDI effects processor
connected to the effects loop. There are 128 available Program Changes, giving you
the possibility to access a vast number of tonal combinations.
To set-up MIDI channel switching, simply connect the MIDI controller’s MIDI Out
socket to the MIDI In socket on the rear of the amplifier. The controller should be set
to transmit Program Change messages (this is usually the case). From new, a Series
One amplifier is set to OMNI mode and responds to Program Change messages
on all MIDI channels. Changing ‘patches’ on the controller will change the selected
channel on the amp. The default settings for each Program Change number are
shown in the table below:
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Program
Change
1 CLEAN
2 CRUNCH
3 OVERDRIVE 1
4 OVERDRIVE 2
5 CLEAN
6 CRUNCH
7 OVERDRIVE 1
8 OVERDRIVE 2
9 CLEAN
10 CRUNCH
11 OVERDRIVE 1
12 OVERDRIVE 2
13 CLEAN
14 CRUNCH
15 OVERDRIVE 1
16 OVERDRIVE 2
17 CLEAN
18 CRUNCH
19 OVERDRIVE 1
20 OVERDRIVE 2
21 CLEAN
22 CRUNCH
23 OVERDRIVE 1
24 OVERDRIVE 2
25 CLEAN
26 CRUNCH
27 OVERDRIVE 1
28 OVERDRIVE 2
29 CLEAN
30 CRUNCH
31 OVERDRIVE 1
32 OVERDRIVE 2
33 CLEAN
34 CRUNCH
35 OVERDRIVE 1
36 OVERDRIVE 2
37 CLEAN
38 CRUNCH
39 OVERDRIVE 1
40 OVERDRIVE 2
41 CLEAN
42 CRUNCH
43 OVERDRIVE 1
44 OVERDRIVE 2
45 CLEAN
46 CRUNCH
47 OVERDRIVE 1
48 OVERDRIVE 2
49 CLEAN
50 CRUNCH
51 OVERDRIVE 1
52 OVERDRIVE 2
53 CLEAN
54 CRUNCH
55 OVERDRIVE 1
56 OVERDRIVE 2
57 CLEAN
58 CRUNCH
59 OVERDRIVE 1
60 OVERDRIVE 2
61 CLEAN
62 CRUNCH
63 OVERDRIVE 1
64 OVERDRIVE 2
65 CLEAN
66 CRUNCH
67 OVERDRIVE 1
68 OVERDRIVE 2
69 CLEAN
70 CRUNCH
71 OVERDRIVE 1
72 OVERDRIVE 2
73 CLEAN
74 CRUNCH
75 OVERDRIVE 1
76 OVERDRIVE 2
77 CLEAN
78 CRUNCH
79 OVERDRIVE 1
80 OVERDRIVE 2
81 CLEAN
82 CRUNCH
83 OVERDRIVE 1
84 OVERDRIVE 2
85 CLEAN
86 CRUNCH
87 OVERDRIVE 1
88 OVERDRIVE 2
89 CLEAN
90 CRUNCH
91 OVERDRIVE 1
92 OVERDRIVE 2
93 CLEAN
94 CRUNCH
95 OVERDRIVE 1
96 OVERDRIVE 2
97 CLEAN
98 CRUNCH
99 OVERDRIVE 1
100 OVERDRIVE 2
101 CLEAN
102 CRUNCH
103 OVERDRIVE 1
104 OVERDRIVE 2
105 CLEAN
106 CRUNCH
107 OVERDRIVE 1
108 OVERDRIVE 2
109 CLEAN
110 CRUNCH
111 OVERDRIVE 1
112 OVERDRIVE 2
113 CLEAN
114 CRUNCH
115 OVERDRIVE 1
116 OVERDRIVE 2
117 CLEAN
118 CRUNCH
119 OVERDRIVE 1
120 OVERDRIVE 2
121 CLEAN
122 CRUNCH
123 OVERDRIVE 1
124 OVERDRIVE 2
125 CLEAN
126 CRUNCH
127 OVERDRIVE
128 OVERDRIVE 2
Channel

Program Change Assignment
To change the default assignments and set the amp up to respond to a different set
of Program Changes:
1. The amp must be powered on with either the Standby switch set to on, a jack
in the Input socket, or both.
2. Send the appropriate Program Change message to the amp.
3. Press and hold in the appropriate front panel Channel Select switch
for 2 seconds.
The corresponding channel will be selected and its LED will flash three times in quick
succession to indicate it has been assigned to the last received Program Change.
The amplifier will now remember the selection. Repeat the operation until all your
Program Changes have the desired amp channel assigned to them.
MIDI Receive Channel Selection
As mentioned previously, the default mode is set to OMNI and the amplifier will
respond to MIDI Program Changes on all MIDI channels. You may wish to set the
amplifier to respond to Program Changes on just a single MIDI channel. The Series
One can be set to respond in this way for any of the first seven MIDI channels
as follows:
1. The unit must be in standby (Power (34) on and Standby (33) off), and no lead
connected to the Input jack.
2. Simultaneously press and hold the Clean (3) and OD1 (17) Select switches.
3. After 2 seconds the LED for OD2 (20) will begin to flash continuously (2 flashes
per second) to indicate that the unit is in MIDI Receive Channel Program Mode.
4. Release the Clean (3) and OD1 (17) Select switches and select the required
MIDI channel by using the Channel Select switches as shown in the table below:
The corresponding Channel Select LEDs will illuminate to show the selection
and each press of the Channel Select switches will toggle the state of its
associated LED.
5. To store the desired selection press the OD2 (21) Select switch. The OD2 (20)
Select LED will flash quickly four times when the operation is complete. The
unit will then revert to normal operation, and will respond only to Program
Changes on the newly selected MIDI Channel.
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Clean Crunch OD1 MIDI CHANNEL
OFF OFF OFF OMNI
ON OFF OFF 1
OFF ON OFF 2
ON ON OFF 3
OFF OFF ON 4
ON OFF ON 5
OFF ON ON 6
ON ON ON 7

MIDI Dump Out
You may wish to back up the MIDI channel select settings so you can transfer them
to another amplifier, for example. To do this you will need a MIDI Sysex librarian,
which is usually a piece of software running on a PC or MAC with a suitable
MIDI interface.
1. The unit must be in standby (Power (34) on and Standby (33) off), with no lead
connected to the Input jack and the MIDI Thru on the rear of the amplifier
connected to the MIDI In of the recording device.
2. Simultaneously press and hold the Crunch (8) and OD2 (21) Select switches.
After 2 seconds the LED for OD1 (16) will flash continuously to indicate that the
unit is in MIDI Dump Mode.
3. Prepare the receiving equipment for the transfer. For example, if using a MIDI
Sysex librarian this must be put into file receive mode.
4. Start the file transfer by pressing and quickly releasing the OD1 (17) Select
switch. During the file transfer the OD1 (16) Select LED will flash quickly. When
the flashing stops the transfer operation is complete and the amplifier will revert
to normal operation. The file should be saved as a MIDI System Exclusive file.
MIDI Dump In
To load in previously saved Program Change assignments:
1. Connect the MIDI Out of the MIDI recording device to the MIDI In on the rear of
the amplifier and use the MIDI Sysex librarian to send the previously stored
MIDI System Exclusive file.
The amplifier overwrites the current Program Change assignments with the new
ones. If the operation completes successfully all four channel LEDs flash quickly four
times. If the dump is unsuccessful or incomplete the four LEDs will flash slowly in an
alternating pattern and then the unit will revert to normal operation.
Note: During reception of the System Exclusive file the amplifier will temporarily
cease to pass data to the MIDI Thru socket.
Restoring Factory Settings
To return the amplifier to its factory default state:
1. With the amplifier Power off, press and hold in the Crunch (8) and OD2 (21)
Select switches.
2. While holding in the switches turn on the amplifier. After 2 seconds all channel
select LEDs flash once to confirm the factory defaults have been restored.
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Rear Panel
1 . Mains Input
The supplied detachable mains lead is connected here. The lead should only
be connected to a power outlet that is compatible with the voltage, power and
frequency requirements stated on the rear panel. If in doubt get advice from a
qualified technician.
2. Mains Fuse
The value of the Mains Fuse is specified on the rear panel. Never use a fuse of the
incorrect value or attempt to bypass it.
3. H.T. Fuse
The value of the H.T. Fuse is specified on the rear panel. Never use a fuse of the
incorrect value or attempt to bypass it.
4. Footswitch
The supplied footswitch is connected here. The footswitch enables you to switch
between the Bright Clean, Warm Clean, Crunch and Super Crunch modes.
5. MIDI Thru
Any MIDI data received at the MIDI In socket is passed out of the MIDI Thru socket
so that other MIDI devices can be placed in a chain. The MIDI Thru socket also
serves as a way of dumping Channel Select/Program Change data to a suitable
MIDI storage device. Refer to the MIDI Channel Switching section for more details.
Always use a good quality MIDI lead.
6. MIDI In
If channel switching using MIDI is required, connect the MIDI device here. Refer
to the MIDI Channel Switching section for more details. Always use a good quality
MIDI lead.
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7. Impedance Selector
This control matches the amplifier’s impedance to that of the connected speakers.
Always ensure that the selected impedance matches that of the speaker cabinets
connected. See table below.
A speaker cabinet of less than 4 Ohms, or 2 x 4 Ohm cabinets, should not be used
together with this amplifier.
WARNING: The amplifier must always be completely powered down before
adjusting the setting of the Impedance Selector. Failure to do this, or to correctly
match the impedance of the amplifier and speakers, will damage the amplifier.
8. Speaker Outputs
There are two parallel speaker outputs for connecting external speaker cabinets.
When connecting speakers always ensure that the Impedance Selector (7) is set
correctly.
9. Speaker Emulated Output
This output emulates the tonal characteristics of a guitar speaker cabinet and
provides a natural valve overdrive tone for connection to a recording device or
mixing desk. Always use a good quality screened lead. There is both a jack and a
balanced XLR output.
NOTE: To ‘silently’ record, turn the amp to standby mode. You may also record
from this output while in standby mode without a loudspeaker connected, but
ensure that no loudspeaker leads are connected to either of the loudspeaker output
jack sockets of the amplifier, as this will defeat the load protection circuit and cause
damage to the amplifier.
10. Effects Loop Level
The Effects Loop Level switch sets the effects loop to either +4dBV/-10dBV, which
enables you to use it with either professional equipment (+4dBV setting), or with
guitar level effects such as effects pedals (-10dBV setting).
11. Effects Loop Return
Connect the (mono) output of an external effects unit here.
12. Effects Loop Send
Connect the (mono) input of an external effects unit here.
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Cabinets Connected Impedance Selected
1 x 16 Ohm cabinet 16 Ohms
2 x 16 Ohm cabinets 8 Ohms
1 x 8 Ohm cabinet 8 Ohms
2 x 8 Ohm cabinets 4 Ohms
1 x 4 Ohm cabinet 4 Ohms

S1-104EL34 Technical Specification
Power (RMS): 100 Watts
Valves: 4 x EL34, 3 x ECC83, 1 x ECC82
Weight (kg): 27.2
Dimensions (mm): 705 x 285 x 278.5
Footswitch: FS-3 supplied
S1-1046L6 Technical Specification
Power (RMS): 100 Watts
Valves: 4 x 6L6, 3 x ECC83, 1 x ECC82
Weight (kg): 27.2
Dimensions (mm): 705 x 285 x 278.5
Footswitch: FS-3 supplied
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