Mesa/boogie Subway d-350 User manual

Owner’s Manual

Greetings from the Home of Tone®

…You, smart player and intuitive human, have put your trust in us to be your amplier

company. is is something that we do not take lightly. By choosing this instrument to be

partofyourmusicalvoice,youhavebecomepartoftheMesafamily…WELCOME…andto

thoseofyouwhoarealreadypartoftheMesafamily,wethankyouforreturningtoyourroots.

Our goal is to never let you down. Your reward is that you are the new owner of an amp,

bred of ne heritage, benetting from the many pioneering and patented Mesa circuits

as well as fresh cutting edge research and development eorts, leading to this new and

exciting model. We feel condent that this amp will inspire many hours of musical

satisfaction and lasting enjoyment. It was built with you in mind by players who know

the value of a ne musical instrument and the commitment it takes to make great music.

e same commitment to quality, value, and support we make to you… our friends.

Table of Contents

IMPORTANT SAFETY INSTRUCTIONS �� 1

PRODUCT COMPLIANCE INFORMATION �� 2

OVERVIEW �� 3

OVERVIEW: FRONT PANEL �� 4

OVERVIEW: REAR PANEL �� 5

INSTANT GRATIFICATION �� 5

FRONT PANEL: (CONTROLS & FEATURES) �� 6

INPUT JACK �� 6

MUTE SWITCH �� 6

ACTIVE/PASSIVE SWITCH �� 6

BRIGHT SWITCH �� 6

HIGH PASS FILTER �� 7

INPUT GAIN CONTROL & O/D LED �� 7

VOICING CONTROL �� 7

BASS CONTROL �� 7

LOW MID/HIGH MID EQ CONTROLS �� 8

TREBLE CONTROL �� 8

MASTER VOLUME CONTROL �� 8

POWER LED �� 8

PROTECT LED �� 8

LIMIT LED �� 8

REAR PANEL: (CONTROLS & FEATURES) �� 9

POWER SWITCH �� 9

IEC POWER INLET �� 9

OPERATING POWER REQUIREMENTS �� 9

SPEAKER OUTPUTS �� 9

SPEAKER IMPEDANCE �� 10

SPEAKER POLARITY (OR PHASE) �� 11

HEADPHONE OUTPUT �� 11

AUX INPUT �� 11

DIRECT OUTPUT (DI OUT) �� 11

DI OUT SOURCE SWITCH �� 12

DIRECT OUTPUT LEVEL �� 12

DI OUT PIN 1 LIFT �� 12

USB DEVICE POWER �� 12

DISCUSSION ABOUT SMPS & CLASS D FROM THE DESIGN TEAM �� 13

TROUBLESHOOTING �� 15

FACTORY SAMPLE SETTINGS �� 17

SPECIFICATIONS �� 19

SERVICE INFORMATION �� 20

PARTS LIST �� 21

BLOCK DIAGRAM �� 22

PAGE 1

IMPORTANT SAFETY INSTRUCTIONS

1. Before attempting to use this apparatus, read and follow these instructions for proper use.

2. Keep these instructions.

3. Heed all warnings.

4. Do not use this apparatus near water.

5. Clean only with a dry cloth, do not use any solvent such as benzene, naphtha or paint thinner on apparatus.

6. Do not block any ventilation openings. Install in accordance with manufacturer’s instructions.

7. Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including other ampliﬁers) that

produce heat. Avoid placing the apparatus in direct sunlight.

8. 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 (protective earth connection). The wide blade or third

prong is provided for your safety. If the provided does not ﬁt your outlet, consult an electrician for replacement of obsolete outlets.

9. Be sure that the ampliﬁer’s rated power supply voltage and frequency matches the voltage and frequency of your power source

BEFORE connecting ampliﬁer to the power source. The ampliﬁer’s rated power supply voltage and frequency are clearly indicated

on the back panel near the power inlet, and the power cord’s plug should match the power source in your region.

10. Protect the power cord from being walked on, pinched, or from excessive stress, particularly at the plug and attachment point of

the apparatus.

11. Only use attachments and/or accessories speciﬁed by the manufacturer.

12. Refer all servicing to qualiﬁed service personnel. Servicing is required when the apparatus has been damaged in any way, such

as the power plug or cord 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.

13. To ensure proper ventilation, ensure that there is a minimum of 4” (10cm) of space at the rear of the apparatus. The ventilation

should not be impeded by covering the ventilation openings with items such as newspapers, cloth, tapestries, curtains, etc. Do not

impede ventilation by placing objects on top of the apparatus which extend past the rear edge of the cabinet.

14. No naked ﬂame sources, such as lighted candles or oil lamps, shall be placed on the apparatus.

15. The apparatus shall not be exposed to dripping or splashing, and insure that no objects ﬁlled with liquids, such as vases or

beverages, are placed on the apparatus.

16. The AC plug is the mains disconnect, the plug shall remain accessible after installation.

17. WARNING: To reduce the risk of ﬁre or electric shock, do not expose this apparatus to rain or moisture.

18. WARNING: Do not defeat the safety grounding pin on the power cable, it is there for your safety.

19. WARNING: Do not open or perform any internal modiﬁcations on this apparatus.

20. WARNING: Do not attempt to repair the apparatus, or replace parts within it (except where this manual provides speciﬁc instructions

directing you to do so). Refer all servicing to your retailer, the nearest authorized Mesa Boogie Service Center, or authorized Mesa

Boogie distributor in your region.

21. WARNING: Always disconnect the apparatus from the power source before changing fuses, tubes or removing the chassis for

service. Use only the same type and rating as speciﬁed on the back of the apparatus when replacing a fuse.

22. WARNING: Disconnect apparatus from the power source during a lightning storm or when unused for long periods of time.

23. WARNING: This apparatus is heavy. Insure that the apparatus remains stable after installation.

24. WARNING: In areas where children may be present, use additional precautions as needed to protect the children from the hazards

presented by the unit. This includes risk of electric shock, burns and toppling over.

25. CAUTION: This apparatus contains hot components and surfaces. Avoid direct contact with heated tubes and other components.

Insure that any factory installed guards remain installed.

26. CAUTION: Avoid contact with moving fan blades that may be present within the apparatus or cabinet.

27. CAUTION: Tube envelopes are glass and can present a hazard if broken. Always turn apparatus o, disconnect from the power

source, and allow to cool before changing tubes.

28. CAUTION: To avoid damaging your speakers and other equipment, turn o the power of this and all connected equipment before

making or changing connections. Power apparatus up with the volume levels set to minimum, and slowly increase to desired level.

29. CAUTION: Always insure that the proper speaker load is connected to the apparatus before operating the apparatus. Failure to

do so may cause damage to the apparatus.

30. CAUTION: Do not use excessive force when handling cords, jacks, buttons, switches and controls. Never unplug the apparatus

from the power source by pulling on the wire, use the plug body.

31. CAUTION: This apparatus, in combination with speakers and/or headphones, may be capable of producing sound levels that

could cause permanent hearing loss. Do not operate for a long period of time at high levels, or at a level that is uncomfortable,

without hearing protection. If you experience any hearing loss or ringing in the ears, you should immediately stop using the

apparatus and consult an audiologist.

[rev. 12/18/2020]

PAGE 2

PRODUCT COMPLIANCE INFORMATION

NOTICE: This device complies with Part 15 of FCC Rules and with Industry Canada license exempt RSS standard. Operation is subject

to the following two conditions:

• This device may not cause harmful interference

• This device must accept any interference received, including interference that cause undesired operation.

Suppliers Declaration of Conformity for SUBWAY D-350

Responsible Party

Gibson Brands Inc.

209 10th Ave S Ste 205,

Nashville, TN 37203

United States

Telephone: + 1 615 933 6000

Operating Instructions

OVERVIEW

Congratulations on your choice of the SUBWAY D-350™ and welcome to the MESA/Boogie® family!

First, we would like to thank you for choosing us as your ampliﬁer company and trusting us to help

create your musical voice. This is something we never take for granted and you’ll ﬁnd that we are

here and ready to assist you should you ever need help. Our goal is to help you always sound your

best! We feel conﬁdent that your new ampliﬁer will bring you many years of reliable service, rewarding

inspiration, and create for you newfound freedom to express your music.

You have chosen an ampliﬁer bred of a ﬁne heritage, and this model is our testament to our legacy of

tone. Its ancestors can be traced back to the very ﬁrst MESA ampliﬁer ever built, the MESA 450 Bass

Head. In fact, the ﬁrst 5 MESA ampliﬁers built in the Lagunitas mountain shack were bass amps… a

piece of trivia little known and overshadowed by our overwhelming notoriety for guitar ampliﬁcation.

But we’ve always loved the bass, and have—since day one—been committed to elevating its stature

through our art form. The bloodline for MESA bass continued with the ﬁrst rack-mount chassis bass

ampliﬁer in 1980, the D-180. The mid-eighties saw the introduction of the BASS 400 and later in 1988,

the BASS 400+ with its stunning pitch, punch, and power delivered by an additional 6 x 6L6s to bring

the total to 12 x 6L6 power tubes in the mighty power section.

The 400+ went on to become a classic used by the world’s most talented bassists for two decades.

Paul McCartney, Mark King, Stanley Clark, Jack Blades, Michael Anthony, Blasko, and Bootsy Collins,

are but a few of the international stars that put the 400+ center stage to anchor the band during its

20-year build cycle. Those iconic amps still bring top dollar when you can ﬁnd one changing hands

on the pre-owned market.

MESA has since pioneered an entire line of lightweight, high-performance ampliﬁers and speakers (the

Subway series). Each subsequent model has been designed to address speciﬁc player preferences

and feature requests. As the line has evolved, players have asked if we could oer something even

smaller than the D-800, with mid-level power, a bit more open in the top end voicing, and able to

run silently (i.e., with no fan). Remaining true to our longstanding heritage and tradition of tone, as

well as listening to what players want, the Subway D-350 is the latest addition to the line. While

bearing obvious similarities to the Subway D-800, the D-350 delivers 350 watts RMS into a 4 ohm

load, substitutes a bright switch in place of the deep switch, and has no cooling fan - all of this while

incorporating modern SW features like a USB charging port.

Tone Freaks Rejoice! The SUBWAY D-350 is the next step in the MESA Bass Amp Bloodline. A

tone-dripping powerhouse that’s both compact and lightweight, packaged to go the distance with

features, packaging, and control over the entire bass spectrum makes it an iconic step forward in

bass ampliﬁcation. The SUBWAY D-350 is hand built in Petaluma, CA. with the world’s ﬁnest materials.

PAGE 3

OVERVIEW: FRONT PANEL

The SUBWAY D-350 begins with the front panel input section, which is comprised of the INPUT jack,

MUTE switch, ACTIVE/PASSIVE switch, and BRIGHT switch. The INPUT jack feeds a high impedance

J-FET input “buer ampliﬁer” which provides appropriate loading for all active and passive pickups

(including most piezo types). The MUTE switch silences the signal from the INPUT jack to the SPEAKER,

HEADPHONE, and DI output for silent tuning with a tuner connected in line with the instrument.

The ACTIVE/PASSIVE switch sets the gain of the input stage, reducing gain in the active position

to prevent unwanted distortion from very high output basses or pedals. The BRIGHT switch adds

sparkle and bite to the tone, opening up the top end a bit more. The preamp section also includes

an INPUT GAIN control with an O/L (overload) LED to give visual indication of when the preamp is

being overdriven, and an internal precision ﬁxed HIGH PASS FILTER to block unwanted, non-musical,

headroom robbing sub-sonic signals. Indicator (tally) LEDs are provided for all switched features,

showing that the function is engaged.

Tone shaping on the SUBWAY D-350 includes a VOICING control just like the D-800/D-800+ models.

This control modiﬁes the ampliﬁer’s response from a ﬂatter curve to a more vintage curve by modifying

and varying levels and frequency response in multiple regions with a simple turn of the knob. There

is also an active Baxandall EQ, the same as on the D-800, which consists of ﬁxed frequency BASS

and TREBLE shelving bands, plus ﬁxed frequency LOW MID and HIGH MID peak/dip bands. It is

suggested that you ﬁrst experiment with the VOICING control to “rough in” the overall tone that you

are looking for, and then use the 4 band EQUALIZATION to “polish up” (or ﬁne-tune) your tone.

PAGE 4

FRONT VIEW: SUBWAY® D-350™

REAR VIEW: SUBWAY® D-350™

Finally, there is a MASTER volume control which sets the volume after the equalization. The combination

of positions between the input GAIN and MASTER volume, along with the signal strength from your

bass (which is also aected by your strings, playing style, and touch) allows for a wide range of tones,

from shimmering clean to mildly overdriven and everything in between. MASTER STATUS LEDs are

provided to monitor overall operations of the amp, including POWER, PROTECT, and LIMIT.

OVERVIEW: REAR PANEL

On the rear panel, you will ﬁnd the power switch and the AC mains (power) inlet on a standard

IEC “C14” connector. The SUBWAY D-350 contains an auto-ranging universal power supply that can

accept and operate on any voltage between 100-120 volts & 220-240 volts AC, 50/60Hz without

the need for any user adjustments or a fuse change. This feature makes these amps ideal for the

international touring musician who plays in a variety of global regions. The only thing necessary to

make the amp work is the correct power (mains) cable that matches the power outlet/receptacle of

the region. It is important for the mains power to be grounded/earthed for safety and Electromagnetic

Compatibility (EMC) reasons.

Next are parallel connected NL4 speakON™ connectors, which are wired with the ampliﬁer positive to

terminal “1+” and the ampliﬁer negative to terminal “1-.“ This wiring standard is compatible with all NL2

and most NL4 type cables. The total minimum load that can be connected to these jacks is 4 ohms.

Player requests for a smaller Subway amp without a cooling fan were the inspiration for the Subway

D-350. By approaching this amp’s intended applications with lower-rated power output and 4

ohm minimum load support (compared with the larger Subway series amps), this amp fulﬁlls the

requirements of “silent operation” for applications such as recording with miked cabinets or acoustic

instruments.

The SUBWAY D-350 is also equipped with a HEADPHONE output, which will drive all common

headphones and IEM earpieces between 8 and 600 ohms (and can be used safely with no speaker

cabinets connected to the head). Additionally, there is an AUX input that directly feeds the master

volume control and mixes in with the bass signal for practice purposes. When operating the SUBWAY

D-350 (or any Subway series) bass amp, no speaker load is required.

One feature that sets your new SUBWAY D-350 apart from the rest of the market is the inclusion of

a studio-grade XLR balanced DIRECT OUTPUT, with a PRE/POST signal routing switch, MIC/LINE

level switch, and PIN 1 GROUND LIFT switch. Circuit design attributes include full phantom power

protection, high level radio frequency interference (RFI) immunity, and extreme tolerance to ground

potential dierences.

Another feature carried over from both the Subway WD-800 and TT-800 is the inclusion of a USB

charging port, which allows you to charge most USB-connected devices. This can be handy when

rehearsing with an MP3 player, tablet, or phone, as well as for powering pedals using a pedal adapter

cable that boosts the output voltage to what your pedals use (9, 12, 15, or 18V). The USB power port

has proven to be a very useful, player-friendly feature.

INSTANT GRATIFICATION

The SUBWAY D-350 is about the easiest amp on the planet to get great sound from… it really is

“plug and play.” Start with the MUTE switch up (mute on), the ACTIVE/PASSIVE switch down (passive

PAGE 5

pickup), VOICING control in the “ﬂat” (fully CCW) position, the BASS, LOW MID GAIN, HIGH MID GAIN,

& TREBLE controls in the “ﬂat” (12:00 straight up) position and the MASTER volume control in the 1:00

position. Plug your bass in, ﬂip the mute switch down (play position) and turn the GAIN control up until

you reach your desired volume. Now, gradually rotate the VOICING control clockwise towards the

vintage position and stop when you achieve the basic amp voicing that you are looking for. The more

clockwise, the greater the low end boost, mid cut (the frequency also shifts as the control is rotated),

and mild treble boost. Now, EQ to taste.

FRONT PANEL: (CONTROLS & FEATURES)

INPUT JACK

This 1/4” (6.35mm) TS (tip-sleeve) jack is the instrument INPUT that feeds the input preamp stage of

the SUBWAY D-350. This stage is inherently transparent and directly feeds all remaining circuitry.

MUTE SWITCH

This switch (and its associated red indicator/tally LED) mutes the audio signal being sent to all outputs

for silent tuning with a tuner connected to the instrument cable and then through to the amp’s input.

When the switch is in the up position, the red LED will illuminate, and NO audio will be present

at the DIRECT OUTPUT jack, HEADPHONE jack, or the SPEAKER OUTPUT jacks. This switch can

also be used to place the amp into standby mode before and between sets without adjusting any

of the controls. As a safe practice, it is recommended (not required) that you mute your amp prior

to powering it up and before shutting it down just in case the input gain and master controls are

inadvertently/unexpectedly set to high levels.

ACTIVE/PASSIVE SWITCH

This switch (and its associated blue indicator/tally LED) sets the internal sensitivity of the input

ampliﬁer stage. Often (though not always), an active bass may have a signal level higher than that

of a typical passive bass. If you ﬁnd that you are operating the input gain control near the low end

of the control’s rotation in order to prevent the O/L LED from ﬂashing, switching this switch up (into

the ACTIVE position) will reduce the input sensitivity, allowing greater control range and freedom

from overload with high output active basses. Simply choose the position that gives you the desired

results. This control does not change or lower the input impedance of the ampliﬁer, nor does it “suck

tone” like the input pads can do on some other amps.

BRIGHT SWITCH

This switch (and its associated blue “tally” or “indicator” LED) engages the BRIGHT ﬁlter, which causes

PAGE 6

a rising response at higher frequencies, much like the switches found on many popular classic tube

amps. Engaging this ﬁlter can bring some “shimmer, sizzle, & bite” into the tone and help to open up

the top end.

HIGH PASS FILTER

While not a physical control, it is an important feature in maintaining control over the extreme low

end (especially under high drive conditions) by removing non-musical subharmonics. While HPFs

have been standard fare within the pro audio industry for decades, this feature has only appeared in

bass guitar ampliﬁers within the past few years (with some notable exceptions). This ﬁlter provides

additional mechanical protection to the speakers from over-excursion by reducing the power to the

speaker below the frequency range that the speaker cabinet provides adequate acoustic loading

to the drivers. This is one of the primary (and preventable) causes of premature speaker failure,

especially with compact speaker cabinet products that are driven very hard.

INPUT GAIN CONTROL & O/D LED

This control determines the input gain (and drive level) of the J-FET gain stage. Overdriving this gain

stage may be a desirable tonal characteristic of your playing style. The amber O/D LED provides a

visual indication of the status of the drive signal level and how much preamp overdrive is occurring.

When using signiﬁcant overdriven tones, you may ﬁnd it helpful to back down on the TREBLE EQ

a little bit to reduce harshness and also to reduce the BASS EQ to increase the clarity and impact.

When employing heavier overdrive, it’s generally more pleasing to reduce the tweeter level if your

cabinets have tweeters. Note that the GAIN control operates linearly, an increase in gain continues

linearly throughout the entire rotation of the control. The amount of overdrive is increased by turning

the GAIN CONTROL up beyond the clean area of operation, and the overall volume will be controlled

by turning the MASTER VOLUME down as needed. The MASTER VOLUME control also operates in a

linear fashion, an increase in volume continues linearly throughout the entire rotation of the control.

VOICING CONTROL

This active EQ control modiﬁes the ampliﬁer’s response from a ﬂatter curve (in the counterclockwise

position) to a more vintage curve (in the clockwise position) by modifying and shifting the frequency

response in all regions with a simple turn of the knob. As the control is rotated clockwise, the low end

and the high end increase while the midrange decreases and shifts upward. Common uses for the

more vintage positions are old-school funk and slap tones and rock tones where a rounder bottom

and a little bite are needed. Experimentation is an important part of discovering the potential of this

powerful tool. Unlike many simple “mid scoop” knobs, this control has more going on in the circuit

to keep things musical and useful in terms of not losing key mids that help deﬁne the bass in a mix.

BASS CONTROL

This active EQ control is a shelving ﬁlter that is responsible for the amount (or volume) of low

frequencies present in the signal relative to the rest of the spectrum. Low frequencies (<80Hz) are

responsible for the “depth,” “bottom,” “roundness,” and “feel” of the tone. This is an active control

with boost and cut, the amount of boost proportional to the clockwise rotation to the right of the “ﬂat”

(12:00 straight up) position and the amount of cut proportionate to the counter-clockwise rotation to

the left of the “ﬂat” (12:00 straight up) position. As with everything related to EQ, generally, a little bit

goes a long way. Use enough to get the job done and no more. Note that if you have very compact

cabinets and need high volumes, you will want to be aware that it is possible to overdrive speakers

with excessive bass boost (350 Watts can be a lot for many cabs at extreme EQ settings, potentially

PAGE 7

resulting in damage to the speakers). If your speaker system is not giving you enough low end, it’s

possible that you do not have enough “rig for the gig,” and “more speaker” is needed. This is a

shelving-type ﬁlter.

LOW MID/HIGH MID EQ CONTROLS

These controls are responsible for the level (or volume) of low/high midrange frequencies present in

the signal relative to the rest of the spectrum. These are active controls with boost and cut, where the

amount of boost is proportional to the clockwise rotation to the right of the “ﬂat” (12:00 straight up)

position, and where the amount of cut is proportional to the counter-clockwise rotation to the left of

the “ﬂat” (12:00 straight up) position. Remember that a little EQ goes a long way; use just enough to

get the job done and keep your tone nicely balanced. These are peak-dip (or bell) type ﬁlters.

TREBLE CONTROL

This active EQ control is a shelving ﬁlter that is responsible for the amount (or volume) of high

frequencies present in the signal relative to the rest of the spectrum. High frequencies (>2.5kHz) are

responsible for the “bright,” “airy,” “clarity,” “shimmery” character of the tone. This is an active control

with boost and cut, the amount of boost proportional to the clockwise rotation to the right of the “ﬂat”

(12:00 straight up) position and the amount of cut proportionate to the counter-clockwise rotation to

the left of the “ﬂat” (12:00 straight up) position. This is a shelving-type ﬁlter.

MASTER VOLUME CONTROL

This control is responsible for the level of the signal being sent to the internal power amp and

determines the overall playing volume of the SUBWAY D-350. Using the MASTER VOLUME along

with the INPUT GAIN control allows optimal control over playing volume. For example, if you are

using high input gain to achieve an overdriven tone, it will likely be necessary to adjust the master

volume down to obtain the desired playing volume and to avoid excessive overdriving of the power

amp. Likewise, if you are looking for a very clean tone, you may wish to start with a lower INPUT

GAIN control setting and use a higher MASTER VOLUME control setting to obtain the desired playing

volume. The MASTER VOLUME control operates in a linear fashion; an increase in volume continues

linearly throughout the entire rotation of the control.

POWER LED

This blue LED indicates that the ampliﬁer is connected to a power source and is switched on and

operating correctly. If this LED is not on when the POWER SWITCH is engaged, double-check the

power source, and ensure the power cable is ﬁrmly inserted into the IEC power inlet socket.

PROTECT LED

This red LED indicates that the ampliﬁer has entered protect mode and is either protecting itself from

an external fault (such as a shorted speaker cable or defective speaker) or that there is an internal

fault within the amp itself. There are some simple troubleshooting steps on page 13 of this manual

that can help you quickly ﬁgure out if the problem is with the amp itself or the speaker cable(s) or

cab(s) you are using.

LIMIT LED

This amber LED indicates that the power amp is nearing maximum power and is entering the soft

clip/limit output tube emulation mode. Soft clip/limit output tube emulation mode mimics many of the

desirable characteristics of tube amp output stage overdrive while eliminating the common, often

PAGE 8

harsh solid state clipping artifacts. There is approximately 6dB of range on this circuit, driving beyond

this, of course, will cause gradual output stage clipping. It’s acceptable for this ampliﬁer to operate in

output stage overdrive mode (if that’s the tone you are after) with the LED ﬂashing on roughly 25%

of the time.

REAR PANEL: (CONTROLS & FEATURES)

POWER SWITCH

This switch is used to turn your amp on and o by disconnecting the ampliﬁer from the power source

(mains). This ampliﬁer complies with the new EU Eco-design directive by providing a switched “0.00

watt power consumption o-mode.” Note that there is protection circuitry built in that prevents the

amp from starting up multiple times within a 20 second window. If you turn the amp on, then o,

and on again, there may be a ~20 second delay in the power-up sequence. It’s generally good

practice to select mute on when powering up your head just in case the gain and volume controls

were inadvertently bumped a little too high while transporting.

IEC POWER INLET

This power inlet conforms to the IEC C-14 type standard and is to be used with a cord set containing

a matching connector and appropriate plug for the intended market.

OPERATING POWER REQUIREMENTS

The SUBWAY D350 is designed with a universal, auto-ranging power supply that automatically

adjusts to line voltages between 100-120V and 220-240V, 50 or 60Hz. The power supply is internally

monitored by supervisory protection circuits and thus contains a non-user replaceable fuse that

opens in the unlikely event of a major failure. The ampliﬁer is designed to be used with grounded or

earthed power, meaning that the chassis is always maintained at ground/earth potential even in the

event of a gross failure within (or external to) the ampliﬁer. Never remove the grounding/earthing pin

from the power plug, or alter the power cable in any way.

SPEAKER OUTPUTS

The SUBWAY D-350 is rated to drive a minimum 4 ohm load, meaning either 2 x 8 ohm cabinets or

1 x 4 ohm cabinet. The ampliﬁer incorporates a pair of speakON™ NL4FC connectors wired in parallel

that mate with either NL2MP or NL4MP plugs.

Cables using NL2 plugs contain only 1+/1- terminals and will always be correctly wired for use with

the ampliﬁer, but cables using NL4 connectors come with dierent wiring conﬁgurations. If using

PAGE 9

cables with NL4 connectors, they may be constructed with standard 2 wire cable which must be

wired 1+ to 1+ and 1- to 1-. If the cable contains 4 wires, that’s ok because terminals 2+ and 2-, which

are connected to the second pair, are simply not used.

The cables to avoid are what are called NL4 bridge mode cables, which are typically 2 wire, and

wired 1+/1- on the speaker end and 1+/2+ on the ampliﬁer end (used for pro audio power amps that

support this speciﬁc bridged termination). These cables SHOULD be clearly marked but sometimes

they are not, so be aware of the possibility when buying or troubleshooting cables.

Why speakON™ cables and not the “old favorite” ¼” (6.35mm) connector? There are several important

reasons; the ﬁrst being that with updates to global safety regulations, ampliﬁers like the Subway

D-350 beneﬁt from “touch-proof connections.” A second reason is that the power ampliﬁer’s internal

topology is BTL (bridge tied load). This means that neither output terminal is at ground potential, so

touch-proof connectors provide an added layer of safety to the system. A third reason is the all too

frequent poor quality of the 1/4” (6.35mm) connection. While this is not much of an issue at low power,

it becomes a potential failure point at higher power levels. A fourth reason is that one common failure

mode of ampliﬁers is when the 1/4” (6.35mm) speaker cable works loose at the speaker cabinet.

The tip gets shorted to the sleeve within the speaker jack’s bushing, applying a short circuit to the

ampliﬁer’s speaker output. While this ampliﬁer is protected against such faults, it’s not good practice

to test this protection on a regular basis.

Never connect the speaker output to anything except a speaker. This especially means not to a DI,

even a speaker level DI, because the Subway D-350 utilizes a BTL (bridge tied load or “bridged”)

output power ampliﬁer. On a bridged ampliﬁer, the minus terminal that is normally at ground is

actually a driven output that swings above and below ground at peak currents of up to 20 amps.

Using a DI, the normal shell or ground terminal of the DI is not at ground potential at the ampliﬁer’s

end but is connected to the console (mixer) circuit ground bus at the console’s end. This would cause

the ampliﬁer to drive dangerous currents into circuitry that does not expect to see such currents, nor

is it generally protected from this kind of fault. So, in addition to possibly damaging your amp, you

could also damage a potentially very expensive console.

SPEAKER IMPEDANCE

All speakers have a “rated nominal impedance.” Impedance is the resistance to AC electrical signal

that the ampliﬁer is tasked with delivering. The lower the speaker’s impedance, the greater the current

that the power ampliﬁer must provide. The lowest impedance that the SUBWAY D-350 ampliﬁer

can safely drive is 4 ohms. Note that measuring speaker cabinets using an ohmmeter will not give

accurate results because ohm meters read DC resistance, not AC impedance (technically called

“reactance”). AC impedance will always be greater than the DC resistance. An 8 ohm speaker will

typically measure between 5 and 7 ohms, and a 4 ohm speaker will typically measure between 2.5

and 3.5 ohms when measured with an ohmmeter (or digital multi-meter). The following chart shows

combinations of cabinets that are an acceptable load for this ampliﬁer:

SPEAKER

COMBINATION

CALCULATED

LOAD

TOTAL POWER

AVAILABLE

POWER DISTRIBUTION

PER CABINET

1 x 8 ohm cabinet 8 ohms 175 Watts (RMS) 100% to the single cabinet

2 x 8 ohm cabinet 4 ohms 350 Watts (RMS) 50% to each cabinet

1 x 4 ohm cabinet 4 ohms 350 Watts (RMS) 100% to the single cabinet

PAGE 10

SPEAKER POLARITY (OR PHASE)

All speakers have “polarity.” A speaker that is wired according to the current industry standard will

move forward (towards the front of the cabinet) when a positive DC voltage is applied to the speaker’s

positive terminal. While there are well established standards, there are also deviations from standards,

by legacy (for example early JBL drivers), by faulty repair (incorrectly wired cabinet or defective recone

parts) or a manufacturer choosing to ignore the standard. If a multi-driver speaker cabinet or a pair of

speaker cabinets does not appear to have the expected output or low end, it’s always a good idea

to double-check that all drivers move forward when positive DC voltage is momentarily applied to

the speaker terminals. Using no more than a 9 volt battery, momentarily touch the + terminal of the

battery to + terminal of the speaker (this will be the 1+ terminal on a speakON™ connector or the tip

on a 1/4” [6.35mm] connector), while the – terminal of the battery is connected to the – terminal of

the speaker (this will be the 1- terminal on a speakON, or the sleeve on a ¼” [6.35mm] connector). If

you ﬁnd that on a multi-speaker cabinet, one speaker moves out while the other does not move, it’s

likely that the non-moving driver has either failed or has become disconnected. If one driver moves

out while the other driver moves in, it’s likely that the driver moving in is wired incorrectly (or in a

sealed cabinet, has failed or is disconnected, and is merely being moved in the opposite direction by

coupling to the air mass inside the cabinet itself). Being aware of these possibilities can often help

quickly troubleshoot something that doesn’t appear to be performing quite right..

HEADPHONE OUTPUT

The SUBWAY D-350 includes a 1/4” (6.35mm) TRS tip-ring-sleeve headphone output jack, which will

drive all common headphones and IEM earpieces between 8 and 32 ohms (and most well above 32

ohms). It is not necessary to have a speaker connected to the amp when using headphones, it is

completely safe to operate the amp without a speaker load. It’s advisable to use caution whenever

sticking a sound source in your ear, as damaging volume is possible, especially with “bass player

accidents” (such as a cable partially unplugged), and when volume is factored over a long period of

time. This output contains additional cabinet emulation circuitry. This output should not be connected

to anything but headphones, earbuds, or IEM earpieces.

AUX INPUT

This ampliﬁer is provided with a 1/4” (6.35mm) TRS AUX input. This TRS stereo jack properly sums

left and right channels from an MP-3 player, i-device, or laptop, as many of these new devices do

not contain adequate circuitry for proper summing. Note that for best performance, a 1/8” (3.5mm)

TRS to 1/4” (6.35mm) TRS cable (also called a stereo cable) should be used, as this will always match

between devices and allow the ampliﬁer’s automatic summing circuitry to work properly. For upright

players, this input can be used to plug the output of your upright’s outboard preamp (such as our

Rosette, Subway, or Subway Plus PRE-DI) into the power amp. The level of this input is controlled by

the MASTER VOLUME control, as well as the volume control on the external device such as the MP-3

player or outboard preamp. This signal will not be present in the DI output.

DIRECT OUTPUT (DI OUT)

A feature that sets your new SUBWAY D-350 apart from the rest of the market is the inclusion of a

studio-grade XLR balanced direct output. This output is capable of driving balanced analog lines

as long as 500 feet, is fully phantom power protected, noise-resistant, and stability compensated

for a reliable, low noise ﬂoor, high-quality signal. This output follows the pro audio standards of pin

2=non-inverting, pin 3=inverting and pin 1=ground. Every known (correctly wired) console in the world

follows this wiring standard.

PAGE 11

DI OUT SOURCE SWITCH

This switch selects the signal source routing that is used to derive the direct output signal. In the PRE

position, the signal is sourced directly from the input buer. Muting the ampliﬁer by the front panel

mute switch mutes this output to allow for silent tuning. In the POST position, the signal is sourced

from the output of the equalizer section and before the master volume control. Generally, for PA use,

the FOH (front of house) engineer will probably prefer a PRE EQ send because the capability of the

PA system may be signiﬁcantly dierent from your stage rig. The EQ that you use to sound good on

stage may not work well on a bigger system and in a larger acoustic space out front, or in the context

of the mix. If you use the overdrive capability of the amp, then the post position is a better choice,

but you will need to work with your FOH engineer to ensure that the EQ you use on stage will work

for the house mix.

DIRECT OUTPUT LEVEL

This switch conﬁgures the level of the direct output to either mic level or line level. While many audio

engineers prefer mic level, always be sure to ask which level they would like you to send them.

DI OUT PIN 1 LIFT

This switch connects or lifts the circuit ground/earth/common connection from pin 1 on the XLR DI

OUT connector. Balanced outputs do not rely on the pin 1 or shield connection to transmit the signal to

the console. While pin 1 is always connected to the console’s master ground bus, sometimes (due to

dierences in the potential of a building’s ground/earth system), currents will ﬂow between grounds

if there is a common connection, resulting in hum. Lifting the ground at the source (bass amp) end

allows the shielding to the console’s input to remain in place while breaking the ground current ﬂow

that is responsible for inducing hum into the audio signal-carrying pair of conductors. One thing that

complicates this is that at very high frequencies (radio frequencies), ground is not “really” ground,

so additional techniques are incorporated within this network that allows 2 simultaneously functional

grounding spectrums within the same network, providing added RFI (radio frequency interference)

rejection. The general rule is to start with pin 1 lifted, and if there is noise, try connecting it and see if

the noise level drops. It should also be noted that there are a lot of other possible causes for noise.

This switch is only one solution for ground loop noise between the PA and the bass amp.

USB DEVICE POWER

This connector provides power to USB devices that might be used in conjunction with practicing,

recording, jamming, or even performing. It may also be used to recharge phones, MP-3 players,

iPods, and any number of devices. This port follows the PC USB 2.0 standard. Rated current is

500mA maximum, and it conforms to the Apple USB charge current standard. While this charge port

will work with most devices, some do not conform to any current demand/limit standards or must be

operated from a high current (or proprietary) USB charge port only. These devices will either charge

more slowly or possibly not at all. Due to the lack of uniformity in the market following standards

and continual evolution/changing of the standards, this port is oered as a convenience only. Note

that when charging some cell (mobile) phones, the phone can emit strong bursts of RF energy as it

communicates with the towers. This is a potential source of randomly appearing noise which can be

eliminated by placing the phone in airplane mode or shutting it o entirely.

This USB device power can also be used to drive any number of USB devices, including power

converters that provide 9 volt pedal power. Because pedal power devices step up the voltage, the

available current becomes ~300 mA at 9V.

PAGE 12

DISCUSSION ABOUT SMPS & CLASS D FROM THE DESIGN TEAM

QUESTION: What makes this new ampliﬁer so lightweight?

ANSWER: This ampliﬁer uses new technology, both an SMPS (Switch Mode Power Supply) and a

Class D power ampliﬁer to decrease the size and weight. These designs are carefully implemented

and fully tested to insure robust, reliable performance in real-world conditions night after night.

QUESTION: How can such a lightweight ampliﬁer deliver solid bass? I thought an amp had to be

heavy to produce deep bass.

ANSWER: By operating in a non-linear fashion (with power devices that are either fully on or fully

o) the output stage no longer has to accommodate reactive load ineciencies, overly sensitive

protection of “safe operating areas,” and dissipate waste heat from output devices operating within

their linear region. This means more power and better low frequency control with less heat. The pro

audio industry has been using this technology almost exclusively in the large-scale touring market

for about 20 years, driving massive arena and stadium subwoofers night after grueling night on the

road. In fact, much of the technology in our power ampliﬁers comes from the high reliability touring

pro audio world.

QUESTION: How do I know that this ampliﬁer will be reliable?

ANSWER: A ﬁve-year factory warranty should inspire conﬁdence that every aspect of design and

manufacturing reﬂects the highest quality in the industry and decades of successful experience

producing professional touring grade products. The designer of the Subway ampliﬁers project has

over 20 years of SMPS/Class D ampliﬁer experience, in bass ampliﬁers as well as in touring pro audio.

We have worked closely with the power module’s European engineering team on the development

of these new power modules, including extensive testing on real-world stages with real musicians

and real audiences, night after night, as proven by the reputation of the entire Subway bass amp line.

This engineering relationship goes back over 20 years when class D ampliﬁers were in their infancy.

QUESTION: Why is the power supply so small and lightweight?

ANSWER: An SMPS is just like any other power supply, except for the fact that it operates at a much

higher frequency (~100kHz) than a traditional power supply (either 50Hz or 60Hz). A high operating

frequency reduces the size of the transformer’s core, which in turn reduces the length of the wire

wound around the core. Since most of the weight of a power transformer is in the core and the

copper wire, reducing the core reduces size, weight, and the amount of copper needed to wrap

around the core, which improves the performance of these smaller transformers under the highest

load conditions.

PAGE 13

QUESTION: How does the SMPS work?

ANSWER: Without getting too technical, a switch-mode power supply takes the incoming AC mains

(50-60Hz) power, rectiﬁes it to a high voltage direct current (HVDC). This HVDC is then ﬁltered/

stored in the input ﬁlter capacitors as reserve energy for discharge as needed into dynamic loads.

This HVDC is then chopped/switched at about 100kHz into high voltage, high frequency alternating

current (HVHFAC), which is fed through a high frequency transformer which converts the HVHFAC

into low voltage, high frequency alternating current (LVHFAC) which is then rectiﬁed and ﬁltered into

low voltage direct current (LVDC) that the power ampliﬁer’s circuitry uses.

QUESTION: Why is the Class D power ampliﬁer so small and light weight?

ANSWER: A Class D ampliﬁer operates its output stage non-linearly, meaning that the output devices

are switched either fully on or fully o at a switching frequency of about 500kHz. This “cuto-

saturation” switching minimizes waste heat by avoiding operation in the wasteful “linear range,” and

without the heat, there’s no need for the large, heavy aluminum heatsinks.

QUESTION: How does the Class D ampliﬁer work?

ANSWER: In Class D ampliﬁers, the analog audio signal is converted into a PWM (pulse width

modulated) pulse train representation of the analog audio signal (similar to the A/D converter in

a PWM digital audio recorder) at +5 volts conventional logic level. This PWM signal is level shifted

upwards by large switching power MOSFET transistors (that operate non-linearly to avoid waste

heat) to high voltage and current. The resulting high level PWM signal then passes through a high

power “low pass reconstruction ﬁlter” that extracts the original but level shifted (ampliﬁed) audio

signal from the PWM signal which feeds your speakers. Class D is not “digital,” it is a non-linear

analog technology, sharing some ﬂeeting similarities with its digital counterpart. (Disclaimer: This is a

simpliﬁed description. There are many details omitted, but the basic operational function is accurate.

There is a lot of engineering that goes into making a high performance, robust, safe, and reliable

design.)

PAGE 14

TROUBLESHOOTING

In the event that your ampliﬁer appears not to work correctly, often enough the problem is not with the amp, but a related

piece of equipment, so it’s necessary to take a deliberate, systematic approach to troubleshooting in order to eectively

identify and correct the problem. Yes, believe it or not, we have seen all of these things many times.

SYMPTOM: No audio output:

Is the power LED lit and do the tally LEDs over the function switches work?

NO: Possible causes to check in this order are

1. Verify the power source. Verify that the IEC power cable is not damaged and is fully inserted into its socket.

2. Verify that nobody unplugged your amp or turned o your power strip when you weren’t looking. (If so, blame the

guitar player, turn on and play.)

3. If these do not solve your problem, it’s possible that your ampliﬁer has failed so call our customer service

department and we will help you get this resolved.

YES: Possible causes to check in this order are:

1. Defective speaker cable or cabinet (test with a known good speaker cable and cabinet).

2. Defective bass or cable (test with a known good bass and instrument cable).

3. Defective pedals/eects/pedalboard (plug the bass directly into the ampliﬁer input, bypassing all devices in front

of the amp).

4. Gain or Master controls turned down (turn the controls up).

5. Will the amp play with a signal fed into the AUX INPUT jack? If so, the problem is with the preamp or something

before the amp (signal source).

6. There is indeed a problem with the amp; call our customer service department and we will help you get this resolved.

SYMPTOM: Distorted audio output:

1. Defective battery in an active bass causing the instrument’s onboard preamp to distort (replace battery).

2. With very hot 18V basses, it may be possible to overdrive the amp’s ﬁrst stage preamp when in high gain mode

(switch to low gain mode).

3. Slightly intermittent cable in system (this can be an instrument cable, patch cable, or loose speakON plug screw).

4. Defective or blown speaker(s) in the cabinet (test with a known good cabinet, repair the cabinet as needed).

5. There is indeed a problem with the amp; call our customer service department and we will help you get this resolved.

SYMPTOM: Noise (low frequency hum) in audio:

1. If the noise goes away when the instrument cable into the amp is unplugged, the cause of the noise is external

to the amp. (Possibly interference picked up by the bass, missing or incorrect grounding of the bass, or ground

loops if using pedals.)

2. Defective instrument cable or problem with bass wiring (unplug instrument cable from ampliﬁer; if hum goes away,

this means that the noise is entering from outside the ampliﬁer. Try a known good instrument cable and/or bass).

3. Power source wiring is not grounded/earthed (check all wiring for missing grounding/earthing pins, have a qualiﬁed

electrician check building power wiring for missing ground/earth connections and correct as necessary).

4. External stray magnetic ﬁeld present coupling into the pickups, especially single coils. (One clue that this may be

the cause is when the volume level of the hum changes with the position of the bass. Possible causes include large

power transformers or high-power electrical equipment like lighting controllers located near the performance

area. If this occurs when you get close to another instrument amp or lighting controllers, it may be due to stray

ﬁeld from its power supply.)

5. Some cell (mobile) phones can emit strong bursts of RF energy as they communicate with the towers. This is a

potential source of randomly appearing noise. (Move the phone farther away from the bass and/or amp, switch the

phone to airplane mode, or shut it o entirely.)

PAGE 15

SYMPTOM: Noise (high-frequency hiss and hash) in audio:

1. If the noise goes away when the instrument cable into the amp is unplugged, the cause of the noise is external to

the amp (possibly an active preamp with the treble turned all the way up, a failing battery, or defective onboard

preamp).

2. If there is neon or ﬂuorescent lighting close by, it’s possible that EMI is radiating into the pickup wiring. (Try turning

o such lighting to see if the noise goes away. If it does, it could be arcing secondary wire on neon lighting, failing

ballast or tube on ﬂuorescent lighting, or radiated EMI getting into the instrument pickup.)

3. Some cell (mobile) phones can emit strong bursts of RF energy as they communicate with the towers. This is a

potential source of randomly appearing noise. (Locate the phone farther away from the bass and/or amp, switch

the phone to airplane mode, or shut it o entirely.)

4. Power source wiring is not grounded/earthed. (Check all wiring for missing grounding/earthing pins, have a qualiﬁed

electrician check the building power wiring for missing ground/earth connections, and correct as necessary.)

5. Tweeter turned all the way up in a quiet room (may need to turn tweeter down under such conditions, especially if

the sensitivity of the tweeter greatly exceeds that of the low frequency drivers with tweeter turned up).

SYMPTOM: Noise (popping) in audio:

1. Popping while playing, especially one string. (Check bass set-up to be sure there is adequate clearance between

the string and pickup pole pieces.)

2. Popping while just sitting there, or when touched. Under dry environmental conditions, it’s possible that

electrostatic discharge is the cause. (Try an antistatic mat on the ﬂoor, or a humidiﬁer in the room - drier winter air

will exacerbate this problem.)

SYMPTOM: Protect LED turns on:

1. Disconnect all cables except the power cable. If the amp is no longer in protect, try plugging in just the speaker

cable. If the amp goes immediately into protect, there is likely a fault with the speaker cable. Then, plug the speaker

cable into the speaker(s). If the amp goes immediately into protect, one possible cause is a defective driver, but

another possible cause is a defective or damaged crossover (and/or high frequency driver) that is presenting

an illegal load to the ampliﬁer and the protection circuit is working correctly. (Try a known good speaker cabinet

from another manufacturer to rule this possibility out. If the amp works correctly with another speaker cabinet,

call customer service for assistance. This is more common with “do it yourself” speaker projects with incorrectly

designed/built crossovers. ALL amps with PWM carriers are sensitive to stored reactive energy in defective/faulty

crossover tank circuits.)

2. Protect circuit shuts down amp while playing at low to moderate volumes. (Possible shorted speaker cable; try a

known good speaker cable.)

3. Protect circuit shuts down amp at moderate to high volumes. Verify that total load to the ampliﬁer has not fallen

below 4 ohms. (Possible causes are incorrect pairing of multiple speaker cabinets, incorrectly labeled speaker

cabinets that were repaired or modiﬁed without relabeling, or a defective driver that has shorted voice coil turns

as the voice coil warms up.)

4. Power source voltage falling dangerously low due to improper wiring or extension cable that is too long for its wire

size/gauge. (Correct problems as needed with the help of a qualiﬁed electrician.)

SYMPTOM: No (or slow) USB charging of connected device:

1. Is this an Apple device? There are several program controlled charge rates available for Apple products, varying

from 100mA all the way up to 2.1A. The charge port will support the 500mA standard, which will charge the larger

devices more slowly than higher-powered dedicated chargers.

2. Is this an Apple iPad or other large tablet? When operating an iPad or tablet, the current draw of the screen alone

will be close to 500mA so the charging rate will be very low. Operating with a charged battery while connected to

the charge port on the amp will greatly extend the battery life under use, however.

3. Is this an Android phone that Qualcomm QC enabled? This charger does not support QC and will charge at the

slower 500mA rate if the device software allows it.

4. Does your device use a USB-C connector? While it won’t charge at the higher rates supported by this standard, it

should be backward compatible with the 500mA standard.

PAGE 16

INPUT

INPUT VOICING

BASS LOW MID HIGH MID TREBLE MASTER

PLAY

MUTE

PASSIVE

ACTIVE

BRIGHT

ON

O/D

FLAT BOOST

POWER

PROTECT

LIMIT

™

OFF ON

AMPLIFIER

44YV

4 OHM MINIMUM LOAD

MADE IN PETALUMA, CA, USA WITH THE WORLD’S FINEST MATERIALS

WARNING:

Replace fuse with same type/rating only.

Do not expose to rain or moisture.

CAUTION:

Risk of Electric Shock. Do Not Open.

No user serviceable parts inside.

POWER

175 WATTS/8 OHM

350 WATTS/4 OHM

HEAD

PHONES

AUX

INPUT

SOURCE

POST-EQ

LEVEL

LINE

PIN 1

LIFT

PRE-EQ MIC GROUND

DIRECT OUTPUT

(PHANTOM POWER PROTECTED)

MAX AVG PWR CONSUMPTION 200W

MAINS FUSE: INTERNAL T-4A/250V

100V-240VAC

~50/60HZ

INPUT

POWER

RATED

POWER

SUBWAY

®

D-350

™

BASS AMPLIFIER

SPEAKER OUTPUTS

USB DEVICE PWR

USB POWER ON

INPUT

INPUT VOICING

BASS LOW MID HIGH MID TREBLE MASTER

PLAY

MUTE

PASSIVE

ACTIVE

BRIGHT

ON

O/D

FLAT BOOST

POWER

PROTECT

LIMIT

™

OFF ON

AMPLIFIER

44YV

4 OHM MINIMUM LOAD

MADE IN PETALUMA, CA, USA WITH THE WORLD’S FINEST MATERIALS

WARNING:

Replace fuse with same type/rating only.

Do not expose to rain or moisture.

CAUTION:

Risk of Electric Shock. Do Not Open.

No user serviceable parts inside.

POWER

175 WATTS/8 OHM

350 WATTS/4 OHM

HEAD

PHONES

AUX

INPUT

SOURCE

POST-EQ

LEVEL

LINE

PIN 1

LIFT

PRE-EQ MIC GROUND

DIRECT OUTPUT

(PHANTOM POWER PROTECTED)

MAX AVG PWR CONSUMPTION 200W

MAINS FUSE: INTERNAL T-4A/250V

100V-240VAC

~50/60HZ

INPUT

POWER

RATED

POWER

SUBWAY

®

D-350

™

BASS AMPLIFIER

SPEAKER OUTPUTS

USB DEVICE PWR

USB POWER ON

INPUT

INPUT VOICING

BASS LOW MID HIGH MID TREBLE MASTER

PLAY

MUTE

PASSIVE

ACTIVE

BRIGHT

ON

O/D

FLAT BOOST

POWER

PROTECT

LIMIT

™

OFF ON

AMPLIFIER

44YV

4 OHM MINIMUM LOAD

MADE IN PETALUMA, CA, USA WITH THE WORLD’S FINEST MATERIALS

WARNING:

Replace fuse with same type/rating only.

Do not expose to rain or moisture.

CAUTION:

Risk of Electric Shock. Do Not Open.

No user serviceable parts inside.

POWER

175 WATTS/8 OHM

350 WATTS/4 OHM

HEAD

PHONES

AUX

INPUT

SOURCE

POST-EQ

LEVEL

LINE

PIN 1

LIFT

PRE-EQ MIC GROUND

DIRECT OUTPUT

(PHANTOM POWER PROTECTED)

MAX AVG PWR CONSUMPTION 200W

MAINS FUSE: INTERNAL T-4A/250V

100V-240VAC

~50/60HZ

INPUT

POWER

RATED

POWER

SUBWAY

®

D-350

™

BASS AMPLIFIER

SPEAKER OUTPUTS

USB DEVICE PWR

USB POWER ON

INPUT

INPUT VOICING

BASS LOW MID HIGH MID TREBLE MASTER

PLAY

MUTE

PASSIVE

ACTIVE

BRIGHT

ON

O/D

FLAT BOOST

POWER

PROTECT

LIMIT

™

OFF ON

AMPLIFIER

44YV

4 OHM MINIMUM LOAD

MADE IN PETALUMA, CA, USA WITH THE WORLD’S FINEST MATERIALS

WARNING:

Replace fuse with same type/rating only.

Do not expose to rain or moisture.

CAUTION:

Risk of Electric Shock. Do Not Open.

No user serviceable parts inside.

POWER

175 WATTS/8 OHM

350 WATTS/4 OHM

HEAD

PHONES

AUX

INPUT

SOURCE

POST-EQ

LEVEL

LINE

PIN 1

LIFT

PRE-EQ MIC GROUND

DIRECT OUTPUT

(PHANTOM POWER PROTECTED)

MAX AVG PWR CONSUMPTION 200W

MAINS FUSE: INTERNAL T-4A/250V

100V-240VAC

~50/60HZ

INPUT

POWER

RATED

POWER

SUBWAY

®

D-350

™

BASS AMPLIFIER

SPEAKER OUTPUTS

USB DEVICE PWR

USB POWER ON

PAGE 17

CLASSIC SLAP

FACTORY SAMPLE SETTINGS

ROCK AUTHORITY

J BASS FUNK

FRETLESS

Mesa/Boogie SUBWAY D-350 User manual

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