SWR WORKINGMAN'S 2004 User manual

SWR SOUND CORPORATION
WORKINGMAN’S 2004
OWNER’S MANUAL
SWR SOUND CORPORATIONSWR SOUND CORPORATION
9130 GLENOAKS BLVD.
SUN VALLEY, CA 91352
PHONE: [phone]
FAX: [phone]
EMAIL: [email protected]
WEB: WWW.SWRSOUND.COM
©1999, 2002 SWR SOUND CORPORATION
PART # 320028 REV. 4/02

INTRODUCTION
Founded in 1984, SWR specializes in quality amplifers and speakers addressing the needs of the
professional and semi-professional bassist. Widely known as the makers of the finest bass systems in the
world, SWR has recently gained popularity among instrumentalists of all types, stemming from the
introduction of a series of products intended for the acoustic musician. SWR and its advisory board,
consisting of some of the world's finest musicians, have constantly strived to identify the changing needs of
musicians everywhere, and to respond with new and useful designs, each one unique unto itself.
Numerous requests from our customers to produce a line of products that would incorporate accurate
sound, high reliability, quality components, hand-made craftsmanship, and an overall low price, resulted in
the development of the Workingman's Series of amplification from SWR.
The precision electronic section featured in the Workingman's Series of amplifiers is entirely hand-built,
employing a variety of technologies selected for their sound quality and practical usefulness in a
roadworthy 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 Series 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 are selected for each application. Once
again, with sound, reliability and price consciousness in mind.
The tone-shaping section of all Workingman's Series amplifiers, 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 (two of the largest
factors in your final tone) a simple matter requiring minimal effort. The center frequencies of the Tone
Controls were chosen for their musical effect on most basses.
SWR amplification is handmade and individually tested in the United States. Everyone at SWR sincerely
hopes that you are satisfied with your recent purchase, as we are extremely proud of the quality and
attention that goes into each and every SWR product. We truly hope that your purchase of an SWR helps
bring out the best in your playing and adds to your enjoyment of music.
WORKINGMAN'S 2004 - POWER SPECIFICATIONS
200 watts @ 4 ohms
160 watts @ 8 ohms
Minimum Impedance: 4 ohms
WORKINGMAN'S 2004 - RACK CASE ENCLOSURE
The Workingman's 2004 comes enclosed in a sturdy, custom fitted rack, covered in midnight blue carpet
with stack lock corners. The rack case was designed specifically to house the Workingman's 2004
chassis and features a single open rack space (directly below the amplifier) for mounting the effect unit of
your choice. Most single rack space effect units or digital tuners on the market today will mount
perfectly into this space.
Dimensions: 23.25" W x 7.5" H x 13.5" D
Weight: 19 lbs.
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WORKINGMAN'S 2004 - 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 American standard (as follows):
Pin 1 = ground, Pin 2 = +, Pin 3 = -
TUNER OUT
The "Tuner Out" send jack allows the user to connect their instrument tuner to the Workingman's 2004
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 back 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. Please see below for a detailed explanation of these inputs.
PASSIVE/ACTIVE 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.
Please 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.
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FRONT PANEL FEATURES (continued)
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.
Please 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 you hear some distortion from your active bass and are using the Active input jack, CHECK YOUR
BATTERY!! Also, make sure the Preamp Clip LED is not lighting.
PREAMP CLIP LED
The Preamp Clip LED will light whenever the Preamp, 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.
Please Note: Constant clipping of the preamp will not harm the electronics in your Workingman's 2004.
However, damage can occur to speakers due to near-DC content present in a clipped waveform. Do not
defeat the limiter when overdriving the preamp.
GAIN CONTROL
The gain control adjusts the volume of the preamp section. After the 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 2004, 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 counter-
clockwise 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 4-string bass, the
Bass control itself will suffice. For the 5-string player, the Aural Enhancer will help bring out the fundamen-
tals of your instrument in the 30-60Hz range.
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FRONT PANEL FEATURES (continued)
BASS CONTROL
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 posi-
tion 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).
MID RANGE CONTROL
The Mid Range control operates in a crucial area for most instruments. Many basses, particularly with
roundwound strings, can have a very "honky", or nasal, sound. Dropping the Mid Range control can go a
long way toward smoothing out your tone. We suggest, though, that what sounds best when your
listening to your tone by yourself may not be what works best in a band or recording. Sometimes that
objectionable quality may be just the right "hair" on your note to still have an audible presence in the track
or on stage.
TREBLE CONTROL
The Treble control operates in a tonal area that extends through and beyond the usual Treble control range.
The Transparency control "kicks in" at a much higher frequency. Boosting the control will open up the sound
of a dull instrument, particularly in conjunction with a tweeter, should you have one in your speaker system.
However, this is also the range of string rattle, finger slides, pickup clicks, etc. Again, we recommend you
experiment with the control alone with your instrument while finding your tone, and
listen again in a band context, both near to and away from your speaker system. Qualities like punch,
fatness, presence and bite can be fairly well spread out. Treble, despite the broad dispersion of most tweet-
ers, is a very directional quality. Spend some time exploring what you can hear in this area as you move
around.
AURAL ENHANCER
The Aural Enhancer was developed to bring out the fundamental low notes of the bass, reduce certain fre-
quencies 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 lis-
tening to the bass suddenly become "active".
TONE CONTROL SECTION
The Workingman's 2004 Tone Control section is a four-band set of level controls centered around the
frequencies 80 Hz (Bass), 800 Hz (Mid Range), 2KHz (Treble) and 5KHz (Transparency). Each control can
cut or boost its band a maximum of 15dB. Each control has a flat (center click) position that defeats its
function. In this position, the tone controls are inactive.
For each tone control, rotating the knob counter-clockwise from the center "click" position will reduce or cut
its designated frequency. Rotating the knob clockwise will boost its designated band or frequency.
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FRONT PANEL FEATURES (continued)
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
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 at the "Speakers"
jacks and headphones jack. Losses caused by effects units can be recovered by increasing the Master
Volume.
LIMITER 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 speak-
ers. This feature may be defeated by pulling out the Blend control. Please see the "Blend Control" section
for further information.
LIMITER ACTIVE LED
When the threshold of the Limiter circuit is reached the green Limiter Active LED will light.
SPEAKER ON/OFF SWITCH
The top position labeled "ON" completes the circuit from your power amplifier to the speaker jacks
located on the back panel. In other words, in turns your speakers on (provided they are hooked up). The
bottom position labeled "Speaker" (down) interrupts this path and turns your speakers off. The "Speaker"
(down) position allows you to: tune up silently; use headphones "only" with speakers still plugged in; change
or add speaker cabinets with the unit still on; silent turn-on or turn-off transients.
If no sound is coming from your speakers, check the position of this switch. If the switch is in the “ON”
position, check the speaker fuse, cables, etc.
Please Note: This switch does NOT affect the Headphone jack.
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FRONT PANEL FEATURES (continued)
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 sug-
gest 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.
WARNING: DO NOT USE MONO HEADPHONES. USE STEREO HEADPHONES ONLY!
POWER SWITCH
Pressing the Power Switch to the ON position activates the Workingman's 2004 electronics as indicated by
the switch itself illuminating in red.
Please Note: Because of the tight regulation in the power supply, a transient (pop) may occur when
turning the unit on or off . This is normal and will not harm you speaker. If you wish to avoid this
condition, turn the Speaker Switch to the "Stand By" position before turning the unit on or off.
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.
RETURN JACK
Run a shielded patch cable from the output of your effects device to the Return jack.
One unique feature of the Return Jack is the ability to practice along with pre-recorded music. Insert a
sound source into the Return jack (make sure it is a mono source). Use the Effects Blend control to mix
the level of the recorded music with your instrument's level. The combined signal will be heard through your
speakers, headphones, or both. The send jack is not used.
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REAR PANEL FEATURES (continued)
Please Note: Inserting a plug into the Return jack activates the Effects Blend control by receiving a "com-
mand" 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.
SPEAKER JACKS
Use an unshielded 2-conductor cable (NOT A GUITAR CORD!) to connect any speakers to your
Workingman's 2004. Use a high quality, heavy gauge cable of at least 18 gauge (the lower the gauge, the
heavier the cable). The total impedance of the speakers should be 4 Ohms or greater. This means you can
use one 4 ohm cabinet, two 8 ohm cabinets or four 16 ohm cabinets.
RECOMMENDED SPEAKER ENCLOSURES FROM SWR INCLUDE:
Any two of the following 8 ohm enclosures:
Workingman's 2x10T, Workingman's 4x10T, Workingman's 1x15T, Goliath III, Son Of Bertha,
Big Ben Subwoofer and Goliath Jr. III (8 ohm version).
Any one of the following 4 ohm enclosures:
Big Bertha, Goliath Senior, Henry 8x8, Triad I or Goliath Jr. III (4 ohm version).
SPEAKER FUSE
The speaker fuse is provided to protect the power amplifier from a fault in the speaker cable or the
speakers themselves. It can also open (blow) if an impedance less than 4 ohms is used or in the
unlikely event of a power amp failure. Size and rating of the fuse is 3AG, 6 AMP FAST BLO. Do not defeat
the purpose of this feature by using a higher rated fuse.
A/C LINE FUSE
The line fuse can open (blow) due to power surges or high powerline transients. This fuse will also open in
the event of an electronics failure inside your amplifier.
Correct size and rating of the Line (Mains) fuse: 3AG, 4 amp slo-blow for 120V operation, and 2 amp slo-
blo for 240V operation. DO NOT REPLACE THIS FUSE WITH ONE OF A HIGHER RATING. IT MAY VOID YOUR
WARRANTY AND DAMAGE YOUR AMPLIFIERS ELECTRONICS.
A/C LINE CORD RECEPTACLE
Accepts a standard A/C power cable (supplied with the Workingman's 2004 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.
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.
7

SWR SOUND CORPORATION
Suggested Settings: Workingman’s 2004Suggested Settings: Workingman’s 2004
8

LIMITED WARRANTYLIMITED WARRANTY
The Workingman’s 2004 from SWR Sound Corporation is warranted to the original consumer purchaser for ONE
YEAR from the date of purchase in the U.S.A. against defects in materials and workmanship and provided that it is
purchased from an authorized SWR dealer.
This warranty is VOID if the unit has been damaged due to accident, improper handling, installation or operation,
shipping damage, abuse or misuse, unauthorized repair or attempted repair, or if the serial number has been
defaced or removed. SWR Sound Corporation reserves the right to make such determination on the basis of facto-
ry inspection.
All liability for any incidental or consequential damages for breach of any expressed or implied warranties is dis-
claimed and excluded herefrom.
Some states do not allow limitations on how long an implied warranty lasts, or the exclusion or limitation of inci-
dental or consequential damages, so that the above exclusion may not apply to you. This warranty gives you spe-
cific legal rights and you may also have other rights which vary from state to state.
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For a complete list of Authorized SWR Service Centers, please visit:For a complete list of Authorized SWR Service Centers, please visit: http://www.swrsound.comhttp://www.swrsound.com
SWR SOUND CORPORATION
9130 GLENOAKS BLVD. SUN VALLEY, CA 91352 PHONE: [phone] FAX: [phone]
EMAIL: [email protected] INTERNET: WWW.SWRSOUND.COM
SHOULD YOUR SWRSHOULD YOUR SWR AMPLIFIER REQUIRE SERVICE OR REPAIR,AMPLIFIER REQUIRE SERVICE OR REPAIR,
PLEASE USE THE FOLLOWING PROCEDURE:PLEASE USE THE FOLLOWING PROCEDURE:
Locate your original receipt showing date of purchase, model and serial number.
Determine the closest SWR Authorized Service Center to your location. The fastest way to get a complete list of
SWR Authorized Service centers is on the web, at:
http://www.swrsound.com/service/servicecenternetwork.html
You can also get this information by calling the factory at (818) 253- 4797, prompt 3 (service).
In the case where the unit must be shipped, pack your unit carefully (using original packaging whenever possible),
and include a copy of your bill of sale. Ship the unit PREPAID to the SWR Authorized Service Center of your choice.
SWR Sound Corporation will provide free repair (parts and labor), or replacement at our option, on units determined
to be under warranty. In the case of shipping, the SWR Authorized Service center will return the repaired unit to you
FREIGHT COLLECT.
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