SWR WorkingPro 2x10C User manual

SWR • CORONA, CA • USA
Workingman’s 2X10C
OWNER’S MANUAL

2 • WORKINGMAN’S 2X10C
INTRODUCTION
Congratulations on your purchase of the Workingman's 2x10C Bass Combo Amplifier! You no o n the most po erful combo amp in
SWR's orld-reno ned Workingman's Line of products, a line designed for bassists ho expect typical SWR professional quality at
affordable prices.
In today's cro ded market, it's easy to forget that SWR pioneered the concept of the 2x10 + t eeter bass combo amp in the late
1980's ith the introduction of the no -famous Redhead. The piece quickly became the first-call amplifier of first-call studio musicians
in Ne York and Los Angeles, attaining legendary status for its crystal-clear sound, studio-specific feature set, and ample headroom.
As its reputation gre , more and more people began using it as a live application amplifier, sometimes ith a 2x10 or 1x15 extension
cabinet hooked up to take full advantage of the amplifier's tone and po er capabilities.
Mean hile, over time, e received numerous requests from our customers to produce a line of products that ould incorporate
SWR's accurate sound, high reliability, quality components, and hand-made craftsmanship −but at an overall lo er cost. This result-
ed in the development of the Workingman's Series of amplification from SWR. The precision electronic section featured in the
Workingman's Series is entirely hand-built, employing a variety of technologies selected for their sound quality and practical useful-
ness in a road orthy and studio-ready amplifier, including an all-discrete initial gain stage in the preamplifier section and discrete
solid-state design in the po er amplifier. Regardless of its lo er price, the Workingman's Series offers no compromises of the essen-
tial SWR design and construction philosophy. Corners are not cut from a more elaborate model: rather, each product's design para-
meters are conceived from the ground up and the best available components are selected for each application. Such as the case
ith the Workingman's 4004 amplifier, a 260/400 att head that has proven to be one of the most successful and idely-used prod-
ucts in SWR's history since its release in 1999.
We constantly strive to listen to our customers, and you've told us repeatedly that you anted a 2x10 + t eeter combo amp in the
Workingman's Series. Keeping SWR's design philosophy in mind, e custom-designed a 10" driver specifically for this combo amp,
t eaked the design of the popular Workingman's 4004 head, and listened and soundtested repeatedly until it met and exceeded the
demands of the many bassists (from inside and outside the company) ho tried it. The fast all-solid-state response, the 260- atts
(stand-alone)/400 atts ( ith any Workingman's extension speaker) po er delivery, and the famous SWR sound are all there. Just like
you asked for.
It's all part of SWR's commitment to providing today's bassists ith the tools necessary for the pursuit of the ultimate goal: finding
equipment that not only does the job, but actually enhances the overall musical experience and contributes to the creative process.
Everyone here at SWR sincerely hopes that the purchase of your Workingman's 2x10C helps you get there from here…and beyond.
Please take the time to read your O ner's Manual thoroughly and completely, so that you can realize the full potential of your ne
Workingman's 2x10C Bass Combo Amplifier. Once again, thanks for your purchase, and for letting SWR help Amplify Your Future.™
Sincerely,
SWR
Note: Please take a moment to verify that the follo ing items ere included in your SWR Workingman's 2x10C packaging: AC
Cable, (4) heavy-duty caster heels, SWR Catalog.

WORKINGMAN’S 2X10C • 3
WORKINGMAN'S 2X10C - FRONT PANEL FEATURES
• Discrete Solid State Front End
• Balanced XLR Output
• Tuner Out Jack
• High and Lo Sensitivity 1/4" Input Jacks
• Gain Control ith LED peak clipping indicator
• Aural Enhancer Control
• Bass Level Control
• Lo Mid Level Control
• Mid Level Control
• Hi Mid Level Control
• Treble Level Control
• Effects Blend Control
• Variable Limiter ith Pull Defeat Option
• Master Volume Control
• Speakers (both internal and extension) On/Off S itch
• Stereo Headphones Jack
• Single Open Rack Space for effects unit of your choice
WORKINGMAN'S 2X10C - REAR PANEL FEATURES (chassis and cabinet)
• Side-Chain Effects Loop (Effects Send and Effects Return 1/4" jacks)
• Extension Speaker 1/4" Output Jack
• Speaker Fuse
• Line Fuse
• AC Po er Cord Receptacle
• Internal Speaker On/Off S itch
• 3-Way T eeter Mode Selector S itch (Full Range, -6db, Off)
SPECIFICATIONS
Po er Ratings (minimum)
260 Watts @ 8 ohms (internal cabinet)
400 Watts @ 4 ohms ( ith 8-ohm extension cabinet)
Minimum Impedance (amplifier)
4 ohms
Frequency Response (po er amplifier)
-3dB @ 20 Hz and 40 kHz
Speaker Complement
(2) 10" custom designed cast-frame SWR drivers
(1) LeSon TLX-1 Piezo T eeter

4 • WORKINGMAN’S 2X10C
Cabinet Construction and Features
5/8" 7-ply, Maple or Birch ply ood construction, aterproof glue.
All joints Dado and Rabbet, glued and nailed.
Front Slot Port designed to eliminate un anted noise
Heavy Duty Removable Casters
Heavy Duty Spring Handles
Midnight Blue Carpeting ith Stack Lock Corners
Midnight Blue Stamped Steel Vibration-Free Grill
Dimensions
23"W x 23"H x 16.75"D
Weight
76 lbs.
WORKINGMAN'S 2X10C - GETTING STARTED
Remove the AC cable from the accessory pack and connect it from the amplifier to a standard all outlet. Make sure that the "Gain"
and "Master Volume" controls are set to the minimum position (fully counter-clock ise). Locate the po er s itch on the right side of
the front of the unit and turn the amplifier on. Upon po ering up, don't be surprised if you hear a small pop. This is absolutely normal
and ill not cause damage to your speaker system.
(Eliminating this "po er on transient" ould require a component called a relay. SWR chose not to incorporate this type of compo-
nent due to the fact that relays degrade signal quality and often fail, causing the unit to have no output and requiring a trip to a local
service center. If you ish not to hear the pop upon po er up, locate the "Speakers On/Off" s itch on the front panel and set it to the
do n position before you turn the unit on. Be sure to remember to set the s itch back to "On" after ards, or you may find yourself
ondering hy you don't hear anything.)
Plug your instrument into the desired input jack (refer to "Front Panel Features" for greater detail). Turn your instrument's volume up
to at least 75% of maximum and slo ly adjust the gain control. Once you begin to play your instrument and you see the red light
(marked "preamp clip") over the gain control illuminate, back off the gain a bit. No turn up the "Master Volume" and you should hear
the sound of your instrument amplified through the Workingman's 2x10C. For more detailed information, please read the entire manu-
al carefully so that you can fully realize the potential of your ne Workingman's 2x10C.
For those ho ish to use an extension speaker cabinet ith the Workingman's 2x10C, please skip ahead to the section marked
"Extension Speaker Output Section."

WORKINGMAN’S 2X10C • 5
WORKINGMAN'S 2X10C - FRONT PANEL FEATURES
BALANCED D.I. (XLR) OUTPUT
The Balanced XLR output is a true balanced output. No front panel controls affect its signal. The tone and output levels are controlled
only by the instrument plugged into one of the input jacks. To use this feature, run an XLR cable from the Balanced D.I. Output 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 follo s):
Pin 1 = ground, Pin 2 = +, Pin 3 = -
TUNER OUT
The Tuner Out function allo s the user to plug their instrument tuner into this jack and "tune up" ithout having to unplug and go back
and forth from amp to tuner. This feature is totally isolated from the rest of the preamp and ill function regardless of the settings on
the front panel. Being isolated on a side chain avoids loading do n of the instrument, hich can cause a loss in dynamic range.
To use this feature, connect a shielded patch cord from the Tuner Out jack on your Workingman's 2x10C to the input jack on your
tuner. Turn the amplifier on and you're ready to go. If you do not ish to monitor your sound during the tuning process, you may either
turn do n the Master Volume, or set the Speakers On/Off s itch to the do n position.
INPUT JACKS
Both input jacks accept a standard 1/4" phone plug and both inputs can be used at the same time. Since the t o inputs are totally
independent, no loss in volume or tone ill occur by using t o instruments simultaneously. Ho ever, the main applicational use for the
t o separate input jacks is their difference in level, as the Passive/Active input has five times more gain than the Active input. In other
ords, it's not necessarily intended as a "submixer" for t o instruments, but no harm ill come from having t o instruments plugged
in at once. Please read belo for more details.
PASSIVE/ACTIVE INPUT JACK
This input jack is designed to accommodate both "passive" instruments and most "active" instruments. A passive instrument has no
built-in preamp and does not use a battery, hile an active bass utilizes a battery-operated preamp for gain, tone controls, or both.
The Passive/Active Input ill ork ith all instruments having a maximum output of less than 1 volt RMS. Some active pickups such
as EMG, Bartolini, etc., use batteries for operation and ill ork perfectly using this input. Instruments made by MTD, Sado sky,
Modulus, etc., have active electronics that are suited for use in the Passive/Active input.
Generally speaking, try this input first. If you hear a small amount of distortion and the preamp clip LED is not activated, try using the
Active input jack. If the Active input does not correct any audible distortion, check the battery in your bass.
ACTIVE INPUT JACK
The Active input jack should be used ith instruments having a built-in (on board) preamp or other sound sources that ill produce
output levels greater than 1 volt RMS. The number of bass manufacturers has increased significantly over the years, and it's impossi-
ble to try and keep track of them all. Generally, if you have very "hot" pickups and/or tone controls installed in your instrument, and
you use them to boost the level of your bass signal 10 dB or more, you may find the Active input more compatible. The best judge is
your o n ears.
If you're using a keyboard or bass pedal ith the Workingman's 2x10C, e have found the best choice to be the Active input.
NOTE: Using the Active input ith passive basses (active instruments ill al ays employ a battery) may result in a loss of high end
transients. Players ho roll off their high end starting at about 2kHz, or prefer a "darker" sound, may find this input more to their lik-
ing.
If you hear some distortion ith your active bass and are using the Active Input, make sure the preamp clip LED indicator is not
lighting. If the preamp stage is not being driven into clipping, replace the battery in your instrument.

6 • WORKINGMAN’S 2X10C
GAIN CONTROL
The Gain control adjusts the volume of the preamp section. Since the Gain control is similar to a "pad," a small amount of signal ill
be heard even ith the Gain control rotated fully counter-clock ise ("MIN") if the Master Volume is up.
After all EQ settings and the Aural Enhancer are set, the Gain control should be raised until the preamp clip LED barely flashes hen
your loudest note is struck. This ill insure maximum signal to noise ratio and prevent un anted clipping of the preamp section.
NOTE: The Gain can serve as an EFFECTS SEND LEVEL ADJUSTMENT. If your effect is being overdriven, turn do n the Gain con-
trol and readjust your Master Volume for overall loudness.
PREAMP CLIP LED
The preamp clip LED ill light henever the preamp, tone section or output buffer reach clipping (run out of headroom). In the event
the clip indicator lights, turn do n the Gain control. Since this circuit monitors the tone controls, boosting any one of them can cause
the clip LED to activate. Once again, you may leave the tone control at its desired level, but turn the Gain control do n further.
NOTE: Even though the Preamp Clip LED lighting indicates that at some point the preamp is clipping, no harm is being done to
your amplifier. Ho ever, clipping of the po er amp can cause damage to your speakers and is not recommended.
AURAL ENHANCER
The Aural Enhancer is a feature that's been on just about every SWR amplifier since the company's inception in 1984, and is a trade-
mark part of the "SWR Sound" people have come to kno and love. It as developed to help bring out the fundamental lo notes of
the bass guitar, enhance the high-end transients, and reduce certain frequencies that help "mask" the fundamentals. The ultimate
result is:
1. A more transparent sound, especially noticeable hen slapping and popping.
2. It can make a passive bass take on an "active" type of quality hen set at positions of "2 o'clock" or further clock ise.
Let's take a second to learn ho the Aural Enhancer orks. Think of it as a variable tone curve that changes depending on here you
set the Aural Enhancer control knob. As you raise the control clock ise from the "MIN" position, you are elevating a hole range of
sound (lo s, mids, and highs) at a variety of frequency points selected specifically because they're different than those selected for
the individual Tone Controls.
This remains true up to about the "2 o'clock" position. This position −a favorite for many users −brings out both the lo end funda-
mentals and crisp highs and, at the same time, adds a little lo er midrange to help cut through the band. Ho ever, if you go further
clock ise and past the 2:00 position, selected mids ill start to drop off −specifically, a group of frequencies centered around 200
Hz. At this point and after, the effect becomes much more pronounced. Ho ever, the curves involved here are gentle, as opposed to
the very extreme curves you can create by boosting or cutting the Active Tone Controls (EQ).
Most significantly for basses, the Aural Enhancer ill help bring out the fundamentals of your lo er registers ithout masking them
ith overtones, as is possible hen using the Bass control only. At the same time, it opens up the sibilance characteristics of all
instruments ithout being harsh.
Obviously, numbers and curves and circuits all mean nothing compared to hat you hear ith your o n ears. Play a chord, a repeated
lick, or a harmonic, and turn the Aural Enhancer control to various points on the knob to hear the effect for yourself. As al ays, your
ears are the best judge hen it comes to settings that affect the tone of your instrument.

WORKINGMAN’S 2X10C • 7
WORKINGMAN'S 2X10C - 5-BAND GRAPHIC EQ SECTION
OVERVIEW
Your Workingman's 2x10C comes equipped ith a 5-band graphic equalizer for versatile, active tone shaping in an easy-to-use inter-
face. Each of the five bands utilizes a slider control that can cut or boost its designated frequency range by up to 15db. For each EQ
control, sliding the knob up ill boost its designated band or frequency, hile sliding the knob do n ill reduce its designated fre-
quency. Each control also has a flat (center-click) position that defeats its function. In other ords, hen an EQ control sits in the cen-
ter-click position, that EQ control does not cut or boost anything −it is inactive.
The center frequencies for each EQ control are as follo s:
Bass: 80 Hz
Lo Mid: 160 Hz
Mid: 400 Hz
Hi Mid: 800 Hz
Treble: 3kHz
USING THE 5-BAND GRAPHIC EQ SECTION
BASS CONTROL
The Bass Control (band 1) itself, as stated above, orks in a range that ill be useful under most "normal" conditions. Its musical use
might be thought of as a "fatness" control. The overall "punch" of your instrument, from your lo E-string on up to about t o octaves
(mid ay up the G-string), ill be determined ith this control. With passive instruments, this ill be straightfor ard. With active instru-
ments having bass-boost controls, more exploration ill be orth hile. (Some active tone circuits have boost-cut controls such as
Tobias, Sado sky, etc. Others such as Music Man, may be straight boost controls. Take a little time and see ho the EQ onboard
your bass interacts ith the Bass Control on the 2x10C.)
MIDRANGE CONTROLS
The Midrange Controls (bands 2, 3, & 4 - Lo Mid, Mid, and Hi Mid respectively) operate in a crucial area for most instruments. Many
basses, particularly ith round ound strings, can have a very "honky" or nasal sound. Locating and cutting the correct midrange fre-
quencies can go a long ay to ard smoothing out your tone. But it's orth remembering that hat sounds best hen listening to
your tone by yourself may not be hat orks 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 onstage.
Some hints: If you need to "cut through" the band a little more, try boosting the Mid Control. If you like a more transparent or
"scooped" sound, try cutting the Hi Mid Control. The midrange controls are also especially useful in controlling fretless basses and
their inherent qualities.
TREBLE CONTROL
The Treble Control (band 5) operates in a tonal area that extends through and beyond the usual "treble" range. Boosting the control
ill open up the sound of a dull instrument, particularly in conjunction ith the t eeter. Ho ever, this is also the range of string rattle,
finger slides and pickup clicks. Again, e recommend you experiment ith the control alone ith your instrument hile finding your
tone, and then listen again in a band context, both near to and a ay from your speaker system. Bass-oriented qualities like punch and
fatness can be fairly ell spread out. Ho ever, hat most people kno as treble, despite the broad dispersion of most t eeters, is a
very directional quality. Spend some time exploring hat you can hear in this area as you move around.

8 • WORKINGMAN’S 2X10C
EFFECTS BLEND CONTROL
The Effects Blend Control "blends" the signal sent from your instrument ith the signal coming from an outboard effects unit of your
choice. With the Effects Blend fully counter-clock ise ("DRY"), no signal from your outboard effects unit ill be heard. As you turn this
control clock ise, more of the effect can be heard in the overall sound. When the Effects Blend control is set fully clock ise ("WET"),
no true or unaffected signal is heard other than hat your outboard effects unit provides. If your outboard effects unit has a similar
control, adjust it to the fully clock ise ("WET") position. This ill avoid any possible phasing problems.
The Effects Blend circuit is similar to that used on recording consoles ith the effects loop on a "side chain" to the normal circuit.
Unless the control is set to the full " et" position, you ill al ays get the full sound of your instrument AND get the diversity an
effects unit offers. This circuit is also effective in reducing noise generated by effects units because it is located after the gain
stages in the preamp.
The Effects Blend control functions only hen the Effects Loop is being used. It is activated hen a 1/4" phone plug is inserted into
the Effects Receive jack (for more information, please see the heading titled "Effects Loop" in the "Rear Panel Features" section later
in this manual).
VARIABLE LIMITER CONTROL (with defeat option)
The Limiter in the Workingman's 2x10C is designed to provide the user ith maximum flexibility of control, hile at the same time
provide protection for the po er amplifier from clipping, a condition that can cause damage to itself and the speaker system over
time if allo ed to occur.
The Limiter circuit is located after (post) the Master Volume and before (pre) the po er amplifier, so the Limiter itself is driven by the
Master Volume control. You can set the threshold of the Limiter ith the Limiter Control. Turning the control clock ise sets the
threshold to increase the amount of limiting, hile turning the control counter-clock ise ill decrease the amount of limiting. As
al ays, your ears ill help you determine the right amount of limiting to use, as levels vary greatly from player to player due to play-
ing style, output levels of basses, EQ settings, and many other factors. This feature can also be helpful in preventing speaker damage
hen running your system at high volumes.
NOTE: When listening to hear if there is distortion present in your signal, make sure you are not confusing po er amp distortion
ith preamp distortion. To make sure preamp distortion is not present, be sure to set the Gain Control to here the Preamp Clip LED
is not illuminating. Then you can make a clear determination as to ho best to set the Limiter.
DEFEATING THE LIMITER CIRCUIT
Regardless of here the Variable Limiter Control is set, you may defeat the Limiter circuit at any time by pulling out on the Limiter
knob itself. (It doubles as an on/off s itch for the Limiter.) To defeat the Limiter, simply pull "out" on the knob of this control until you
hear and feel a "click." To re-engage the Limiter, push the control back in to its original position, and the Limiter circuit ill reactivate
at the threshold setting you chose originally. This may be useful in determining just ho much limiting is occurring in an "A/B" type of
test. You can also hear in an instant if your limiter is set to here it is actually stopping the po er amp from clipping, because if you
suddenly hear distortion that asn't there hen the limiter as engaged, that's exactly hat's occurring. (This is especially key to
remember hen using your 2x10C ith an extension cabinet at high volumes.)
LIMITER ACTIVE LED
When the threshold (starting point) of the Limiter circuit is reached, the Limiter Active LED ill light, indicating that the Limiter Circuit
is active and helping to protect your po er amplifier from clipping. The Limiter LED ill not illuminate hen: a) the Limiter has been
defeated by pulling out on the Limiter control; b) hen playing at levels not high enough to engage the circuit.
NOTE: If you have defeated the Limiter and you hear a loud, sharp distortion present in your sound −and the Preamp Clip LED is
not lighting up −re-engage the Limiter by pushing the Limiter control back in. If the distortion goes a ay, you ere probably clipping
the po er amp, hich is not a good thing. Remember, the Limiter circuit is there to protect your amplifier from such a state of opera-
tion.

WORKINGMAN’S 2X10C • 9
MASTER (VOLUME) CONTROL
The Master (meaning "Master Volume") control adjusts the level being sent to the po er amplifier in your Workingman's 2x10C −it
controls the overall volume of the unit. Turning the control counter-clock ise reduces the overall level, hile turning the control clock-
ise boosts the overall level.
T o notes: The Master control never affects the level present at the XLR or effects send jacks −it only affects the level being sent to
the po er amplifier, and subsequently, your internal speaker system and extension speaker output only. Also, losses caused by out-
board effects units can be recovered by increasing the Master control.
SPEAKERS ON/OFF SWITCH
This t o-position s itch controls the signal sent from the po er amplifier to the speaker section of your Workingman's 2x10C and an
extension speaker if connected (hence the term "speakers"). When set to the On (top) position (default setting from the factory), the
Workingman's 2x10C ill operate normally, and the sound of your amplified bass ill be heard from the speaker section and any con-
nected extension speaker. When set to the Speakers (bottom) position, that signal ill be defeated regardless of the settings on the
front panel. This can be useful for silent practicing (in conjunction ith the Headphones Jack, listed belo ), or for defeating the audio
hile you re-patch cables or plug and unplug your instrument. This s itch ill not affect the signal present at the various audio out-
puts (XLR, Effects Send, Tuner Out). It ill also not affect the signal present at the Headphone Jack.
NOTE: If the volume on your instrument is up, and your Gain and Master Volume controls are up, and especially if you're seeing
the Preamp Clip and Limiter Active LED's illuminate hile you're playing… and you can't understand hy you're not getting any audible
output from the Workingman's 2x10C, check the position of this s itch!
HEADPHONES JACK (stereo only)
By inserting a set of stereo headphones into this jack, you can monitor your sound more closely in a studio situation, or practice
silently ( hen the Speakers On/Off S itch is set to "Off") so as not to completely annoy your neighbors. The headphone volume level
is adjusted by the Master Volume. We suggest you begin ith the Master Volume full off (counter-clock ise), then slo ly bring up the
volume to the desired level. If you hear some distortion in your headphones that isn't present through your speaker system, turn
do n the Master Volume. You are probably overdriving your headphones and could ruin them, to say nothing of hat you may be
doing to your ears.
Any impedance headphones ill ork. Ho ever, optimum impedance is 75 ohms.
POWER ON/OFF SWITCH
This s itch turns the complete unit on or off. Setting the s itch up ards to the "On" position turns on the unit, and the s itch itself
ill illuminate in red. Setting the s itch do n ard to the "Po er" position ill turn the unit off, and the red light inside the po er
s itch ill turn off as ell.

10 • WORKINGMAN’S 2X10C
WORKINGMAN'S 2X10C -REAR PANEL FEATURES (chassis and cabinet)
EFFECTS LOOP (for outboard effects devices)
As mentioned previously in the "Effects Blend Control" section of the manual, the Effects Blend circuit in your Workingman's 2x10C is
similar to that used on recording consoles, ith the effects loop on a "side chain" to the normal circuit. Unless the Effects Blend con-
trol is set to the full " et" position, you ill al ays get the full sound of your instrument AND get the diversity an outboard effects unit
offers. Use of the effects loop ill reduce the noise generated by outboard effects units (as compared to using the effect bet een
your instrument and the input jack, though many people use it in this fashion any ay). This is because the loop is after the preamp
gain stages.
The Effects Loop is compatible ith most individual or multi-effect outboard effects devices. Many effects devices on the market
have input level adjustments. For instance, some units have a s itch that you can set for either -20 dB or +4 dB. In all cases, these
should be set for 0 dB (if available) or +4 dB. The level going to your effect is controlled by the Gain control on the front panel.
NOTE: The Effects Loop is used in conjunction ith the Effects Blend control on the front panel. When the Effects Blend Control is
in the full counter-clock ise ("DRY") position, no effects ill be heard. This is normal.
CONNECTING AN OUTBOARD EFFECTS DEVICE TO THE WORKINGMAN'S 2X10C EFFECTS LOOP
Obtain t o high-quality shielded patch cables, preferably as short as possible. Route them in the most direct ay possible. (Running
patch cables over the top of the Workingman's 2x10C −as ith any amplifier −can induce hum in the cables and is not recommend-
ed.) Take one cable and connect it from the Effects Send jack on the Workingman's 2x10C to the input of your outboard effects
device. Take the second cable and connect it from the output of your outboard effects device to the Effects Return jack on your
Workingman's 2x10C. To set levels, follo the instructions as previously listed in the "Effects Blend Control" heading under "Front
Panel Features."
EFFECTS SEND
This jack's primary function is to send a post-EQ signal to an outboard effects device for use in the Workingman's 2x10C Effects
Loop. Ho ever, it can also be used as:
1. A line level output for use in conjunction ith an additional (slave) po er amp −such as SWR's Po er 750.
2. An unbalanced output suitable for recording or live mixing board purposes.
The output impedance of the Effects Send jack is 100 Ohms.
EFFECTS RECEIVE
This jack's primary function is to complete the Effects Loop circuit by routing the post-outboard-effects device signal back into the
po er amp of the Workingman's 2x10C, here it can be blended back in ith the original signal by using the Effects Blend control on
the front panel. Ho ever, it can also be used as:
1. A po er amp input jack. If, for some reason, you ished to bypass the entire front end and use the Workingman's 2x10C strict-
ly as a po ered monitor, you could take the output of hatever line-level audio source you ished and connect it to this jack. Then,
set the Effects Blend control to the full clock ise ("WET") position. Use the Master control to set the overall level, and your
Workingman's 2x10C is no a po ered speaker cabinet.
2. An input for pre-recorded music, for playing along and practicing purposes. To accomplish this, insert a CD player or other
sound source into the Effects Receive jack. (It must be a MONO 1/4" plug that goes into this input, so you'll have to use a
stereo-to-mono cable adapter of some kind.) You can adjust the level of recorded music versus the "live" sound of your instrument
by using both the Effects Blend control (the more clock ise the control, the more pre-recorded music signal you'll hear) and the
volume control of your CD (or other) audio source. The mixed sound ill be heard through your speaker(s). Besides pre- recorded
music, this is also an excellent ay to practice along ith a drum machine.
Input impedance of the Receive jack is 27k Ohms minimum.