CALIFORNIA
BLONDE
OWNER’S MANUAL
SWR • CORONA, CA • USA
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INTRODUCTION
CONGRATULATIONS...
…you are now the proud owner of an SWR California Blonde acoustic instrument amplifier! Please read this entire manual carefully so that
you can fully realize the potential of the California Blonde.
MADE IN THE U.S.A.!
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.
Thanks for choosing SWR!
The amplifier packaging should include the following items:
(1) Owner’s Manual
(1) AC Power Cord
(1) Warranty/Product Registration Form
CALIFORNIA BLONDE SPECIFICATIONS
POWER OUTPUT
120 Watts @ 8 ohms (internal speaker only)
160 Watts @ 4 ohms (using an 8 ohm extension speaker)
SPEAKERS
1- 12" stamped frame woofer, 200 watts, 8 ohm impedance
1- high frequency supertweeter, 25 watts, 16 ohms (crossover point fixed at 4kHz)
FREQUENCY RESPONSE
30Hz to 16kHz.
CABINET
Made from a combination of plywood and particle board. Interlocking dado and rabbet joints, glued and nailed. Covered in a “sandstone”
vinyl covering. Metal corners. Comes with our “Texas Bar Proof” powdercoated speaker grill. Front slot port located at bottom.
One top strap handle and one spring loaded handle on the bottom. For better monitoring, tilt the cabinet back and extend the bottom han-
dle. Then lower the cabinet down, resting it on the rubber handle.
DIMENSIONS: 24" H x 14.5" W x 14.5" D
WEIGHT: 50 lbs.
CALIFORNIA BLONDE OWNER’S MANUAL • 1
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FRONT PANEL FEATURES
• Instrument Input Jack
• Stereo Input Jack
• Tuner Out Jack
• Balanced Mic Input Jack
• Gain Controls with LED Overload Indicator and Pull Phase
• Aural Enhancer Control (Channel 1)
• Bass Controls
• Mid Range Level Controls
• Treble Controls
• Effects Blend Controls
• Reverb Control
• Master Volume Control
• Power On/Off Switch
REAR PANEL FEATURES
• Line Fuse: 3A slo-blo
• A/C Power Cord Receptacle
• Stereo Headphones Jack
• Speaker On/Off Switch
• Effects Send Jacks
• Effects Return Jacks
• Balanced Line Out
• Line Out Jacks (Channel 1 or 2)
• Post-Reverb Return Jack
• Reverb Footswitch Jack
CROSSOVER PANEL FEATURES
• Tweeter Attenuator Control
• Extension Speaker Out Jacks (SpeakonL and 1/4")
GETTING STARTED
Remove the AC cable from the accessory pack and connect it from the amplifier to a standard wall outlet. Make sure that the Gain and
Master Volume controls are set to the minimum position (fully counter-clockwise). Locate the power switch on the right side of the
front of the unit and turn on the amplifier. Upon powering up, don’t be surprised if you hear a small pop. This is absolutely normal.
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 slowly adjust the gain control. Once you begin to play your instrument and you see the yellow light over the
gain control illuminate, back off the gain a bit. Now turn up the Master Volume and you should hear the sound of your instrument
amplified through the California Blonde. For more detailed information, please read the entire manual carefully so that you can fully realize
the California Blonde’s potential.
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FRONT PANEL FEATURES
INSTRUMENT CHANNEL (Ch.1)
INSTRUMENT INPUT
Accepts a 1/4" mono phone plug. The input “senses” either a magnetic or piezo pickup, therefore separate inputs or a selector switch are
not needed (as on other acoustic amplifiers).
If you should hear some distortion when using this input, make sure the LED overload indicator is not lighting and don’t forget to check the
battery in your instrument.
STEREO INPUT
Accepts a stereo 1/4" phone plug. This unique feature was provided for instruments having a stereo output. For example, some acoustic
guitar players have a piezo bridge pickup and a soundhole microphone. These combine for a stereo or dual output signal. As well, some
pickup manufacturers have a dual pickup system culminating in a stereo jack.
The tip of the stereo input gets routed to the instrument channel. The ring goes to the mic/aux channel. This allows the user complete
independent control of the tone shaping and levels of each pickup/mic system! The two are blended together at the end of the signal
chain. The Master Volume and Reverb both affect this blended signal.
The California Blonde can be run in stereo. Please refer to “Stereo Operation” located in the “Rear Panel Features” section of this guide.
GAIN CONTROL
Proper use of this feature will ensure maximum signal-to-noise ratio (quiet operation) and unwanted clipping (distortion) in the preamp sec-
tion. Whether you are using the Instrument channel or the Mic/Aux channel, the following procedure should be followed.
1. Turn the Master Volume to the “MIN” position. Plug your instrument into the desired input jack.The volume control on your instru-
ment should be set at maximum (because we all know sooner or later it will get there!). Start with the Tone controls in the “0” flat position
and the Aural Enhancer (if applicable) in the 12 o’clock position.
2. Starting from “MIN,” raise the Gain control while striking your loudest chord or note. If setting up with a microphone, sing or speak
loudly into the mic as you would during a performance. Find the setting on the Gain control that causes the LED O/L indicator to flash.
Now back off the Gain until the LED overload indicator no longer comes on.
3. Use the Master Volume to set overall desired loudness.
The Aural Enhancer and Tone controls can have an affect on the optimal setting of the Gain control. After you have set these to
your liking, go back and repeat steps 1 through 3.
To accommodate a wide range and variety of instruments and mics, the Gain control’s taper or action was designed to start slowly. This
allows finer control of the proper gain setting for your instrument or mic. In other words, you may notice that the volume changes more
rapidly after the Gain Control reaches about the 11 o’clock position. This is normal.
The Gain control also “drives” the effects send signal and internal reverb circuitry. Effects units used in the effects loops should be able
to accept line level signals. If your effect is being overdriven at the input, you can turn down the Gain to alleviate this condition. Reset your
Master Volume for desired overall volume.
PULL PHASE FUNCTION
This function reverses the input to output phase. In the “in” position, the output (speaker) is in phase with the input. In the “out” position, the
reverse is true. The purpose of this feature is to inhibit regenerative feedback. This method is superior to a notch filter as it does not alter
the overall tone.
If your instrument or mic starts to feedback, pull the Gain knob out to reverse the phase. It should be noted however, that the distance
between you and the cabinet is a factor. Depending on your proximity to the cabinet, changing the phase could actually cause an increase
in feedback.
Most feedback in acoustic instruments occurs in the lower registers. If ample volume is not obtained by using the phase switch or chang-
ing your position in relationship to the amp, try using the tilt back handle feature on the bottom of the cabinet.You may also try putting the
California Blonde on a chair or stand off the floor.
LED OVERLOAD (O/L) INDICATOR
If the preamp circuitry is overdriven or clipped, the yellow LED will light. To correct this condition, lower the Gain control. The O/L monitors
the Gain, Aural Enhancer, tone controls and effects loop circuitry.
CALIFORNIA BLONDE OWNER’S MANUAL • 3
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USING THE TONE CONTROLS
To get the most out of the Tone Controls of your California Blonde, it would be best to first understand how the Aural Enhancer
(Instrument channel only) works, and how it interacts with the Bass, Mid Range and Treble controls. Think of the Aural Enhancer as
a variable tone curve. As you raise the control from its “0,” or fully counterclockwise position, you are elevating the whole range of sound
(lows, mids, and highs) at frequency points different than those selected for the individual Tone Controls.
This remains true up to about the “2 o’clock” position, at which point selected 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 for basses, the Enhancer will help bring
out the fundamentals of your lower registers without masking them with overtones, such as the Bass control would. At the same time, it
opens up the sibilance characteristics of all instruments without being harsh.
Most players prefer setting the Aural Enhancer between 10 and 2 o’clock. Try playing a chord and move the Aural Enhancer from one
extreme to the other. You should find a setting that is pleasing to your ear.
TONE CONTROL SECTION
The California Blonde’s Tone Control section is a three-band set of level controls centered around the frequencies 80 Hz (Bass), 800 Hz
(Mid Range) and 5kHz (Treble). 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 cut or reduce its designated frequency.
Rotating the knob clockwise will boost its designated band or frequency.
The Bass control works in a range that will be useful under most “normal” conditions. Its musical use might be thought of as a “fatness”
control. The overall “punch” of your instrument will be determined with this control. With passive instruments, this will be straightforward.
With active instruments containing bass-boost/cut functions, more exploration will be worthwhile.
The Mid Range control operates in a crucial area for most instruments. Many basses (particularly those strung with roundwound
strings) and some pickups for acoustic instruments 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 you’re listening to your tone by yourself
may not be what works best in a band or when recording. Sometimes that objectionable quality may be just the right “hair” on your note
to still have an audible presence in the track or on stage.
The Treble control operates in a tonal area that extends through and beyond the usual treble range. It may be thought of as a “trans-
parency” control. Over time, we have found this approach to result in a more musically useful treble. Boosting the control will open up the
sound of a dull instrument, particularly in conjunction with the high end super-tweeter in the California Blonde. 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 find-
ing your tone, and listen again in a band context, both near to and away from the California Blonde. Qualities like punch, fatness, presence
and bite can be fairly well spread out. Treble, despite the broad dispersion of the super tweeter, is a very directional quality. Spend some
time exploring what you can hear in this area as you move around.
EFFECTS BLEND
The effects loop circuitry in the California Blonde is a “side chain” design, the same concept as used in studio mixers and consoles. The
Effects Blend control mixes the signal coming from your instrument with the sound coming from your effect. With the Effects
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 is fully clockwise, no dry or unaffected signal is heard other than the output of your effects
device.
This type of control and patching arrangement is very effective in reducing noise caused by effects units and in maintaining a more natur-
al 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.
MIC/AUXILIARY CHANNEL (Ch. 2)
TUNER OUT
This feature allows the user to connect their instrument tuner to the California Blonde without having to unplug and go back and forth from
amp to tuner to amp. The Tuner Out circuit is isolated from the rest of the circuitry and no other controls other than your instrument affect
the signal. Being on a side chain (isolated) also avoids loading down of the instrument which can cause a loss in dynamic range.
To use the Tuner Out, 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 either the Gain or Master Volume, or position the Speaker
On/Off switch on the back panel to the “Off” position.
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BALANCED MIC INPUT
This input is a true balanced XLR input, not a single-ended input as on some amplifiers. This input is DISCONNECTED when the Stereo Input is
being used. Input impedance is 10k ohms, and the wiring is American standard:
Pin 1= ground, Pin 2= +, Pin 3= – (minus)
The Balanced Mic input does not supply phantom power. Phantom power can be obtained by the use of an outboard phantom power sup-
ply box, available at most large musical instrument retailers.
AUXILIARY INPUT (AUX IN)
This input can be used with a second instrument, unbalanced microphone, or any source not needing a super high input impedance. Input
impedance is approximately 800k ohms. This input will not function when the Stereo Input is being used.
GAIN, PULL PHASE, BASS, MID RANGE, TREBLE & EFFECTS BLEND
Since these features are all identical to the ones found in the Instrument channel, please refer to that section for proper operation and
information.
MASTER SECTION
MASTER VOLUME
The Master Volume control adjusts the signal level going to the power amplifier, stereo headphones jack, extension speaker and the
internal speaker system. It does NOT affect the Balanced XLR Line out. For optimum signal-to-noise ratio, it should be used in conjunction
with the Gain control.
MASTER REVERB
The Master Reverb control blends in the reverb with the main signal. The reverb circuitry is on a side chain as well, so the natural
sound of your instrument is always maintained. Rotating this control clockwise will add more reverb to the overall sound. Reverb is intro-
duced after the Instrument and Mic/Aux channels have been summed together and will affect both channels (unless you utilize the Post-
Reverb Return jack, which is explained later in the “Rear Panel Features” section).
REAR PANEL FEATURES
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 volume level is adjusted by the Master Volume. We suggest you begin with the Master Volume off (fully counter-clockwise),
then slowly bring the volume up to your desired level. If you hear some distortion in your headphones that is not present with the speakers
on, turn down the volume—you are probably overdriving your headphones and could ruin them. To practice silently, set the Speaker
On/Off switch on the back panel to the “Off” position. Any impedance stereo headphones will work, however, optimum impedance is 75
ohms. Do NOT use mono headphones as they will short out a channel.
SPEAKER ON/OFF SWITCH
In the TOP position, labeled “On,” both the woofer and super tweeter in the speaker system are activated. The tweeter level can be sepa-
rately controlled and/or eliminated by using the Tweeter Attenuator (described below in “Crossover Panel Features”).
The BOTTOM position, labeled “OFF” disconnects the signal going to the internal speakers and extension speaker jack. Use this position
when listening through headphones only or for silent tuning (refer to "Tuner Out" section). The Stereo Headphones jack is always active
regardless of the position of this switch.
INTERNAL CABINET JACK/PLUG
This specially-sized jack/plug assembly (in the black plastic housing) runs the signal from the amplifier to the California Blonde’s internal
speakers. It should NOT be unplugged unless the chassis needs to be removed from the unit, which should ONLY be done by a qualified
technician.
EFFECTS LOOP
Separate and independent effects loops are provided for both the Instrument and Mic/Aux channels. They are located POST EQ and PRE
Reverb & Master Volume in the signal path. The level appearing at the Send jacks is controlled by the Gain functions on the front panel. If
you are getting too hot a signal at the input of your effects unit, reduce the level of the applicable Gain control(s). You can then raise your
Master Volume 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.
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Since the effects loops are on a side chain, their use 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
Run a shielded patch cable from the Send jack to the input of your effects device. This jack may be used as an additional line level output,
in which case its level is determined by the setting of the Gain control.
RECEIVE
Run a shielded patch cable from the output of your effects device to the Receive jack.
One unique feature of the Receive jack is the ability to practice along with pre-recorded music. Insert a sound source into the Receive jack
(make sure it’s a mono signal). Use the Effects Blend control to mix the level of the recorded music with your instrument’s level. The
combined signal will be heard through the internal speakers or your headphones. The Send jack is not used.
NOTE: Inserting a plug into the Receive jack activates the Effects Blend control by receiving a “command” through the
ground created. Therefore, only a mono (2-conductor) phone plug should be used.
If you are not getting any “effect” through the speakers, check the position of the appropriate Effects Blend control on the front panel.
BALANCED XLR LINE OUT
Being a “line” out, the signal appearing here is similar to that heard through the speaker system. All of the controls on the front panel,
except the Master Volume, will affect the sound.
To use this feature, run an XLR cable from the Balanced Line out to the input of a mixing console, tape machine, 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: Pin 1= ground, Pin 2= +, Pin 3= – (minus)
STEREO OPERATION
Complete stereo operation can be achieved using the following procedure:
First, you will need an external power amp and speaker cabinet (powered “slave” enclosures are ideal for this situation). Plug a shielded
patch cable from the Line Out CH-1 or Line Out CH-2 jack (your choice) on the back of the California Blonde to the input of the external
powered speaker system. This disconnects your chosen Line Out channel from the power amp/speaker system of the California Blonde.
The Master Volume and Reverb will affect only the channel you have NOT assigned to the external system. For example, if you have chosen
“Line Out CH-1” to send to an external system, only Channel 2 will be present in your California Blonde speaker and therefore controllable
by the Master Volume and Reverb. If you send Channel 2 to an external system, the reverse is true. In either case, the volume control on
the external system acts as the “Master Volume” control for that side of the stereo system, while the Gain control on the assigned channel
acts as the preamp volume control.
The independent effects loops of both channels can now be used for full stereo enhancement. This can be obtained by plugging in a
stereo effect such as a chorus, echo, etc. Use the left side of the effect for the Instrument channel (Channel 1) and the right for the
Mic/Aux channel (Channel 2). Don’t forget to set the Effects Blend control properly for each side.
LINE OUT CH-1 JACK
This jack works in conjunction with either the Instrument or Stereo inputs. This feature allows you to send the Instrument channel’s signal
to an external system. Inserting a cord into this jack DISCONNECTS the signal from the internal power amp, therefore the Master Volume,
Reverb and internal speaker system are disabled.
LINE OUT CH-2 JACK
This jack performs the exact same functions for the Mic/Aux Channel (Channel 2) as the “Line Out CH-1” does for the Instrument channel.
It works in conjunction with the Balanced Mic In, Aux In or Stereo inputs. When using the California Blonde in true stereo applications, you
can now decide what signal is best to send to an externally powered source—Channel 1 or Channel 2.
NOTE: To achieve a “summed” Line Out of Channels 1 and 2, you have three options:
a) Optimal: Use the Balanced XLR Line Out jack. If you need this connection terminated into a 1/4" phone plug, then use
either a direct box or a line transformer (XLR female to 1/4" phone plug male).
b) Not Optimal*: Sum both Effects Send jacks into a “Y” cable and send the signal to the desired destination
c) Not Optimal*: Sum the “Line Out CH-1” and “Line Out CH-2” jacks into a “Y” cable and send the signal to the desired
destination. If you choose this option, you should know that the signals will not return to the California Blonde unless rout-
ed back into the Effects Return jacks. “Y” cords can do funny things to your signal.
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POST-REVERB RETURN JACK
You may choose to use the California Blonde as an all-in-one amp/P.A. Plug your instrument into Channel 1 and the mic into Channel 2.
Then you can choose to have reverb on either the vocal or the instrument only. To defeat reverb on Channel 1, simply run a (preferably
short) instrument cable from the “Line Out CH-1” jack into the “Post-Reverb Return” jack. Reverb will now be present only in Channel 2.
REVERB FOOTSWITCH
Inserting a footswitch into this jack allows the user to turn on and off the reverb signal present in the mix. For best results, use a quality
shielded footswitch (available through SWR).
A/C LINE (MAINS) FUSE
The line fuse can open (blow) due to power surges or high power line transients. This fuse will also open in the unlikely event of an elec-
tronics failure inside your amplifier.
Correct size and rating of the line fuse: 3AG, 3 amp slo-blo for 120V operation (in North America), and 1.5 amp slo-blo for 240V use. DO
NOT DEFEAT THE PURPOSE OF THIS FUSE BY USING A HIGHER AMPERAGE RATING. THIS COULD VOID YOUR WARRANTY.
A/C LINE CORD RECEPTACLE
Accepts a standard A/C power cable (supplied with the California Blonde in the United States), used with almost all current musical, pro-
fessional and household electronic devices. If it does become misplaced, replacements can be found at almost any computer, electronics,
or pro audio store.
Note: The rating for this cable is 3-conductor, 18 gauge, 10 amperes. If replacement is necessary, or if you wish to buy
a longer cable, look for the correct rating on the cable.
CROSSOVER PANEL FEATURES
TWEETER ATTENUATOR CONTROL
Use this control to adjust the level of high frequency heard through the tweeter (located in the upper right corner of the speaker enclo-
sure). A normal setting for this control is straight up or “12 o’clock.” As you turn the knob clockwise from this position, the high frequency
content is increased and you will get more “sparkle.” Turning the knob fully counter-clockwise removes the tweeter from the system com-
pletely. If you prefer a “darker” sound or are getting a lot of fret buzz, clicks, bow, pick or finger noise, you may want to use this position.
(This control will not affect the 12" loudspeaker, headphones, or any extension cabinet.)
NOTE: We have found that most fiddle/violin players prefer the tweeter out of the circuit (completely counter-clock-
wise). This can be true for some upright bass and cello players as well. Guitar, dobro, bass and mandolin musicians like
the horn activated. Try it both ways and pick the setting that sounds best to you. The Treble control’s range is very simi-
lar to the response of the tweeter and can be used as a “high end pad.”
EXTENSION SPEAKER OUT JACKS
We have provided two Extension Speaker Out Jacks on your California Blonde: one Speakon jack and one 1/4" jack. They should ONLY
L
BE USED AS OUTPUT JACKS TO ANOTHER SPEAKER CABINET, NOT AS INPUT JACKS FROM ANOTHER AMPLIFIED SOURCE!
For the 1/4" jack, use an unshielded 2-conductor cable, or speaker cable (NOT A SHEILDED GUITAR CORD) to connect an additional
speaker cabinet. Use a high quality, heavy gauge cable of at least 18 gauge (the lower the gauge, the heavier the cable). The impedance of
any extension speaker connected to this output should be no less than 8 ohms.
In addition to the standard 1/4" jack, a single Speakon jack is provided. Speakon jacks and connectors offer the best possible speaker
connection. They are far superior to banana or 1/4" phone jacks in that they not only lock in place and cannot become accidentally dis-
connected, but offer a greater and more stable connection surface. If using the Speakon jack, we highly recommend a Speakon-to-
Speakon speaker cable. If your extension cabinet does not have a Speakon jack, you should use the 1/4" jack and a simple 1/4"-to-1/4"
speaker cable. The Speakon jack is wired “standard” (+1/–1); Speakon-to-Speakon speaker cables are available through most musical
equipment retail outlets. Again, when using a single extension speaker with this jack, the impedance should be 8 ohms or greater.
If you wish to connect two additional cabinets (either by using both Speakon and 1/4" Out jacks, or by “daisy-chaining” two cabinets off of
one jack), be sure the combined total impedance is no less than 8 ohms (equivalent to two 16 ohm speaker cabinets in parallel).
CALIFORNIA BLONDE OWNER’S MANUAL • 7
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CALIFORNIA BLONDE LIMITED WARRANTY
The CALIFORNIA BLONDE from SWR is warranted to the original consumer purchaser for ONE
YEAR from the date of purchase against defects in materials and workmanship, provided that it is
purchased from an Authorized SWR dealer. This warranty applies only to products purchased in
the USA or Canada.
This warranty is VOID if the unit has been damaged due to accident, improper handling, installa-
tion or operation, shipping damage, abuse or misuse, unauthorized repair or attempted repair, or if
the serial number has been defaced or removed. FMIC reserves the right to make such determi-
nation on the basis of inspection by an Authorized FMIC Service Center.
All liability for any incidental or consequential damages for breach of any expressed or implied
warranties is disclaimed and excluded herefrom.
Some states do not allow limitations on how long an implied warranty lasts, or the exclusion or
limitation of incidental or consequential damages, so that the above exclusion may not apply to
you. This warranty gives you specific legal rights and you may also have other rights which vary
from state to state.
SHOULD YOUR SWR AMPLIFIER REQUIRE SERVICE OR REPAIR, PLEASE USE THE
FOLLOWING PROCEDURE:
Locate your original receipt showing date of purchase, model and serial number.
1
Determine the closest Authorized FMIC Service Center to your location. The fastest way to get a complete list of Authorized FMIC Service
Centers is on the web at:
2
You can also get this information by calling FMIC Consumer Relations at (480) 596-7195
To receive warranty service, return the complete product to an Authorized FMIC Electronics Service Center, with proof of purchase, during
the applicable warranty period. Transportation costs are not included in this Limited Warranty.
3
Defective products that qualify for coverage under this warranty will be repaired or replaced, at FMIC’s discretion, with a like or comparable
product, without charge.
4
SWR
For a complete list of Authorized FMIC
Service Centers, and the latest SWR
news, interviews, and more, check out
8860 E Chaparral Rd, Suite 100
Scottsdale, AZ 85250-2618 USA
PHONE: (480) 596-9690
FAX: (480) 367-5262
our website:
WEB: swrsound.com
swrsound.com
CALIFORNIA BLONDE OWNER’S MANUAL • Part # 0066567000 • 08/03
Copyright © 2003 SWR
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