SUPER REDHEAD
OWNER’S MANUAL
SWR • CORONA, CA • USA
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SUPER REDHEAD OWNER’S MANUAL
INTRODUCTION
Congratulations on your purchase of an SWR Super Redhead professional bass amp combo. By
choosing an SWR bass amplification system you have made a sound decision that could very well be
the best of your life!
Just a little humor there, but true nonetheless. For over 15 years, we here at SWR have been putting
everything we know about bass into the SWR product line. We’ve earned a reputation for designing
and manufacturing gear that has changed the way bassists hear themselves. That’s why you’ll find
our bass amps, cabinets and combos on stages and in recording studios all over the world, and why
you’ll hear SWR on countless recordings, spanning all genres of music.
Originally introduced in 1988, the SWR Redhead was immediately recognized by discerning bassists
as the premier bass combo amplifier for small gig/recording studio use. As the Redhead was the first
of its kind (i.e., small and powerful with features geared toward the professional musician), it has
inspired many imitations. In 1996, the Redhead was upgraded to include a host of additional fea-
tures and renamed the Super Redhead. Upgrades included increased power output and power han-
dling, the addition of an internal cooling fan, redesigned front and rear panels, a mute switch for the
XLR Output, and a front ported speaker section.
Inside this User Guide you’ll find specifications, features, and usage suggestions for your Super
Redhead. New SWR user and seasoned user alike will benefit from reading through this brief but
informative manual.
Thanks for choosing the SWR Super Redhead.
Sincerely,
SWR
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SUPER REDHEAD SPECIFICATIONS
Note: All measurements were taken with a line voltage of 120VAC. All noise specifications are
“unweighted.” All voltages and watts are “RMS.” All measurements taken with tone controls set
flat, Aural Enhancer at minimum.
POWER OUTPUT (minimum):
350 Watts @ 4 ohms (internal)
400 Watts @ 2.67 ohms (or with an 8 ohm extension speaker connected)
450 Watts @ 2 ohms (or with a 4 ohm extension speaker connected)
Note: Internal speaker impedance is 4 ohms.
FREQUENCY RESPONSE (power amplifier): –3dB @ 20Hz and 40kHz
INPUT IMPEDANCE:
Passive/Active Input: 800kohms
Active Input: 60kohms
Effects Return: 27kohms
OUTPUT IMPEDANCE:
Effects Send: 100 ohms
Tuner Send: 100 ohms
XLR Balanced Out: 750 ohms
SIGNAL-TO-NOISE RATIO: –72 dB (<10 millivolts typical)
EQUIVALENT INPUT NOISE: 9 microvolts
POWER HANDLING: 350 watts RMS continuous program
CROSSOVER (located in the Super Redhead’s chassis): Third order, 6dB roll off, 18dB Butterworth
high pass, 4kHz turnover
SPL: 105 dB (–3dB @ 45Hz and 15kHz)
SENSITIVITY: 101dB SPL @ 1W1M
WOOFER ASSEMBLY:
10" woofer assembly
2" Hi temperature, high efficiency copper-wound Kapton voice coil
46 oz. focused magnet/175 watts RMS
CABINET INPUT: Stereo phone jack assembly
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INTERNAL CABINET SPECIFICATIONS:
Cabinet Construction: 5/8" 7 ply, maple or birch, dado and rabbet joints, glued (waterproof) and
nailed with extremely heavy bracing
Finish: Black Ozite carpeting and stack lock corners
Internal Volume: 2.45 cubic feet
Tuning: Front slot port, designed to eliminate unwanted noise.
Internal Cabinet Impedance: 4 ohms
DIMENSIONS: 22.5" W x 23" H x 16.75"D
WEIGHT: 80 lbs. (total with cover)
FRONT PANEL FEATURES
TUNER INPUT
The Tuner Input jack allows you to connect an instrument tuner and tune up without having to unplug
and go back and forth from amp to tuner. This feature is totally isolated from the rest of the preamp
and will function regardless of the settings on the front panel. Being isolated on a side chain avoids
loading down of the instrument, which can result in a loss in dynamic range.
To use this feature, connect a shielded patch cable from the Tuner Input jack to the input on your
instrument tuner. Turn the amplifier on and you’re ready to go. If you do not want to monitor your
sound during tuning, either turn down the Master Volume completely or turn the Speaker On/Off
switch to the “Off” position.
PASSIVE/ACTIVE INPUT JACK
This input can and should be used if your instrument contains passive electronics (i.e., no built-in
preamp). Some instrument pickups use batteries for operation and will work perfectly using the
Passive/Active input. Generally speaking, this input should be used if your instrument puts out a
maximum of 1 volt RMS or less. Consult the owners manual for the instrument or ask the manufac-
turer if you are unsure.
Note: If you hear a small amount of distortion and neither the Preamp Clip LED nor the Power
Amp Clip LED are activated, try using the Active Input jack.
If you would like to overdrive the first tube stage, this can be accomplished by using a preamp
between your instrument and the Passive/Active input. To obtain optimum sound when trying this,
make sure the Preamp clip LED is not activated. If this occurs, turn down your Gain control. The first
preamp stage is not monitored by the Preamp clip circuit for this reason.
ACTIVE INPUT
The Active Input jack should be used with instruments that contain a built-in (on-board) preamp that
put out a signal over 1 Volt RMS. Some really "hot" pickups installed in your instrument may find the
Active input more compatible. Let your ears be the judge.
Note: The input impedance of the Active Input jack is 82kohms. Using the Active Input with pas-
sive instruments (active instruments will always employ a battery) may result in a loss of high-
end transients. Players who roll off their high end starting at about 2 or 3kHz may find this
input more to their liking.
If you hear distortion when using an active instrument in the Active Input jack, check your battery!
Also, make sure that none of the clip indicators are lit.
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PREAMP CLIP LED
The Preamp Clip LED will light whenever the preamp, tone section, or output buffer reach clipping
(run out of headroom). This function does NOT monitor the first tube stage of the Passive/Active
Input jack (see “Passive/Active Input” for more information). Since the Preamp Clip LED also moni-
tors the tone section, radically boosting any of the tone controls can cause the LED to activate. If this
occurs, turn down the Gain control.
Note: Constant clipping will not harm the electronics in the Super Redhead, however, damage
may result to the loudspeakers due to near-DC content present in a clipped waveform.
GAIN CONTROL
The Gain control adjusts the volume of the preamp section. After the tone controls, Aural Enhancer,
etc., have been adjusted to your liking, the Gain control should be set to where the Preamp Clip LED
barely flashes upon striking your loudest note; then adjust the Master Volume control to the desired
volume level. Since the Gain control is similar to a “Pad,” a small amount of signal will be heard
when the Gain control is rotated fully counter-clockwise. Utilizing these controls in this manner
assures the user of maximum signal-to-noise ratio without distortion caused by the preamp circuits
clipping.
AURAL ENHANCER
SWR’s Aural Enhancer was developed to bring out the fundamental low notes of the bass guitar,
reduce certain frequencies that help mask the fundamentals, and enhance the high end transients.
The resulting frequency response should be similar to that used for recording the bass in the studio.
This effect becomes more radical as the control is turned to maximum. The result is a more “trans-
parent” sound and is especially noticeable when using the thumb style technique (“slapping”) on the
bass guitar.
The Aural Enhancer can basically be described as a tone-shaping control, as it is a passive R/C net-
work that alters the frequency response throughout the bass spectrum. This pre-shaping is “blended”
into the original signal via the Aural Enhancer control. Exact frequencies affected are dependent on
the characteristics of the instrument used.
BASS CONTROL
The Bass control employs a shelving-type circuit and boosts or cuts the bass response 15dB.
Starting at mid-position (“center click”), turning the control counter-clockwise cuts the bass response;
turning the control clockwise boosts the bass response.
PULL TURBO FUNCTION
Pulling the Bass control to the “out” position widens the bandwidth of the Bass Control to include fre-
quencies down to 30Hz (low “B” on a 5-string bass). Since some of these notes can be felt more
than heard, it is especially important to keep an eye on the preamp and power amp clip LEDs.
Constant clipping of these frequencies can diminish the life of Super Redhead’s internal speakers or
cause them to fail.
MID RANGE SECTION
LEVEL CONTROL
The Level control cuts or boosts the frequency set by the Frequency control a maximum of 15dB.
Starting at mid-position (“center click”), turning the Level control counter-clockwise cuts the frequency
set by the Frequency control; turning the Level control clockwise boosts the frequency. When the
Level control is set at mid-position, turning the Frequency control will have no affect on the sound.
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To find the midrange area you are looking for:
1. Set the Level control to the full boost or cut position.
2. Rotate the Frequency control until the area you wish to boost or cut is found.
3. Adjust the Level control to the amount of cut or boost desired.
FREQUENCY CONTROL
The Frequency control sets the area that is to be cut or boosted by the Level control. If the Level con-
trol is set at mid-position, turning the Frequency control will have no affect.
TIPS FOR USING THE MID RANGE CONTROLS
If you need to “cut through” the band a little more, try boosting 200 to 400Hz. If you like a more
transparent sound, try cutting 800Hz. The Midrange controls are especially useful in controlling fret-
less basses and their inherent qualities.
TREBLE CONTROL
The Treble control is a shelving-type tone control that cuts or boosts the high frequencies. Starting
from mid-position, turning the Treble control counter-clockwise cuts the high frequencies; turning the
control clockwise boosts the high frequencies.
PULL TRANSPARENCY FUNCTION
In the normal (in) position, the shelving point of the Treble control is approximately 2kHz. By pulling
the control to the “out” position, the shelving point is changed to 4kHz, which essentially allows you
to control the output of the tweeter (as the Super Redhead’s internal speaker complement is crossed
over at 4kHz). The end result should be a clearer, more “transparent” sound.
MASTER VOLUME CONTROL
The Master Volume control adjusts the signal level going to the power amplifier, the Effects Send
jack, and the Record Out section when set in the “Line” mode. The Master Volume does not control
the level of the Record Out section when set in the “Direct” mode. If the Power Amp Clip LED lights,
turn down the Master Volume to correct the overload condition.
POWER AMP CLIP LED
The Power Amp Clip LED will light when the internal power amp reaches clipping (runs out of head-
room). Although this will not harm the electronics in the Super Redhead, continual clipping of the
power amp section will shorten the life of the internal speakers and may damage them. Turn down
the Master Volume to correct the situation. Speaker damage due to continuous clipping of the power
amp section is not covered under warranty.
RECORD/LINE OUTS
Unbalanced Output
The Unbalanced Out can be patched into any unbalanced input on tape decks, mixing consoles, etc.
The signal at the Unbalanced Out corresponds to the position of the Line/Direct switch. In the Line
position, the level is adjusted by the XLR Pad and all front panel controls are functional (i.e., affect
the sound and level). In the “Direct” position, the level is adjusted by the XLR Pad and the front
panel controls do not affect the signal. Output impedance of the Unbalanced Out is 1.5kohms.
Balanced XLR Output
The Balanced XLR Out is a true balanced output and its level is set by the XLR Pad. The signal
appearing at the XLR out is determined by the position of the Line/Direct switch. In the “Line” posi-
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tion, all front panel controls are functional and the signal is essentially the same as that being sent
to the internal power amplifier. If you are using an effect, this will also appear mixed in the signal
when you are in the “Line” mode. In the “Direct” position, the Balanced Out becomes an active tube
direct box. No front panel controls are functional and once again, the level is adjusted by the XLR
Pad.
When using the Balanced Out for recording, optimum results can be achieved by driving the tape
deck direct. If this is not possible, any matching level can be achieved via the XLR Pad.
A ground lift is built into the XLR Pad control. To lift the ground, pull the knob outward until it clicks.
If a persistent hum exists after lifting the ground, there may be a problem with the AC wiring or possi-
bly a dirty AC line. If this is the case, we suggest using an isolation transformer between the Super
Redhead and the wall socket.
Wiring for the XLR connector is as follows:
Pin 1 = ground, Pin 2 = +, Pin 3 = – (American Standard)
XLR PAD
To pad or adjust the level of both the Balanced XLR and Unbalanced Outs, use the XLR Pad. Rotating
the control clockwise raises these levels. If you are in the “Line” position and change the Gain level,
this will also affect the output level of the record outputs. You may readjust the record level if neces-
sary with the XLR Pad without affecting any other function.
GROUND/LIFT SWITCH
When using the Balanced XLR out, this feature may help in eliminating ground loops between your
Super Redhead and an external mixing board. Normal setting for this switch is in the “Ground” posi-
tion. When switched to “Lift,” the ground (Pin 1 as noted above) is lifted. In some cases, this will
eliminate unwanted hum.
LINE/DIRECT SWITCH
The Line/Direct switch gives the user the option of either a line signal (preamp out) or direct signal
from the instrument. The direct signal is active and generally hotter than most active direct boxes.
Both the line or direct signal can be adjusted with the XLR Pad.
To use the Line/Direct switch, position the switch ito either “Line” or “Direct.” Make sure the switch
is all the way to the left or right to avoid an intermittent signal.
MUTE/LIVE SWITCH
The Mute/Live switch affects both the balanced and unbalanced outputs of your Super Redhead.
Normal setting for this switch is “Live,” so signal will be present at both outputs. In the “Mute” posi-
tion, the signal is muted to both outputs. This is useful when changing instruments, as no “thud” will
be heard [out of the outputs].
Note: Turn-off transients appear at the balanced and unbalanced outs when turning off the
amplifier. Therefore, it is recommended that the Mute/Live switch be set to “Mute” prior to pow-
ering down your Super Readhead.
EFFECTS BLEND CONTROL
The Effects Blend control allows the user to mix the dry signal with the signal coming from an effect
patched through the Effects Loop on the rear panel. The Effects Blend control functions only when
the Effects Loop is being used. It is activated when a 1/4" phone plug is inserted into the Effects
Receive jack.
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HEADPHONE JACK
The Headphone jack allows the user to monitor the sound via the use of stereo headphones. To prac-
tice without sound coming through the Super Redhead’s speakers, turn the Speaker On/Off switch to
the “Off” position and connect headphones to the Headphone jack. Stereo headphones must be
used in this jack, as mono headphones will short out one side.
Since the headphone “amp” is actually a reduced signal from the power amp, the Headphone volume
is controlled by the Master Volume control.
SPEAKER ON/OFF SWITCH
Setting the Speaker On/Off switch to the “On” position allows the speakers to function as normal.
Turning the switch to the “Off” position cuts the signal off to the Super Redhead’s internal speakers.
This feature does not affect the external speaker output jack.
The Speaker On/Off switch allows the user to:
1. Use the record out system without using the internal speakers. This is especially useful when
only a direct signal is required.
2. Practice in a quiet environment without disturbing your neighbors by using the Headphone
jack.
3. Tune up without interfering with other band members when using the Tuner Input jack.
POWER ON/OFF SWITCH
Setting the switch to the “On” position activates the electronics in the Super Redhead as indicated
by the Power LED lighting.
REAR PANEL FEATURES
EFFECTS LOOP
The Effects Loop accepts any line level effects unit. Many high quality effects on the market have
input level adjustments, usually a switch that can be set for either –10dB or +4dB. In all cases,
these should be set for either 0dB or +4dB. The level going to your effect is controlled by the Gain
control. The Effects Loop is designed as a “side chain” and functions similarly to recording studio
mixing consoles.
Because the Effects Loop is after the preamp gain stages in the signal chain, use of the Effect Loop
should greatly reduce any residual noise generated by your effects unit (as compared to using an
effect “in line” between your instrument and the input to the Super Redhead).
SEND
To use an effect in the Effects Loop of your Super Redhead, connect a shielded patch cable from the
Send jack to the input of your effects unit. The output impedance of the Send jack is 100 ohms. This
jack may also be used as a line level output for use in conjunction with an external “slave” power amp.
RECEIVE
After connecting the send jack as described above, connect a shielded patch cable from the Receive
jack to the output jack of your effects unit. The input impedance of the Receive jack is 27kohms mini-
mum.
A unique feature of the Receive jack is that you can practice along with pre-recorded music. To do
this, insert a tape recorder or other sound source into the Receive jack (make sure it is a mono
source). Using the Effects Blend control on the Super Redhead’s front panel, adjust the level of the
outside source so that a good blend is achieved with the sound level of your instrument. The blended
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signal can be heard through the internal speakers or through the Headphone jack. This same proce-
dure can be used for playing along with a drum machine, sequencer, etc.
Note: Inserting a plug into the Receive jack activates the Effects Blend control. The Effects
Blend control “receives” this command through the ground created when inserting a 1/4" plug
into the Receive jack. Therefore, best results will only be obtained by using a mono phone plug.
If you must use a stereo plug, connect it by pushing in to the first “click” only.
If you are not hearing any effect through your speakers, check the position of the Effects Blend con-
trol on the front panel.
FAN ON/OFF SWITCH
In the “On” position, the Fan On/Off switch activates the internal cooling fan when the internal
heatsink reaches approximately 55 degrees C. The fan will shut off when the heatsink has cooled
down to about 45 degrees C. This action is controlled by an internal thermal switch located on the
heatsink.
The “Off” (or Defeat) position prevents the cooling fan from being operational. SWR recommends that
this position be used ONLY in situations where normal fan noise might be audible and therefore prob-
lematic—such as when miking the internal speakers in a recording situation. If you decide to defeat
the fan for extended periods of time, we recommend that you turn it back on and allow it to run
between songs, sets, etc. This way, the fan will be doing its job and will extend the life of the internal
components. Double check the position of this switch each time you use your Super Redhead.
Continuous use of the Super Redhead at loud volumes without use of the fan can cause the power
amp to overheat and possibly fail.
Note: If you hear the fan operating after use, we recommend that you allow the fan to run until
it turns itself off, prior to turning off the Power switch.
HIGH FREQUENCY ATTENUATOR
The High Frequency Attenuator adjusts the amount of high frequency heard through the horn/tweeter.
Turning the Attenuator control clockwise increases the signal; turning the Attenuator control counter-
clockwise decreases the signal. In the full counter-clockwise position, no signal will be heard through
the horn/tweeter. Recommended position for the High Frequency Attenuator is anywhere between
9:00 and 12:00 depending on your taste.
Note: Any clipping or unwanted distortion will be accentuated through the horn/tweeter. We have
found that players using an especially “hard” technique to strike the strings can cause the
strings to come in contact with the bass’s pickup and result in sharp spikes. If the clip indicators
are not lit and you hear distortion coming from the horn/tweeter, try playing a little “softer.” Also,
if using a bass with active electronics, check the battery.
INTERNAL SPEAKER CABLE
If you intend to use the Super Redhead’s internal speakers, make sure the speaker cable from the
chassis to the input jack is properly connected. Switching the internal speakers off via the Speaker
On/Off switch on the front panel will not harm the amplifier in any way.
EXTENSION SPEAKER JACK
The Extension Speaker jack is provided for connecting an external speaker enclosure. Adding an exter-
nal speaker cabinet will increase the overall volume of your system and give you a “fuller” sound.
When using an external speaker, make sure the total impedance of any external speaker enclosure(s)
is no less than 4 ohms (the Super Redhead is designed to drive a minimum impedance of no less
than 2 ohms). In most cases, we recommend the use of a single 8 ohm extension speaker.
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Recommended SWR extension speakers for the Super Redhead include the following models:
• SWR Goliath III (4x10)
• SWR Goliath Junior III (2x10) (8 ohm version)
• SWR Son of Bertha (1X15)
• SWR Big Ben Subwoofer (1x18)
• SWR Workingman’s 4X10T
• SWR Workingman’s 2X10T
• SWR Workingman’s 1X15T
Note: The Speaker On/Off switch does not affect the Extension Speaker jack.
SPEAKER CABLE
For all speaker connections, we recommend the use of high quality speaker cable that is at least 18
gauge or heavier (the lower the gauge, the heavier the cable).
Note: Do not use shielded instrument cable to connect an external speaker enclosure. Doing so
can result in intermittent power loss, cause your amplifier to oscillate and damage itself (and/or
your speakers), and render the cable useless for any purpose.
SPEAKER AND HORN FUSES
These fuses are provided for protection of the Super Redhead’s internal speakers and horn/tweeter
in the unlikely event of a power amp failure (or vice-versa). The fuses can also blow due to improper
connections, shorted speaker cable, or playing while connecting or disconnecting speaker cabinets.
Correct size and rating of the speaker fuse is 3AG, 10 amp, fast-blo.
Correct size and rating of the horn fuse is 3AG, 3 amp, fast-blo.
Note: Do not defeat the purpose of this feature by using a fuse with a higher rating.
LINE FUSE
The Line Fuse will open (blow) if an internal problem exists with the electronics or in the event of a
power surge or high power line transients.
Correct US size and rating: 3AG, 7 amp, slo-blo (for 120 volt operation).
Correct European size and rating: 3AG, 4 amp, slo-blo (for 220/240 volt operation).
Note: Do not defeat the purpose of this feature by using a fuse with a higher rating.
AC CONVENIENCE OUTLET
Any electronic device that operates on 120 volts, 60Hz and draws less than 3 amps or 360 watts
may be plugged into the convenience outlet. This outlet is especially useful for powering units housed
in the internal rack space such as multi-effects or rack tuners.
It should be noted that some appliances such as fluorescent lights can cause interferenceor noise to
be induced in the Super Redhead.
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SPECIAL FEATURES
FRONT COVER/ANGLE STAND
The Super Redhead's front cover was designed to serve two main purposes: to protect the electron-
ics and speakers during transport, and to double as a stand. To use the cover as an angled stand,
remove the cover and place it in the desired location (carpet side up). Next, remove the caster
wheels from the bottom of the unit and place it carefully on the cover/angle stand. You now have an
angled amplification system that still couples the low end to the floor. Since all things have their lim-
its, we do not suggest using the cover/angle stand as a ramp.
BUILT-IN RACK SPACE
The single rack space directly below the Super Redhead’s chassis is included for your convenience
and is designed to accept any standard single rack space unit (19" wide x 1.75" high).
REMOVABLE CASTERS
The Super Redhead comes with removable caster wheels for easy transportation. To remove the cast-
er wheels, simply turn the unit on its side and pull them out from the caster sockets. This will be
necessary if you plan to use the cover/angle stand during practice or performance.
SPRING-LOADED RUBBER-GRIP HANDLES
The handles on either side of the Super Redhead were chosen for their “rattle free” properties and
the extra-thick rubber padded grips. The handle placement allows for near perfect balance (meaning
the unit should not tilt forward or backward when carried).
THE TOP
Almost every musician we talked to told us that at some time or another they were going to end up
sitting on the amp. With this in mind, we would like you to know that we spent a great deal of time
and effort to remove all mounting screws, vents and other obstacles from the top of the combo and
covered it with carpet just to make these times more comfortable for you. Enjoy.
REGARDING COMBO AMPLIFIERS
The SWR Super Redhead has been designed with a robust 350-watt power amp, capable of driving
its own speaker complement as well as cleanly driving an extension cabinet. When used by itself, a
large amount of headroom is available in the Super Redhead’s power amp, which provides two impor-
tant benefits: 1) A cleaner signal and better sound; 2) A power amp that operates at lower tempera-
ture, thereby prolonging component life.
However, because “combo” amplifiers such as the Super Redhead are designed as “all-in-one,” self-
contained units (i.e., incorporating both power and speaker sections), some players are under the
impression that they should be able to turn all controls to maximum without fear of speaker damage,
distortion, etc. This is simply not the case. The Super Redhead will not overpower its internal speak-
er section when run properly and in accordance with the operating instructions in this manual.
However, damage to the internal drivers may occur if the amplifier section is driven into clipping for
long periods of time. Please be aware of this possibility and turn down your Master Volume control if
you hear distortion or notice that the Power Amp Clip LED is constantly lighting during operation.
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SUPER REDHEAD LIMITED WARRANTY
The SUPER REDHEAD from SWR is warranted to the original consumer purchaser for TWO
YEARS 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:
1
Locate your original receipt showing date of purchase, model and serial number.
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
3
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.
4
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.
For a complete list of Authorized FMIC
Service Centers, and the latest SWR
news, interviews, and more, check out
our website:
swrsound.com
SWR
8860 E Chaparral Rd, Suite 100,
Scottsdale, AZ 85250-2618 USA
PHONE: (480) 596-9690 FAX: (480) 367-5262
Copyright © 2004 SWR
Super Redhead • P/N 0066580000 • 09/04
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