OFFICIAL WARWICK
AMP OWNER MANUAL
ENGLISH
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FRO NT PANEL CO NTRO LS
1. INPUT socket to plug in a bass guitar.
2. GAIN control + 3 LEDs to adjust the input
level: CLIP too high,
O K optimum,
LO W too low.
3. CH. SELECT + 2-colored LED to switch from
channel 1 (red) to channel 2 (green).
4. LIMITER switch + 2-colored LED to
compress the signal (channel 2 only):
green Limiter on,
(overload) LED to mutually balance both
channel levels. Should the O L LED light up,
reduce O UTPUT of the respective channel.
The standard setting, i.e. with neither
attenuation nor amplification, is position 8
(when tone controls are set linearly).
8. EFF. MIX controls determine the degree to
which the effects within the parallel stereo loop
(rear panel) affect the signal of each channel.
9. PHO NES socket for connecting a headphone
(min 200 Ω).
10. MUTE switch + red LED cuts the signal from
all outputs, except from the PHO NES socket,
and activates the TUNER output (rear panel).
11. MASTER control determines the mains level.
12. PO WER switch for turning the amplifier on
and off.
red
the signal level is actually
bein reduced.
5. For features of CHANNEL 1, please refer to
the chapter CHANNEL 1-TUBE.
6. For features of CHANNEL 2, please refer to
the chapter CHANNEL 2-SO LID STATE.
7. O UTPUT control for each channel + O L
REAR PANEL
GRO UND LIFT switch isolates the earth
connection from the ground of signal. Should
several devices be simultaneously connected to
earth by the same conductor as well as via line
connections, a so called hum loop might appear. In
this case operate GROUND LIFT to eliminate the
current hum.
DI PRE/ PO ST switches the signal lying at the DI
O UT sockets.
PRE the unmodified bass signal is retained on
both DI O UT sockets,
PO ST the tone control and effects loops are
inserted into the signal path in stereo.
23
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DI O UT LEFT and DI O UT RIGHT sockets for
supplying a stage or studio mixing console.
TUNER OUT socket for the connection of a tuner.
When MUTE mode is activated, the unmodified
bass signal is retained here.
MO NO LO O P for the serial insertion of dynamic
effects units (e.g. compressor, auto wah, etc.).
Connect SEND with the input and RETURN with
the output of the effects device.
PARALLEL STEREO LO O P: the degree to
which external effects influence the signal can be
determined with the EFF. MIX control located on
the front panel. Connect SEND with the input and
RETURN L. and RETURN R. with the outputs of
the effects device.
watts power amplifier provides respectively one
XLR and one Speakon socket in parallel. The
signal from the Speakon outputs is leaded by 1+
and 1-.
LINE O UT PARALLEL TO SPEAKER O UT
sockets allow to connect additional power
amplifiers.
BIAMP/ FULLRANGE switches over between
two operation modes of the power amplifier. In
FULLRANGE mode the whole frequency range
is provided by both SPEAKER O UT sockets. In
BIAMP mode the signal is splitted by an active
crossover.
X-O VER control sets the transition frequency
between 80 Hz and 4 kHz.
STEREO / MO NO switch to use the amplifier
whether in stereo or in mono.
The combination of BIAMP and STEREO
switch settings give access to different operation
modes. Signal splittings at the respective sockets
are as follows:
SPEAKER O UT A,
LINE O UT PARALLEL TO SPEAKER O UT A,
called "A" hereafter;
LO CUT switch confines the SEND output to
frequencies above 200 Hz. Modulation effects (e.g.
chorus) remain clear this way.
Note:
You can also use the RETURN sockets as LINE INs
in case you wish to operate the amplifier as a power
amp. To this purpose rotate the EFF. MIX controls
on the front panel to their full clockwise positions.
CHANNEL 1/ 2 FO O TSWITCH allows to
connect a footswitch for selecting between both
channels. To do so use a switch (latch) and not a
key (unlatch).
SPEAKER O UT B,
LINE O UT PARALLEL TO SPEAKER O UT B,
called "B" hereafter;
LINE O UT STEREO BIAMP HIGH - LEFT
and RIGHT, called H IGH L and H IGH R
hereafter, are shown in the following chart:
SPEAKER O UT sockets designed to supply
loudspeaker cabinets. Each channel of the 2 x 450
Mode
A
B
H IG H L
H IG H R
Fullrange Mono
Fullrange
Fullrange
no signal
no signal
Left und Right
Left und Right
Fullrange Stereo
BiAmp Mono
BiAmp Stereo
Fullrange
Left
Fullrange
Right
no signal
no signal
high left
no signal
no signal
high right
High
Left und Right
Low
Left und Right
Low Left
Low Right
Balances can be determined with the respective
BALANCE controls. The right one acts on the
outputs A and B (LINE O UTs and SPEAKER
O UTs), whereas the left one regulates between
low and high frequencies in STEREO BIAMP
mode. In this operation mode whether external
power amplifiers with cabinets or active
loudspeakers must be connected to the
LINE O UT STEREO BIAMP HIGH sockets.
IMPO RTANT:
The BALANCE STEREO BIAMP CO NTRO L
should be centered or pointing to the right-
hand range in the operation modes mono-
fullrange, mono biamp and stereo fullrange,
O THERWISE NO SIGNAL WILL BE SENT
TO A AND B, RESPECTIVELY THE INPUT
LEVEL AT THE PO WER AMPLIFIER WILL
BE TO O LO W.
24
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CHANNEL 1 - TUBE
This channel is equipped with two tubes. O ne
preamp tube is always included within the signal
flow.
MID boost and HIGH cut by shifting the
resonance frequency with the TO NE control
(12 o'clock until full clockwise position). This
requires that the resonance frequency of your bass
pickups lies beyond that of the desired simulation.
Furthermore this adjustment allows to boost
highest trebles that your bass can produce, by
cutting even higher pitches so as to diminish
unnecessary noise.
2ND STAGE switch adds one output stage tube
into the circuit. This feature offers the choice
between a so called hybrid amplifier (tube preamp
with transistor power amp) and the sound of an all
tube amplifier head.
CONTOUR switch boosts bass and treble at once.
CRUNCH control adjusts the tube pre-
amplification.
TO NE control sets the basic sound characteristics
(frequency control 300 Hz - 14 kHz, see below).
LO W B/ C 3-way switch for the boost/flat/cut of
sub-bass frequencies. In boost position (red LED)
the bottom-end is boosted, in cut position (yellow
LED) it remains unmodified, but the deep-mids
region is attenuated to obtain a clearer sound
(chords, tapping, harmonics, etc.).
MID B/ C 3-way switch for the boost/flat*/cut of
the frequency determined via TO NE control. In
boost position (red LED) this frequency is boosted,
in cut position (yellow LED) it is attenuated.
* The respective frequency will be slightly boosted
when the switch is centered (flat). All boosts and
attenuations are less intense in deeper frequency
ranges than in higher spectra (300 Hz +6/+12 dB,
14 kHz +15/+20 dB, flat/boost).
2. Speaker Emulator (when CRUNCH is driven
highly until distortion):
In case you have adjusted a distorted sound with
the CRUNCH control and use a loudspeaker
cabinet with tweeter (or send the sound via the
DI O UTs to a mixer), you should eliminate high-
pitched frequencies with HIGH cut, as they can be
very unpleasant for the human ear. When
MID boost is activated at the same time, the sound
will be more aggressive, whereas the simultaneous
use of MID cut results in a smooth but however
deeper cut of treble (see graph).
If necessary you can turn the TO NE control
further clockwise.
HIGH B/ C 3-way switch to boost/ flat/ cut high
sound attributes. In boost position (red LED)
treble is boosted (fixed preset), in cut position
(yellow LED) the TO NE control works as a low-
pass-filter, means that frequencies higher than the
TO NE control setting are eliminated. Moreover
the MID-boosts are softened by about 5 dB.
As you can see, the three 3-way switches and
TO NE control act in a very complex way.
Therefore I would like to introduce some remarks
and suggestions regarding sound adjustments:
3. Semi-parametric EQ :
When the MID 3-way switch is set to boost, flat
(center position, slight boost) or cut, you can pre-
adjust the basic timbre of your sound with the
TO NE control like with a semi-parametric filter.
As already mentioned, the degree of boosts or cuts
depends on frequency ranges. These have been
determined so as to obtain efficient results by quick
adjustment.
1. Simulation of different pickup charact-
eristics:
Each pickup has a peak in its resonance frequency
in excess of which no treble can be transmitted.
The main distinction in sound characteristics
between different pickups is that this frequency is
located elsewhere depending on pickup types. This
is exactly what you can simulate in switch positions
25
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EXAMPLES
Clean Funk
Hard Funk
Straight Rock
Fat and ugly
2ND STAGE O FF
2ND STAGE
CO NTO UR
O N
O N
2ND STAGE
CO NTO UR
O N
O FF
2ND STAGE
CO NTO UR
O N
O N
CO NTO UR
O N
TO NE S. PICTURE
CRUNCH S. PICT.
TO NE S. PICTURE
CRUNCH S. PICT.
TO NE S. PICTURE
CRUNCH S. PICT.
TO NE S. PICTURE
CRUNCH S. PICT.
LOW
MID
H IGH
1
FLAT
BO O ST
FLAT
1
LOW
MID
H IGH
1
BO O ST
CUT
BO O ST
LOW
MID
H IGH
1
BO O ST
FLAT
FLAT
1
LOW
MID
H IGH
1
BO O ST
BO O ST
CUT
1
1
1
1
1
1
LO W
B/ C
MID
B/ C
HIGH
B/ C
LO W
B/ C
MID
B/ C
HIGH
B/ C
LO W
B/ C
MID
B/ C
HIGH
B/ C
LO W
B/ C
MID
B/ C
HIGH
B/ C
CRUNCH
TO NE
CRUNCH
TO NE
CRUNCH
TO NE
CRUNCH
TO NE
6
6
6
6
4
8
4
8
4
8
4
8
2
10
2
10
2
10
2
10
0
12
LO W
HIGH
0
12
LO W
HIGH
0
12
LO W
HIGH
0
12
LO W
HIGH
2ND STAGE
CO NTO UR
2ND STAGE
CO NTO UR
2ND STAGE
CO NTO UR
2ND STAGE
CO NTO UR
C H A N N E L
1
-
T U B E
C H A N N E L
1
-
T U B E
C H A N N E L
1
-
T U B E
C H A N N E L
1
-
T U B E
Hollow Reggae
Clear compress
Tapping/ chords
Ballade
2ND STAGE O FF
2ND STAGE O FF
2ND STAGE
CO NTO UR
O N
O N
2ND STAGE
CO NTO UR
O N
O FF
CO NTO UR
O N
CO NTO UR
O FF
TO NE S. PICTURE
CRUNCH S. PICT.
TO NE S. PICTURE
CRUNCH S. PICT.
TO NE S. PICTURE
CRUNCH S. PICT.
TO NE S. PICTURE
CRUNCH S. PICT.
LOW
MID
H IGH
BO O ST
CUT
LOW
MID
H IGH
FLAT
FLAT
BO O ST
LOW
MID
H IGH
CUT
BO O ST
FLAT
LOW
MID
H IGH
BO O ST
BO O ST
CUT
CUT
1
1
1
1
1
1
1
1
1
1
1
1
LO W
B/ C
MID
B/ C
HIGH
B/ C
LO W
B/ C
MID
B/ C
HIGH
B/ C
LO W
B/ C
MID
B/ C
HIGH
B/ C
LO W
B/ C
MID
B/ C
HIGH
B/ C
CRUNCH
TO NE
CRUNCH
TO NE
CRUNCH
TO NE
CRUNCH
TO NE
6
6
6
6
4
8
4
8
4
8
4
8
2
10
2
10
2
10
2
10
0
12
LO W
HIGH
0
12
LO W
HIGH
0
12
LO W
HIGH
0
12
LO W
HIGH
2ND STAGE
CO NTO UR
2ND STAGE
CO NTO UR
2ND STAGE
CO NTO UR
2ND STAGE
CO NTO UR
C H A N N E L
1
-
T U B E
C H A N N E L
1
-
T U B E
C H A N N E L
1
-
T U B E
C H A N N E L
1
-
T U B E
These setting examples aim at helping you to
better handle with the control stage and to utilise
it for the realisation of your sound conceptions. Set
channel 1 according to the examples and adjust
the TO NE control to the left and to the right
within the suggested area, respectively. press the
switches to learn more about their efficiency.
CRUNCH settings are level-dependent. The
examples suppose GAIN has been set to O K. As
Rock-parts are usually performed harder than
tapping-techniques, rather than compensating for
this gap with GAIN to obtain the desired
compression, you could just raise the CRUNCH
control in this case.
26
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CHANNEL 2 - SO LID STATE
Two switches LO W BO O ST and HIGH BO O ST
to pre-adjust the basic sound characteristics.
Ten faders
35/ 70/ 140/ 210/ 420/ 730/ 1.2k/ 2.5k/ 5k/ 10k Hz
to amplify/ soften the respective frequency
band by +/-12 dB.
You should generally adjust the graphic EQ to
approximately 0 dB. This means boosts and cuts
should be effected with moderation.
section might illuminate, which means you
enter the overload range before the master
control. In this case reduce O UTPUT from
channel 2. If the LIMITER is activated and
threshold appears too high, readjust the EQ
curve to lower levels (2). Reducing GAIN
would result in a worse S/ N ratio and can
eventually not be recommended. Should you
find the threshold is too low, i.e. more intense
compression is desired, shift the EQ curve
further to the positive area.
When adjusting the faders mostly within the
positive area (1) the O L LED of the master
1
2
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+12
+9
+6
+3
0dB
-3
+12
+9
+6
+3
0dB
-3
+12
+9
+6
+3
0dB
-3
+12
+9
+6
+3
0dB
-3
2
2
2
2
LO W
BO O ST
HIGH
BO O ST
LO W
BO O ST
HIGH
BO O ST
-6
-6
-6
-6
-9
-9
-9
-9
-12
-12
-12
-12
35
70
140
210
420
730
1,2k
2,5k
5k
10k
35
70
140
210
420
730
1,2k
2,5k
5k
10k
C
H
A N N E L
2
-
S O L I D S T A T E
C
H
A N N E L
2
-
S O L I D S T A T E
GETTING STARTED
1. Make sure that loudspeakers capable of sustaining
the load of a bass signal are connected to the
SPEAKER OUT sockets. The speaker cables
should meet a cross-section of at least 2 x 1.5 mm.
2. Check that the mains supply has been plugged
in and that all external (effects) units possibly
used are correctly connected and operational.
3. Select the mode in which you wish to operate
(Fullrange/ BiAmp, Mono/ Stereo).
4. Set the MASTER control to zero.
5. Plug your bass guitar into the amplifier's
INPUT with a shielded line-cable.
6. Press the POWER switch to turn the device on.
7. Switch MUTE off and the red LED will
extinguish. (Should the CH. SELECT switch
be set to channel 1, it will take a few seconds
before a signal can be processed, as the tubes
must be heated first.)
11. Set the MASTER control to the volume you
wish to play at.
12. Adjust the controls and switches of both
channels according to your sound conceptions.
If it appears necessary, reduce OUTPUT again
with the appropriate controls. The O L LED
might actually flash only occasionally, but it
should not remain permanently lit.
13. Balance the levels from one channel to another
with the O UTPUT controls and set the EFF.
MIX of the parallel stereo loop for both
channels to regulate the amount of effects
within the signal path.
14. If necessary readjust balances on the
rear panel.
IMPO RTANT:
Make sure that gain of the elected louder channel
is correctly determined and occasionally
illuminates the O L LED, as either full power can
actually not be used (level set too low), or
undesired distortions might appear (level set too
high).
8. Turn all volume controls of your bass guitar on
to their maximum.
9. Adjust the GAIN control until the (loudly)
played bass signal illuminates the O K LED.
10. Set both O UTPUT controls to their
positions 8.
27
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NO TES
28
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Sonic II / III
Pro Fet III
Pro Fet IV
Pro Tube IV
Pro Tube IX
Quad IV / VI
25 mV
25 mV
25 mV
25 mV
25 mV
25 mV
transistor, active transistor, active transistor, active transistor, active
transistor, active
controlled
all tube
controlled
controlled
controlled
controlled
none
none
none
dual tube
dual tube
none
fan cooled (non fan cooled (non fan cooled (non fan cooled (non
permanent) permanent)
permanent) permanent)
fan cooled (non
permanent)
fan
cooled
( t e m p e r a t u r e
controlled)
bass, mid low, mid bass,
high, treble param. mids with low boost/flat/cut low boost/flat/cut
controls, low boost freq. and level mid boost/flat/cut mid boost/flat/cut
and high boost controls, attack, high boost/flat/cut high boost/flat/cut
punch, 3-way switches for 3-way switches for
3-way switches for
low boost /flat/cut
mid boost/flat/cut
high boost /flat
/cut param.
Q u a d r u m a tr ix
bass, mid 1 (+shift),
mid
2
(+shift),
switches
treble, low boost param.freq.contr., param.freq.contr.
treble, low boost
and high boost
switches
and high
boost switches.
Dyn. control with dyn.contr.
switchable limiter switchable
8-band graph. EQ contour
switch,
freq.contr.,contour
switch,
dyn. control with
2nd tube and
+/-12
dB, dyn. control with
with 2nd tube and
crunch
control.
limiter (3-way)
none
crunch control.
none
none
8-band graph. EQ,
+/- 12dB, switches
for low boost and
high boost.
Dyn. control with
switchable limiter
10-band graph.
EQ, +/- 12dB,
switches for low
boost and high
boost. Dyn.
none
control with
switchable limiter
200 Ω
200 Ω
200 Ω
200 Ω, stereo
200 Ω, stereo
200 Ω, stereo
0 dB, 600 Ω
0 dB, 600 Ω
2x0 dB, 600 Ω,
2x0 dB, 600 Ω,
0 dB, 600 Ω
stereo or 2x mono
stereo or 2x mono
mono serial
mono serial
mono serial
stereo serial
mono serial
mono parallel
send 0 dBu, 600 Ω send 0 dBu, 600 Ω send 0 dBu, 600 Ω send 0 dBu, 600 Ω
return 0 dBu, 10 kΩ return 0 dBu, 10 kΩ return 0 dBu, 10 kΩ return 2x0dBu,
10kΩ
send 0 dBu, 600
Ω r e t u r n
0dBu,10kΩ
send 0 dBu, 600 Ω
return 0 dBu, 10 kΩ
stereo parallel,
send fullrange or
200 Hz low cut,
same values
DI pre/post
ground lift,
DI pre/post
ground lift,
DI pre/post
ground lift,
DI pre/post
ground lift,
DI pre/post,
stereo, biamp, low
cut
ground lift,
DI pre/post
none
none
none
none
none
none
X-over,
2x balance
Effects mix
none
graph. EQ on
CH 1/2
CH 1/2
II: 200 W/4Ω
250 W/4Ω jack 400 W/4Ω jack
400 W/4Ω jack
2x450 W/4Ω jack
IV: 400 W/4Ω
III: 300 W/4Ω
XLR & Speakon XLR & Speakon XLR & Speakon
XLR & Speakon
VI: 600 W/4Ω
<0.1%
<0.1%
<0.1%
12,5
<0.1%
15,0
<0.1%
<0.1%
II: 8,3 ; III: 10,7 11,5
500x90x285
22,3
IV: 15,0 ; VI: 16,5
483x90x430
19“/483x90x375 19“/483x90x375 19“/483x90x430
19“/483x135x455
30
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CIRCUIT DIAGRAM
42
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Headquarters:
Warwick GmbH&Co.Music Equipment KG• Gewerbegebiet Wohlhausen• 08258 Markneukirchen/Germany• Tel 0049-(0)37422-555-0
Fax 0049-(0)37422-555-99 • Send us an E-Mail to: info@warwick.de • Visit us on the World Wide Web: http://www.warwick.de
Branch China:
Warwick Music Equipment (Shanghai) Ltd., Co.Shanghai Waigaoqiao Free Trade Zone • Shanghai 200131 / P.R.China
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