Alesis Stereo Amplifier Spitfire 30 User Manual

User Manual  
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Table Of Contents  
Chapter 1: Introduction .............................................. 3  
About the Spitfire.....................................................................4  
Spitfire Basics ..........................................................................5  
How to Use This Manual.........................................................7  
Chapter 2: Hookup Diagram ...................................... 9  
Chapter 3: A Tour of the Spitfire............................. 11  
Front Panel.............................................................................11  
Rear Panel ..............................................................................15  
Chapter 4: Selecting Programs................................ 17  
Chapter 5: Editing Programs................................... 19  
Chapter 6: Storing & Copying Programs .............. 21  
Chapter 7: Using the Tuner ...................................... 23  
Chapter 8: Deferred Program Change................... 25  
Chapter 9: Stereo-Linking Two Amplifiers........... 27  
Chapter 10: EFFECT Knob Settings....................... 29  
Chapter 11: Troubleshooting ................................... 41  
Chapter 12: Specifications........................................ 43  
Chapter 13: Contact Information............................ 45  
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Table of Contents  
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1 Introduction  
Welcome!  
Thank you for making the Alesis Spitfire a part of your  
setup. Since 1984, we've been designing and building  
creative tools for the audio community. We believe in  
our products, because we've heard the results that  
creative people like you have achieved with them. One  
of Alesis' goals is to make high-quality music equipment  
available to everyone, and this user manual is an  
important part of that. After all, there's no point in  
making equipment with all kinds of capabilities if no one  
explains how to use them. So, we try to write our  
manuals as carefully as we build our products.  
For more effective service  
and product update  
notices, please register  
your Spitfire online at  
support/warranty.htm.  
The goal of this manual is to get you the information  
you need as quickly as possible, with a minimum of  
hassle. We hope we've achieved that. If not, please drop  
us an email and give us your suggestions on how we  
could improve future editions of this manual.  
We hope your investment will bring you many years of  
creative enjoyment and help you achieve your musical  
goals.  
Sincerely,  
The people of Alesis  
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1 Introduction  
About the Spitfire  
Our Spitfire guitar amplifiers are compact and light, but  
extremely powerful. Perfect for both practicing and  
performing onstage, all three Spitfire models are  
endowed with the same professional-quality  
amplification system and features that make this line of  
amplifiers unique. Just take a look:  
Spitfire Key Features  
Three models: Spitfire 15 (15W RMS and 8” speaker),  
Spitfire 30 (30W RMS and 10” speaker) and Spitfire 60 (60 W  
RMS and 12” speaker)  
On-board stereo effect processor with 9 effect modules that  
provide multiple selectable effects  
80 preset effect patches that you can fully edit, store and  
restore to the factory default settings  
Over 40 different effects with adjustable parameters and  
innumerable effect combinations  
Built-in auto-chromatic tuner  
Bass and Treble control knobs for direct EQing of the  
audio signal (Spitfire 60 only)  
Drive knob for direct control over the DRIVE parameter  
found in the effects processor (Spitfire 30 and Spitfire 60 only)  
Speaker Output for connecting to an external 8-ohm speaker  
Stereo Link Output for connecting to the input of a second  
amplifier for true stereo output  
Input for an optional expression pedal for controlling  
effect parameters  
Input for optional footswitches for changing user programs  
Headphones jack for quiet, private playing in stereo  
AUX Input for a CD player or other line-level device—play  
along to your favorite songs!  
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Introduction 1  
Spitfire Basics  
Benefits of an On-Board Effect Processor  
If you use guitar effects, you probably do so by linking  
pedals together into a chain or by using a multi-effect  
processor. All this extra equipment can cost a fortune  
and crowd your playing space. The Spitfire, however,  
simplifies things because it includes all the effects you  
need right in your amplifier. Instead of tripping over  
extra wires and turning knobs and pushing buttons on  
pedal after pedal, with the Spitfire you have full control  
over dozens of effects without the need for an external  
processor!  
Effect Modules  
If you were to think of the Spitfire’s effect processor as  
a series of individual pedals linked together, then each  
pedal in that series would be considered an effect  
module. The Spitfire has nine separate effect modules,  
as shown below:  
You can assign one effect to each of these modules and  
adjust its parameters accordingly. For more on the  
Spitfire’s effect modules, see chapter 10.  
Effect Types  
When we use the word “effect” in this manual, we’re  
usually referring to an effect type. Each module provides  
you with a selection of effect types, only one of which  
may be chosen for each module. For example, the DIST  
module allows you to select which type of distortion you  
want (ACOUSTIC, TUBE CLEAN, RHYTHM and  
others). The behavior of each of these effect types may  
be adjusted in one or more ways to produce variations  
of the effect.  
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1 Introduction  
Parameters  
A parameter is a control that changes the characteristics  
of an effect. When we use the word “parameter,” we are  
referring to the “direct control” parameter available to  
the DIST, FX1, FX2 and FX3 modules. DIST’s  
parameter is called DRIVE, and the parameters for FX1,  
FX2 and FX3 are labeled PARAM. The characteristic  
controlled by a parameter varies from effect to effect.  
Programs  
A program is a combination of effect  
modules and their respective settings.  
In PLAY mode, you have quick access  
to the Spitfire’s eighty programs via the  
Program Up and Down buttons, optional  
footswitches and the VALUE knob. The  
programs are divided up into banks A – H and are  
identified by a bank letter and a program number on the  
display.  
Playing in Stereo  
The Spitfire outdoes most other guitar amplifiers by  
providing stereo output instead of the standard mono.  
We strongly encourage you to take advantage of the  
wonderful benefit this provides for your sound, because  
many of the Spitfire’s excellent effects will sound even  
better when you listen to them in stereo. See chapter 9  
for instructions on how to connect a second amplifier to  
the Spitfire using the STEREO LINK OUTPUT. If you  
don’t have a second amplifier, you can immediately  
enjoy the stereo effects simply by listening with  
headphones.  
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Introduction 1  
How to Use This Manual  
This manual is divided into the following sections  
describing the various functions and applications for the  
Spitfire. While it's a good idea to read through the entire  
manual once carefully, if you already have general  
knowledge about guitar amplifiers and effects, you  
should use the table of contents to look up specific  
functions.  
Helpful tips and advice  
are highlighted in a  
shaded box like this.  
Chapter 2: Hookup Diagram shows you how to get the  
Spitfire connected and turned on.  
Chapter 3: A Tour of the Spitfire describes all the controls  
and features of the unit. This chapter features labeled  
diagrams of the front and rear panels. The paragraphs  
that follow the diagrams provide more in-depth  
explanations of these features.  
When something  
important appears in  
the manual, an  
exclamation mark (like  
the one shown at left)  
will appear with some  
explanatory text. This  
symbol indicates that  
this information is vital  
when operating the  
Spitfire.  
Chapters 4 through 9 include step-by-step instructions for  
using the Spitfire, including how to select and edit  
programs, use the tuner function, store and copy  
programs, use the Defer Program Changes feature, and  
stereo-link two amplifiers.  
Chapter 10: Effects Knob Settings explains the Spitfire’s  
effect modules and types, as well as other settings  
controlled by the EFFECT and VALUE knobs.  
Chapter 11: Troubleshooting can give you a hand if you’re  
experiencing problems with the Spitfire. You’ll find that  
most issues can be resolved simply and quickly.  
Chapter 12: Specifications is full of information for the  
more technical users.  
Chapter 13: Contact Information lets you know the best way  
to reach us if you have any questions or comments.  
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1 Introduction  
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2 Hookup Diagram  
The first thing we’ll show you is how to get your Spitfire  
up and running. The following diagram shows you the  
most common method of hooking up your Spitfire, but  
you certainly aren’t limited to the devices you see here.  
For example, you may want to connect a tape player to  
the AUX inputs instead of a CD player. And you can  
even use the Spitfire to amplify keyboards or other  
instruments.  
Although you can  
experiment with  
different types of  
instruments, the Spitfire  
performs best with a  
guitar, as it was made  
specifically to handle  
that instrument’s  
frequency range.  
Spitfire's Front Panel  
Headphones  
External 8-Ohm  
Speaker Cabinet  
Expression Pedal  
Guitar  
Spitfire's Rear Panel  
Footswitches  
CD Player or Other Audio Source Additional Amplifier  
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2 Hookup Diagram  
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3 A Tour of the Spitfire  
The diagrams in this section illustrate the features you’ll  
find on the Spitfire’s front and rear panels. The text that  
follows the diagrams explains those features.  
Front Panel  
Some of the front-panel features described here are not  
available on all Spitfire models. Refer to the diagram  
below to determine exactly which features are found on  
the model that you possess.  
Input  
Display  
VALUE Knob  
BASS Knob MASTER VOLUME Knob Power Switch  
Program Up/Down EFFECT Knob  
DRIVE Knob TREBLE Knob HEADPHONES Jack  
Input  
Display  
VALUE Knob  
MASTER VOLUME Knob Power Switch  
Program Up/Down  
EFFECT Knob  
DRIVE Knob  
HEADPHONES Jack  
HEADPHONES Jack  
Input  
Display  
VALUE Knob  
Program Up/Down  
EFFECT Knob  
MASTER VOLUME Knob Power Switch  
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3 A Tour of the Spitfire  
Input  
Plug in your guitar here using a guitar patch cord. You  
can also plug in another amplifier’s line output in order to  
create a stereo link with that amplifier (refer to chapter 9 for  
details). You should use a 1/4” tip-sleeve (TS) cable.  
Make sure the amplifier  
is turned off before you  
connect your guitar or  
any other instrument to  
the Spitfire.  
Program Up/Down  
While in PLAY mode, the Program Up button  
increments the program number, and the Program  
Down button decrements the program number. When  
you press both buttons together, the Spitfire goes into  
BYPASS mode, in which the audio signal from your  
guitar simply passes through the Spitfire without being  
affected. When you hold both buttons down for longer  
than half a second, the Spitfire goes into MUTE mode,  
in which no signal at all leaves the amplifier. When you  
are in BYPASS or MUTE mode, the tuner is activated.  
Footswitches must be  
plugged in and not  
pressed when you turn  
on the Spitfire.  
Otherwise, the switches  
may not function  
properly.  
You may use optional footswitches to perform the same  
functions as the Program Up and Down buttons. The  
Spitfire works with both normally open (NO) and  
normally closed (NC) footswitches.  
Display  
This LED display is made up of two digits and two  
decimal points. In PLAY mode the digits indicate the  
current bank letter and program number. When you  
turn the EFFECT knob to a module or parameter, the  
two digits display the setting of the selection.  
Descriptions of settings for each mode and parameter  
are in chapter 10.  
The Display also contains two decimal points, each to  
the right of one of the digits. The # decimal point is  
used by the Spitfire’s tuner to help indicate the pitch of a  
note you’re playing, and the EDITED decimal point  
lights up when you have changed the settings of the  
current program. You can read more about these in  
chapter 5 “Editing Programs” and chapter 7, “Using the  
Tuner.”  
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A Tour of the Spitfire 3  
EFFECT Knob  
The EFFECT knob is used for selecting effect modules,  
parameters and other settings to edit. Around the knob,  
you’ll see the names of sixteen different settings,  
including nine effect modules, four effect parameters  
(DRIVE and the three PARAMs) and two program-  
level settings (LEVEL and ROUTE). The PLAY setting  
is what you’ll want to be in while playing your guitar  
through the Spitfire.  
Refer to chapter 10 for descriptions of the possible  
values for the effect modules and parameters.  
VALUE Knob  
In PLAY mode, this knob lets you select a program.  
When you make a selection other than PLAY with the  
EFFECT knob, you are in edit mode, and the VALUE  
knob allows you to change the setting of the mode,  
parameter or global setting you have selected. Also, you  
can press this knob to store changes you have made to a  
program.  
DRIVE Knob (Spitfire 60 and 30 only)  
This knob gives you direct control of the DRIVE value,  
which is the parameter for the DIST module. Increasing  
the DRIVE value boosts the level of distortion and  
increases the loudness of the audio signal.  
If you turn the DRIVE  
knob when the DIST  
module is turned off, the  
display will show “--”  
and the audio signal  
will not be affected.  
When an effect program is recalled, the DRIVE value is  
also recalled from that program regardless of the  
position of the DRIVE knob. But once you turn the  
DRIVE knob, the program will jump to the new  
DRIVE setting, and the program will be edited, which is  
evidenced by a lit EDITED decimal point on the display.  
When you turn the DRIVE knob, the DRIVE value will  
appear on the display for a few seconds. You may also  
modify the DRIVE setting by turning the EFFECT  
knob to DRIVE and using the VALUE knob to change  
the amount of drive.  
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3 A Tour of the Spitfire  
BASS Knob (Spitfire 60 only)  
This knob gives you the ability to equalize (EQ) the low  
frequencies present in your guitar’s audio signal. This  
setting is not related to the EQ module found on the  
EFFECT knob. Rather, it provides an additional means  
of controlling the bass frequencies.  
A program’s BASS and  
TREBLE values will be  
lost if you switch  
programs without  
saving that program  
first. Be sure to save  
your programs!  
When you turn the BASS knob, the amount of bass in  
the current program will increase or decrease  
accordingly, the EDITED light will turn on, and the  
display will briefly show the BASS setting. When you  
save a program, the current BASS value is saved with it  
so that it can be recalled later.  
TREBLE Knob (Spitfire 60 only)  
This knob works the same way as the BASS knob,  
except that it controls the high frequencies of the audio  
signal.  
You should turn the  
master volume all the  
way down before you  
turn on the amplifier.  
This will prevent any  
sudden pops that could  
damage the speaker.  
MASTER VOLUME Knob  
The MASTER VOLUME knob controls the overall  
volume of the audio signal that is output to the speaker,  
the HEADPHONES jack and the STEREO LINK  
OUTPUT on the rear panel. This value is not stored  
with a program.  
Also, make sure the  
Power Switch is set to  
OFF before you  
connect your guitar or  
any other instrument to  
the Spitfire.  
HEADPHONES Jack  
Plug your headphones into this jack using a standard  
1/4” stereo phone plug. If your headphones are 1/8”,  
you can find a 1/8” to 1/4” adapter in most electronics  
stores. The internal speaker, STEREO LINK OUTPUT  
and SPEAKER OUTPUT are automatically disabled  
when you are using headphones.  
To get a real-life miked-  
amplifier sound in your  
headphones, check out  
the effect processor’s  
cabinet simulator  
effects (page 32).  
Power Switch  
Use this switch to turn the Spitfire on and off.  
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A Tour of the Spitfire 3  
Rear Panel  
All three Spitfire models offer the rear-panel features  
described here:  
Fuse FOOTSWITCH UP/DOWN INPUTS AUX INPUT  
SPEAKER OUTPUT  
Power Cord EXPRESSION PEDAL INPUT STEREO LINK OUTPUT  
Fuse  
CAUTION: Danger of  
fire or electrocution  
exists if the fuse is  
The fuse protects the Spitfire from damage caused by a  
defective AC outlet. If this fuse blows, you must replace it.  
incorrectly replaced.  
Replace it only with the  
same or equivalent type  
of fuse recommended by  
the information found  
next to the fuse.  
Power Cord  
Plug the power cord into an AC outlet. The AC voltage  
required is fixed at a single voltage based on the country  
in which you purchased your Spitfire. The voltage is not  
switchable (i.e., 110/220) or universal (i.e., 90-240). Be  
sure to connect it to the proper voltage as indicated in  
the information found on the rear panel.  
We recommend that you  
purchase footswitches  
to use with your  
Spitfire. They aren’t  
very expensive, and  
they greatly streamline  
your interaction with  
the amplifier,  
FOOTSWITCH UP/DOWN Inputs  
Here you can plug in standard footswitches to use for  
incrementing and decrementing program numbers. The  
foot switches work in the same way as the Program Up  
and Program Down buttons. These jacks accept 1/4”  
plugs.  
particularly when  
playing live.  
EXPRESSION PEDAL INPUT  
This input is for an optional expression pedal, which  
gives you the ability to control effect parameters with  
your foot. All effects listed in chapter 10 that have  
“Pedal” in their names provide this capability. See  
chapter 10 for a complete list of parameters. This jack  
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3 A Tour of the Spitfire  
accepts a 1/4” plug. Expression pedals may be  
purchased at your local Alesis dealer.  
AUX (Auxiliary) INPUT  
The AUX INPUT allows you to play along with your  
favorite songs! Just connect this RCA input to the  
output from your CD player, tape player or some other  
external audio device. The AUX INPUT level is fixed,  
but you can use the external audio device’s own volume  
control (for example, the headphone volume control on  
a portable CD player) to adjust the level of the signal  
coming into these jacks. When you turn the MASTER  
VOLUME knob, the level of this signal is affected as  
well.  
STEREO LINK OUTPUT  
See chapter 9 for  
detailed instructions on  
how to set up a stereo  
link between two  
amplifiers.  
To take full advantage of the on-board stereo effect  
processor, connect the STEREO LINK OUTPUT to  
the input of a second amplifier to create a true stereo  
setup. This jack accepts 1/4” TS cables.  
SPEAKER OUTPUT  
You can use the SPEAKER OUTPUT to connect the  
Spitfire to an external 8-ohm speaker with a 1/4” TS  
cable. This will disconnect the internal speaker.  
The SPEAKER  
OUTPUT is high-  
voltage and can easily  
damage normal  
recording, PA, and  
other line-level input  
stages, so do not  
connect this output to a  
recording device, a PA  
system, or the input of  
another Spitfire.  
Connect it only to an 8-  
ohm speaker.  
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4 Selecting Programs  
After you’ve plugged everything in, you’ll probably want  
to check out the factory presets we programmed into  
the Spitfire. This chapter shows you how to do that.  
To Select Programs  
1.  
2.  
3.  
Make sure the Spitfire is hooked up properly and  
turned on, as outlined in chapter 2.  
Make sure you’re in PLAY mode (turn the  
EFFECT knob to PLAY).  
You can switch programs in three different ways:  
Program Up/Down buttons  
Use these buttons to increment and decrement  
the program number. You can hold down a  
button to increment or decrement programs  
continuously.  
VALUE knob  
You also can turn this knob to switch  
programs.  
Footswitches (not provided with the Spitfire)  
This is the easiest way to switch programs,  
especially while playing your guitar. Just plug  
footswitches into the FOOTSWITCH UP and  
DOWN inputs and step on them to increment  
and decrement the program number. You can  
hold down a footswitch to increment or  
decrement programs continuously.  
4.  
Play your guitar to hear how the program affects  
the sound.  
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4 Selecting Programs  
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5 Editing Programs  
To Edit a Selected Program  
1.  
Select a program to edit using the Program Up and  
Down buttons, the VALUE knob or the optional  
footswitches.  
2.  
3.  
Turn the EFFECT knob to the effect module or  
parameter you wish to modify.  
Turn the VALUE knob to select an effect type  
or value for the module. As soon as you  
change the value, the EDITED decimal point on  
the display lights up to show you a change has  
been made to the current program.  
If you return all effects  
and parameters to their  
previous values, the  
EDITED light will go  
off.  
4.  
If the module has a parameter such as DRIVE or  
PARAM, turn the EFFECT knob to select the  
parameter.  
See chapter 6 for  
instructions on how to  
store an edited program  
you’d like to save.  
5.  
6.  
Using the VALUE knob, select a value for the  
parameter.  
Continue in this way until you have completed  
assignments for all modules and parameters.  
To toggle an effect  
module on and off, just  
press the Program Up  
and Program Down  
buttons together (or  
step on both  
To Restore Factory Presets  
footswitches) while the  
effect module is  
Once you have saved changes to a preset program, you  
can still recall the original settings. To enter the  
RESTORE FACTORY PRESETS mode, simply hold  
down the VALUE knob as you turn the unit on and  
then select the program to be restored (or AL for all  
programs). Press the VALUE knob to confirm your  
selection. The display will blink rapidly several times to  
indicate the restore was successful. Any program  
changes you have made will be lost, so you might want  
to copy the program to another location first.  
selected.  
Just turn the EFFECT  
knob to exit the  
RESTORE FACTORY  
PRESETS mode, or  
turn the unit off and  
then on again.  
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5 Editing Programs  
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6 Storing & Copying Programs  
To Store a Program  
1.  
2.  
3.  
In PLAY or EDIT mode, press the VALUE knob.  
The display will flash the current program number.  
Use the Program Up and Down buttons, VALUE  
knob or the optional footswitches to select the  
program number where the current program will  
be stored. If you want to save it in the same  
program number, you can skip this step.  
The store operation  
times out if you do  
nothing for more than  
five seconds. You also  
can abort the operation  
by turning the EFFECT  
knob to a different  
position.  
Press the VALUE knob again to store the  
program in the selected place. The Spitfire then  
returns to the mode it was in before you began the  
store operation, and the destination program  
becomes the current program.  
To Copy a Program  
To make a copy of an unedited program, select that  
program and then follow the steps outlined above to  
store it to a new location.  
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6 Storing & Copying Programs  
Arranging Programs for Performance  
You can use the copy function to arrange programs  
logically for easy recall during a performance. Take a  
typical song structure for example (intro, verse, refrain,  
etc.). For each part of the song, you may want to use a  
different effect program. To ensure uninterrupted  
performance, you can copy the programs used in the  
song into an order similar to the following example:  
Program Number  
Song Section  
Introduction  
Verse  
A0  
A1  
A2  
A3  
A4  
A5  
Refrain  
Verse  
Bridge  
Refrain  
With an arrangement like this, you can just press the  
Program Up button or footswitch once to progress to  
each section of your song. Using the 80 available  
program locations, you can even arrange the programs  
conveniently for multiple songs in a set. For example,  
you can use programs A0-A5 for the first song,  
programs A6-B0 for the second song, and so on.  
Another convenient way to switch programs during a  
performance is to enter deferred program-change mode,  
which is explained in chapter 8.  
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7 Using the Tuner  
To Tune Your Guitar  
1.  
In Play mode, enter BYPASS  
or MUTE  
mode by pressing the Program Up and Down  
buttons at the same time once (for BYPASS) or by  
holding them both down for more than half a  
second (for MUTE). The display will now show  
tuning information.  
2.  
3.  
Make sure your guitar is connected to the Spitfire,  
and play the open string you wish to tune. The left  
digit of the display indicates the pitch nearest that  
of the open string. If the # decimal point is lit, the  
note is a sharp. If it is not lit, the note is a natural.  
Remember, the optional  
footswitches work the  
same way as the  
Program Up and Down  
buttons. Step on both  
footswitches once to  
enter BYPASS mode,  
and hold them down for  
more than half a second  
to enter MUTE mode.  
Look at the right digit of the display to determine  
if the pitch is correct. If the top four segments of  
the digit are rotating clockwise, then the pitch is  
higher than the pitch shown in the first digit. If  
the bottom four segments are rotating  
counterclockwise, the pitch is low. The more the  
pitch is off, the faster the rotation. If no pitch is  
detected, you’ll see a dash in the left digit.  
4.  
Tune the string until an 8 appears in the second  
digit, indicating that the string is in tune with the  
pitch displayed in the left digit.  
The visual guide on the next page shows what  
you’ll see on the display while tuning your guitar.  
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7 Using the Tuner  
Visual Guide to Tuning  
Here are the 12 possible  
pitches (a decimal point  
indicates a sharp):  
Low  
High  
In tune  
The bottom four segments rotate counterclockwise  
if pitch is low. The top four rotate clockwise if the pitch  
is high. An 8 means the string you have played is in tune  
with the displayed pitch.  
= no pitch detected.  
Changing Pitch Reference  
If you turn the VALUE knob while using the tuner, the  
display shows you the setting for the Spitfire’s pitch  
While you are viewing  
or editing the pitch  
reference, which is set to 440Hz (shown as  
) for the  
reference, the display  
will return to pitch  
A note above middle C. The possible range of values for  
this setting is 35 to 45, which represents 435Hz to  
445Hz.  
indication if you do not  
rotate the knob for  
more than two seconds.  
When you turn the Spitfire on and off again, the  
reference pitch is reset to 40.  
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8 Deferred Program Change  
When you switch programs, the Spitfire normally  
changes immediately to the program shown on the  
display. However, in some situations—especially when  
playing live—you may want the ability to scroll through  
program numbers while remaining in the current  
program setting. For example, let’s say you’re soloing in  
a program that gives you strong distortion and fat  
chorus. If you want to continue playing while you scroll  
up to a program that provides a clean rhythm sound,  
you’ll have to be in deferred program-change mode.  
See “Arranging  
Programs for  
Performance” in  
chapter 6 for an  
alternative to deferred  
program-change mode.  
Enabling & Using Deferred Program Change  
1.  
As you turn on the Spitfire, hold down one or both  
of the Program Up/Program Down buttons.  
Letters will scroll by on the display, spelling the  
word “deferred.”  
2.  
While in PLAY mode, use the Program Up or  
Program Down button or the VALUE knob to  
change the program number. The Spitfire will  
remain in the program it was in before you  
changed the program value. Also, the display will  
flash the digit that is different from the currently  
selected program. For example, if you are playing  
in program D5 and scroll up to program D7, the 7  
will flash. If you scroll up to F2, both digits will  
flash.  
You may also use the  
optional footswitches to  
change program  
numbers.  
3.  
4.  
Once the display shows the program number you  
desire, press the Program Up and Down buttons  
together or step on both footswitches to confirm  
the program change. The display will stop flashing  
and the Spitfire will switch to the new program.  
Deferred program-  
change mode is  
especially useful when  
you’re performing and  
want to switch easily  
between a rhythm  
setting and a lead  
setting as you continue  
playing.  
To return to normal program-change mode, turn  
off the Spitfire and turn it back on without  
holding down any buttons or footswitches.  
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8 Deferred Program Change  
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9 Stereo-Linking Two Amplifiers  
To take full advantage of the Spitfire’s stereo capability,  
you can link it to another amplifier to create a true  
stereo setup. This section explains how to do that.  
To Stereo-Link Two Amplifiers  
1.  
Place the Spitfire and the auxiliary amplifier far  
enough apart to allow for a decent stereo  
spectrum. A few feet should be sufficient.  
2.  
3.  
Make sure both amplifiers are turned off and that  
your guitar is connected to the Spitfire.  
Using a 1/4” TS cable, connect the  
Spitfire’s STEREO LINK  
Stereo Link  
Output  
Input  
OUTPUT to the input of the  
auxiliary amplifier.  
4.  
5.  
Turn on the Spitfire  
amplifier first, and then turn  
on the auxiliary amplifier.  
Spitfire  
Auxiliary Amplifier  
Play your guitar and adjust the  
volumes of both amplifiers until they are  
approximately equal. You may also want to adjust  
the tone of the auxiliary amp so that it matches  
the Spitfire’s tone as much as possible.  
To see which effects are  
in stereo, refer to the  
descriptions in chapter  
10.  
6.  
Now you’re playing in stereo! Experiment with the  
Spitfire’s stereo effects to hear what a great  
difference two amplifiers can make. The best  
listening spot is a position that is between the  
amplifiers and equidistant from each, with both  
amplifiers facing you.  
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9 Stereo-Linking Two Amplifiers  
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10 EFFECT Knob Settings  
Following are descriptions of each of the effect  
modules (and other settings of the EFFECT knob),  
along with their effect types and parameters.  
PLAY  
In this setting the display shows you the current program number. This is the  
mode in which you should be performing, as it allows you to easily switch  
programs via the foot pedals.  
Indicates the bank letter and program number of the current  
program.  
COMP/LIMIT (Compressor/Limiter)  
Compression evens out the high and low volumes of your sound by squeezing  
them into a thinner range of levels, bringing down the high levels and boosting  
the low ones. Limiting controls only the high levels.  
Provide increasing levels of compression.  
Provide increasing limiting.  
Off  
Turns COMP/LIMIT off.  
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10 EFFECT Knob Settings  
DIST (Distortion)  
This setting adds that universal effect that was first used in rock music decades  
ago and now has become a staple for guitarists in many genres.  
Acoustic  
Emulates the sound of an acoustic guitar.  
Tube Clean  
Simulates the clean sound of a classic tube amplifier.  
Rhythm  
A slightly distorted sound; great for rhythm playing.  
Overdrive  
Provides more grit than the Rhythm setting, like you’re really  
pushing those amplifier tubes.  
Distortion  
Adds crunchiness to your sound.  
Blues  
A warm yet slightly crunchy sound associated with some of the  
blues-guitar greats.  
Fuzz  
That classic fuzz distortion effect of the 60s. Just listen and you’ll  
see how it got the name.  
Lead  
A searing overdrive that will make your solos scream.  
Metal  
A heavily overdriven sound with a long sustain.  
Stack Drive  
A heavy, driving distortion that sounds like you’re playing through  
a massive tube stack amp.  
Combo Drive  
Another heavyweight distortion; sounds like a tube stack amp with  
a well-defined midrange.  
Off  
Turns DIST off.  
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EFFECT Knob Settings 10  
DRIVE  
This is a parameter of the DIST module.  
Increasing levels of drive/gain for the DIST module.  
Pedal control of the drive/gain.  
EQ (Equalizer)  
This setting gives you a 4-band equalizer that you can use to shape the sound of  
your audio signal by cutting and boosting certain frequencies.  
Varying levels of cut and boost for low, middle and high audio  
frequencies broken down as follows:  
01 – 10: attenuated highs and emphasized lows  
11 – 20: less attenuation of highs and emphasis of lows  
21 – 24: emphasized midrange  
25: Flat EQ curve  
26 – 30: emphasized highs  
31 – 40: attenuated lows and emphasized highs  
41 – 50: emphasized presence and lows  
Off  
Turns off the EQ.  
NR (Noise Reduction)  
This is a combination of two effects—hum elimination and noise reduction.  
Hum elimination works by cutting out the frequency that contains the hum  
(60Hz). Noise reduction works by gating the signal (muting the signal until its  
level rises above a certain point).  
Hum Elimination (Left digit of display)  
Increasing levels of hum elimination (60Hz harmonic notch filters).  
Turns off hum elimination.  
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10 EFFECT Knob Settings  
Noise Reduction (Right digit of display)  
Increasing levels of gate threshold.  
Turns off noise reduction.  
CAB (Cabinet Simulator)  
This module allows your Spitfire to emulate cabinet setups of various sizes.  
A single 12” driver cabinet.  
A 2 x 12” driver cabinet.  
A 4 x 10” driver cabinet.  
Off  
Turns off CAB.  
FX1 (Multi-Effect Module 1, Mono to Stereo Effects)  
This module gives you a choice of mono effects. You may assign one effect at a  
time to this module.  
Auto Wah  
A wah sound controlled by playing intensity. Attack the strings  
aggressively for more effect. Higher values indicate higher input  
sensitivity.  
Pedal-Controlled Wah  
A wah sound controlled by moving the optional expression pedal  
up and down as you play.  
Phaser  
An effect that shifts the phase of the signal and adds it to the  
original sound (in simpler terms, it adds a duplicate signal that is  
delayed a bit). The phaser gives your guitar a full, pulsating sound.  
Higher values result in more feedback, producing a more intense  
effect.  
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EFFECT Knob Settings 10  
Pedal-Controlled Phaser  
A phaser effect with its feedback controlled by the expression  
pedal.  
Tremolo  
Varies the volume of the signal, creating a rising and falling effect.  
Higher values result in greater depth of variation.  
Pedal-Controlled Tremolo  
A tremolo effect with its depth controlled by the expression pedal.  
Ring Modulation  
An effect that modulates the amplitude of the signal, giving it a  
metallic sound. Higher values result in greater modulation depth.  
Pedal-Controlled Ring Modulation  
Ring modulation with its depth controlled by the expression pedal.  
Cry  
Creates an effect similar to that of a voice box, adding a human-like  
crying effect to the sound. Higher values result in greater intensity.  
Pedal-Controlled Cry  
A cry effect with its filter frequency controlled by the expression  
pedal.  
Random Sample and Hold Step Filter  
For this effect, the filter cutoff frequency changes abruptly to a  
new psuedo-random value at a fixed time interval, producing an  
arpeggiator-like sound.  
Pedal-Controlled Step Filter  
A step filter with its depth controlled by the expression pedal.  
Slow Attack  
Reduces the attack rate of the signal, slowing the rate at which the  
volume of the sound rises when you attack a string. Higher values  
result in higher sensitivity.  
Auto Pan  
Pans the signal back and forth from left to right at a constant rate  
determined by the PARAM setting. Higher values result in  
increased pan depth.  
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10 EFFECT Knob Settings  
Flanger  
Shifts the pitch of the signal up and down, creating a swirling  
effect. Higher values result in longer delay.  
Pedal-Controlled Flanger  
A flanger with its delay controlled by the expression pedal.  
Rotary Speaker  
Emulates the sound of the classic rotary, creating a Doppler effect  
similar to that achieved by an organ’s rotating speaker. Higher  
values result in greater intensity and pan depth.  
Pedal-Controlled Rotary Speaker  
A rotary speaker effect with its intensity and pan depth controlled  
by the expression pedal.  
Chorus  
Adds fullness to your sound by emulating a chorus of multiple  
instruments. Higher values indicate greater modulation depth.  
Pedal Chorus  
A Chorus effect with its modulation depth controlled by the  
expression pedal.  
Pitch Transpose  
Transposes the pitch of the signal either up or down. P0 – P4  
transpose the pitch down a minor third, a major third, a perfect  
fourth and a perfect fifth respectively. P5 – P9 transpose the pitch  
up in the same manner.  
Variable Pitch Transpose Up  
Variably transposes the pitch upward from 0 to 2 octaves  
according to the setting of the direct-control parameter (PARAM)  
for FX1.  
Variable Pitch Transpose Down  
Variably transposes the pitch downward from 0 to 2 octaves  
according to the setting of the direct-control parameter (PARAM)  
for FX1.  
Off  
Turns off FX1.  
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EFFECT Knob Settings 10  
PARAM (Direct-Control Parameter for FX1)  
This parameter modifies the operation of the effect selected for the FX1  
module. Changing between effect types with dissimilar value ranges will scale  
this value accordingly. For example, if you set Phaser to PARAM=63 and then  
switch to the Auto Wah effect, its PARAM value will be 12. Changing back to  
Phaser will result in a PARAM value of 63.  
Indicates the value of FX1’s direct-control parameter, according to  
the following:  
For Auto Wah, Phaser, Tremolo, Step Filter, Auto Pan, Flanger  
and Chorus, indicates the rate of the effect.  
For Ring Mod, indicates the rate of the modulation.  
For Slow Attack, indicates the rate of the attack.  
For Rotary Speaker, indicates the rate of the speaker rotation.  
For Pedal Pitch Transpose Up and Down, indicates the amount of  
pitch change in 1/4 semitones (from 1/4 semitone to more than 2  
octaves). Wet/dry mix is fixed at 100% wet.  
For Cry, indicates the sensitivity of the filter modulation.  
For Pitch Transpose with a fixed interval, denotes the wet/dry mix  
from 0 (100% dry) to 10 (50% wet, 50% dry) to 20 (100% wet).  
Indicates that the expression pedal controls the parameter.  
Indicates that the effect assigned to the FX1 module does not have  
a direct-control parameter (like Pedal Wah) or that FX1 is off.  
FX2 (Multi-Effect Module 2, Stereo Effects)  
This module gives you a choice of stereo effects. These effects include all those  
found in FX1 except for Flanger, Rotary Speaker, Chorus and Pitch Transpose.  
FX2 also gives you the following additional effect.  
Auto Phaser  
A phaser for which the delay is controlled by playing intensity.  
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10 EFFECT Knob Settings  
PARAM (Direct-Control Parameter for FX2)  
These parameters work exactly the same way as the direct-control parameter for  
FX1, with the following addition.  
For Auto Phaser, indicates the rate of the effect.  
FX3 (Multi-Effect Module 3, Delay-Based Effects)  
This module gives you a choice of delay-based effects. A delay is an echo of the  
original signal that can occur at varying frequency and time.  
Doubling  
Doubles the signal with a slight delay, creating the effect of two  
instruments playing at once. Higher values indicate higher intensity.  
Pedal Doubling  
Doubling effect with its intensity controlled by the expression  
pedal.  
Ping Pong Delay  
Creates a delay that bounces back and forth between the right and  
left sides of the stereo spectrum. Higher values indicate more  
feedback.  
Pedal Ping Pong  
Ping Pong Delay effect with its amount of feedback controlled by  
the expression pedal.  
Tape Delay  
Emulates the retro tape-delay effect that was created by recording a  
signal to tape and playing it back as a delay. Higher values indicate  
more feedback.  
Pedal Tape Delay  
A Tape Delay effect with its feedback controlled by the expression  
pedal; great for singling out notes or sections to echo.  
Stereo Delay  
A standard delay that occurs in stereo. Higher values indicate more  
feedback, producing a longer-repeating echo.  
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EFFECT Knob Settings 10  
Pedal Stereo Delay  
A Stereo Delay effect for which the feedback level is controlled by  
the expression pedal.  
Echo  
An echo for which higher values indicate a wetter signal and lower  
values indicate a drier signal.  
Pedal Echo  
An echo for which the wet/dry mix is controlled by the expression  
pedal.  
Hall Reverb  
Simulates the effect of sound waves bouncing off of the walls of a  
concert hall. Higher values indicate a wetter mix.  
Pedal Hall Reverb  
A Hall Reverb effect for which the wet/dry mix is controlled by  
the expression pedal.  
Room Reverb  
Simulates the effect of sound waves bouncing off of the walls of a  
room. Higher values indicate a wetter mix.  
Pedal Room Reverb  
A Room Reverb effect for which the wet/dry mix is controlled by  
the expression pedal.  
Reverse Reverb  
Creates a backwards-playing reverb that you hear immediately  
before you hear the original signal, instead of after it. Higher values  
indicate a wetter mix.  
Pedal Reverse Reverb  
A Reverse Reverb effect with its wet/dry mix controlled by the  
expression pedal.  
Plate Reverb  
Recreates the classic “plate reverb” sound achieved by using a  
metal plate. Higher values indicate a wetter mix.  
Pedal Plate Reverb  
A Plate Reverb effect with its wet/dry mix controlled by the  
expression pedal.  
37  
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10 EFFECT Knob Settings  
Chorus – same as in FX1.  
Pedal Chorus – same as in FX1.  
Flanger – same as in FX1.  
Pedal-Controlled Flanger – same as in FX1.  
Rotary Speaker – same as in FX1.  
Pedal-Controlled Rotary Speaker – same as in FX1.  
Pitch Transpose – same as in FX1.  
Variable Pitch Transpose Up – same as in FX1.  
Variable Pitch Transpose Down – same as in FX1.  
Off  
Indicates FX3 is off.  
PARAM (Direct-Control Parameter for FX3)  
This direct-control parameter works in a similar fashion as the one for FX1.  
For Doubling, Ping Pong, Tape Delay and Stereo Delay, indicates  
the length of the delay, up to one second for Tape Delay and up to  
half a second for the others.  
For Chorus, indicates the rate of the chorus.  
For Flanger, indicates the rate of the flanger.  
For Rotary Speaker, indicates the rate of the speaker rotation.  
For Pedal Pitch Transpose Up and Down, indicates the amount of  
pitch change in 1/4 semitones (from 1/4 semitone to more than 2  
octaves). Wet/dry mix is fixed at 100% wet.  
For all reverbs, higher values indicate a longer decay.  
For fixed-interval Pitch Transpose, indicates the wet/dry mix from  
0 (100% dry) to 10 (50% dry, 50% wet) to 20 (100% wet).  
38  
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EFFECT Knob Settings 10  
Indicates that the expression pedal controls the parameter.  
Indicates FX3 is off.  
DIGFX (Digital Sampling Effects)  
This effect module emulates the effect that different variations of digital  
sampling can have on an audio signal.  
Sample Rate Decimation  
Lower values indicate lower decimation frequency (more  
decimation, more aliasing).  
Pedal Sample Rate Decimation  
A sample rate decimator effect controlled by the expression pedal.  
Bit Reduction  
Higher values indicate lower resultant bit depth.  
Pedal Bit Reduction  
Bit Reduction effect controlled by the expression pedal.  
Off  
Indicates that DIGFX is off.  
LEVEL  
In this position, the display shows you the output level of the current program.  
Level  
Indicates the program output level in 2dB steps, where 25 is unity  
gain (0dB). Unity gain is the point at which the level of the output  
is the same as the level of the input.  
Pedal-Controlled Level  
Program level that is controlled by the expression pedal.  
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10 EFFECT Knob Settings  
ROUTE  
In this position, the display indicates the current signal-routing order of the FX  
modules. This ordering can have a big effect on your sound, as each effect in the  
configuration feeds into the next. Whatever the configuration, the LEVEL  
setting always comes last in line.  
This is the default order.  
This one is the default order with FX2 and FX3 swapped to put  
the delay effects in the middle of the modulation effects.  
This order places the cabinet simulator at the end, allowing it to  
emulate multiple effects pedals feeding into a cabinet.  
This one is order 2 with FX2 and FX3 swapped.  
This order is the default order with the compressor/limiter placed  
at the end, making this one ideal for recording.  
This one is order 4 with FX2 and FX3 swapped.  
This is the one to go for if you’re recording and want to sound like  
you’re running several effects pedals into a cabinet.  
This configuration is order 6 with FX2 and FX3 swapped.  
40  
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11 Troubleshooting  
Symptoms  
Cause  
Solution  
Spitfire does not  
function (no display or  
audio).  
Unit not plugged in.  
Make sure the power cord  
is plugged into a proper  
AC outlet.  
Fuse is blown.  
Replace fuse with one  
that matches the criteria  
listed on the rear panel.  
Audio distorted, even  
in BYPASS.  
Input level too high.  
Output level too high.  
Reduce instrument  
output level.  
Turn down master  
volume.  
No sound, level low.  
Incorrect input/output  
connections.  
Refer to chapters 2 and 3  
for details on which types  
of cords to use.  
Master volume or  
program level set too low.  
Change setting.  
Guitar too quiet  
compared to CD  
audio.  
Incoming CD audio is  
too loud.  
Reduce the output of the  
CD player.  
Program level is set too  
low.  
Increase Program Level  
setting.  
Stereo-linking not  
working.  
Amplifiers are not  
connected properly.  
Make sure Stereo Link  
Output is connected to  
input of auxiliary  
amplifier.  
Amplifiers are stereo-  
linked but effects  
aren’t in stereo.  
A stereo effect isn’t  
selected.  
Make sure you are using a  
stereo effect and not  
mono.  
Footswitches not  
functioning properly.  
When the Spitfire was  
turned on, footswitches  
were not plugged in or  
footswitches were  
pressed.  
Turn off amplifier, make  
sure footswitches are  
plugged in and not  
pressed, and then turn on  
amplifier.  
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11 Troubleshooting  
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12 Specifications  
Output Power Rating  
SpitFire 15:  
SpitFire 30:  
SpitFire 60:  
15W RMS Mono in 8  
30W RMS Mono in 8Ω  
60W RMS Mono in 8Ω  
Internal Speaker Size/Power  
SpitFire 15:  
SpitFire 30:  
SpitFire 60:  
8” Driver / 18W RMS  
10” Driver / 34W RMS  
12” Driver / 70W RMS  
Internal Speaker Sensitivity  
SpitFire 15:  
SpitFire 30:  
SpitFire 60:  
95dB/W/m  
98dB/W/m  
99dB/W/m  
Internal Speaker Max Output  
SpitFire 15:  
SpitFire 30:  
SpitFire 60:  
105dBSPL @ 1m  
111dBSPL @ 1m  
115dBSPL @ 1m  
Amplifier Specifications  
Input Connector:  
Input Impedance:  
Max Input Level:  
Frequency Response:  
THD+N:  
1/4” TS (Unbalanced Mono)  
>500KΩ  
2.0Vp  
5Hz-34KHz  
<0.15% at 1W  
<3% at Rated Power  
THD+N:  
Speaker Output  
Output Connector:  
Output Impedance:  
Max Output Level:  
Speaker Impedance:  
1/4” TS (Unbalanced)  
0.1Ω  
Rated Power into 8Ω  
>8Ω  
Heaphone Output  
Output Connector:  
Output Impedance:  
Max Output Level:  
1/4” TRS (Unbalanced Stereo)  
2.2Ω  
2.4Vp (100Kload)  
Headphone Impedance: >16Ω  
Aux Input  
Input Connectors:  
Input Impedance:  
Max Input Level:  
RCA (Unbalanced Stereo)  
100KΩ  
2.0Vp  
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12 Specifications  
Stereo Link Output  
Output Connector:  
Output Impedance:  
Max Output Level:  
1/4” TS (Unbalanced)  
2.2Ω  
2.4Vp (100Kload)  
Destination Impedance: >1KΩ  
Expression Pedal Input  
Intput Connector:  
Tip Output Level:  
1/4” TRS (Balanced Mono)  
3.3VDC  
Tip Output Impedance: 50K-150KΩ  
Ring Input Level: 1.6VDC-2.5VDC  
Ring Input Impedance: 36KΩ  
Sleeve Output Level:  
1.6VDC (Reference Out)  
Sleeve Output Impedance:100Ω  
FootSwitch Inputs  
Connector:  
Impedance:  
1/4” TS (Unbalanced)  
10KΩ  
Accepted Switch Type: Single-Pole, Single-Throw  
Normally Open or Normally Closed  
Signal Processing Specifications  
Sample Rate:  
31.25KHz  
Effect Modules:  
Programs:  
A/D Converter:  
D/A Converter:  
8
8 Banks x 10 Programs = 80  
20-bit, 64x oversampling  
20-bit, 128x oversampling  
A/C Power Requirements (Refer to the Rear Panel)  
SpitFire 15:  
SpitFire 30:  
SpitFire 60:  
25W - 120VAC~ or 230VAC~  
45W - 120/230VAC~  
90W - 120VAC~ or 230VAC~  
Mechanicals  
SpitFire 15:  
14.25” x 13.25” x 7.15” /  
360mm x 335mm x 180mm, 17.0lb/7.7kg  
16.25” x 15.25” x 8.15” /  
415mm x 385mm x 205mm, 24.0lb/10.9kg  
18.40” x 17.50” x 9.40” /  
SpitFire 30:  
SpitFire 60:  
465mm x 445mm x 240mm, 32.0lb/14.5kg  
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13 Contact Information  
Alesis Distribution, LLC  
Los Angeles, USA  
E-mail:  
Website:  
Spitfire User Manual  
Version 1.0 by Edwin Erdmann  
Copyright 2003, Alesis Distribution, LLC. All rights  
reserved  
Reproduction in whole or in part is prohibited.  
Specifications subject to change without notice.  
7-51-0148-B  
10/21/2003  
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