HK hu1705 schematic
Service Documents
Confidential, for authorized service technicians only!
Do not disclose this information to or share these documents
with third parties.
Vertraulich! Nur für autorisierte Servicetechniker!
Nicht zur Weitergabe an Dritte freigegeben!
TECHNICAL SERVICE:
Stamer Musikanlagen GmbH • Magdeburger Str. 8 • 66606 St.Wendel • Germany
Music & Sales P.E. GmbH • Leipziger Str. 3 • 66606 St.Wendel • Germany
Note!
The components used in this product - particularly parts
affecting safety as well as speakers and transformers were developed and manufactured to certain specifications.
Please use original spare parts only to ensure the product
remains fully functional and safe.
Achtung!
Die in diesem Produkt verwendeten Komponenten, insbesondere sicherheitsrelevante Teile, Lautsprecher und Transformatoren wurden nach spezifischen Vorgaben entwickelt und gefertigt. Bitte benutzen Sie ausschließlich Original-Ersatzteile –
nur so ist die volle Funktionalität und Sicherheit gewährleistet.
SwitchBlade
Series
100 Combo
2006/07/28
Directory
features page: 3-11
drawing-numbers-example page: 12
standard for single wire confection page: 13
HU1705-SwitchBlade 100 page: 14
exploded drawings: complete Rev.: A page: 15-16
wooden cabinet Rev.: A page: 17-18
chassis/ cabling Rev.: A page: 19-22
preamp assembly Rev.: A page: 23
poweramp assembly Rev.: A page: 24
preamp Rev.: 2B page: 25-27
poweramp Rev.: D page: 28-29
FX-board Rev.: C page: 30
footswitch Rev.: A page: 31
spare parts list Rev.: A page: 32-35
circuit diagrams preamp Rev.: 2A page: 36-38
poweramp Rev.: F page: 39-40
FX-board Rev.: C page: 41
footswitch Rev.: A page: 42
layout diagrams preamp Rev.: 2A page: 43
poweramp Rev.: D page: 44
FX-board Rev.: C page: 45
footswitch Rev.: A page: 46
Switchblade
1 The Fundamentals of Handling
SWITCHBLADE is a tube amp and, as such, works like as a tube amp.
Nevertheless, the handling concept is rather advanced, so time spent
familiarizing yourself with it is time well spent.
At first glance, the knobs look and feel like standard-issue gear:
Control range 300 degrees; 0-10 clockwise; left and right stops.
At second glance, though, you’ll discover that there is just a single set
of knobs to serve all four Channels. One
one three-band EQ – that’s it. The selected Channel determines if the
GAIN knob addresses the CLEAN, CRUNCH or LEAD Channel.
The great advantage of this concept is that Channels are independent
and do not share the Gain, Master or voicing knobs; even Presence
is separately adjustable for every Channel and every setting can be
programmed individually to each of the 128 Presets!
Apart from the
STANDBY), this applies to all of SWITCHBLADE’s control features, that is:
VOLUME MASTER knob (and of course MAINS and
• the Channels: CLEAN, CRUNCH, LEAD, ULTRA
• the Channel settings: GAIN+BOOST, BASS, MID, TREBLE,
PRESENCE, MASTER
• the effect parameters: MOD FX, TIME, FEEDBACK, VOLUME, REVERB
• the effect routing options for external devices: FX ON/OFF, SERIAL/PARALLEL
GAIN, one Channel MASTER,
reflect the setting programmed in the Preset. This means you may
well hear something other than what you’re seeing would suggest. As
soon as you touch the knob, it will respond like any other conventional
knob. The ORIGINAL VALUE LED in the
the Preset setting. It lights up as soon as the position of the knob
corresponds to the Preset setting. More on this in chapter 4.3.
Note: You may hear a soft background sound when you twist the
knobs. This is a switching noise made the programmable resistor
matrix located behind each knob.
MASTER section tells you
2 The SWITCHBLADE’s Channels
SWITCHBLADE offers four Channels with markedly different sonic
characters. Courtesy of
more and more powerful sound-shaping options: The knobs are not
hardwired to the internal circuits, so we were able to tweak their
control ranges and performance to make the most of each Channel’s
characteristic sound.
A chickenhead knob is sited at the far right of the
that’s the Channel Selector. Use it to switch among the four Channels
along with their
settings.
SWITCHBLADE’s programmability, you enjoy
CHANNEL section–
GAIN, BASS, MID, TREBLE, PRESENCE and MASTER
You won’t find any control features for managing the 128 Presets
on Switchblade. The included FSM 432 MIDI board or another MIDIenabled controller serves to select Presets and assign memory slots.
More on this in chapter 6.
Note: A knob setting programmed in a Preset and the knob’s actual
setting are not necessarily the same. They are independent: When you
switch from one Preset to another, the knob’s actual position may not
16
Note: When you first power up your amp and change Channels, you will
dial up factory settings (see chapter 6.3.2 to learn more). As soon as you
begin dialing in sounds to your taste, it will adopt your Channels settings.
And it recalls your most recently configured sound for each Channel. You’ll
find this to be a tremendous help when programming. More on this in
chapter 6.
2.1 Clean Channel
Tuned to rival classic Californian tone, Switchblade’s Clean Channel
delivers a spectrum of sweet sounds ranging from crystal-clear to
remarkably responsive Crunch tones. The programmable Presence control
adds silken warmth as well as sparkling shimmer to the sonic equation.
Switchblade
2.2 CRUNCH Channel
Classic British overdrive à la carte! The
CRUNCH Channel covers the
diverse tonal spectrum from Clean to mean, and all points in between.
The Gain control’s integrated Boost function transforms tight rhythm
tone into a throaty growl perfect for rockin’ riffs.
2.3 LEAD Channel
The LEAD sound is the first choice for hard-rockin’, classic British
high-GAIN tone to fuel Leads, power chords and riffs. Courtesy of its
fine-tuned compression, this Channel delivers the lubricant that makes
those slick riffs and licks fly off your fingertips.
2.4 ULTRA Channel
American high-Gain sound with sumo-sized low end and snarling top
end. The
ULTRA Channel delivers the kind of merciless performance
that is sure to delight nu metal meisters and dropped tuning
aficionados. Ultra is also an alluring alternative for guitarists seeking to
super-size their sound with a high-calorie topping of rich tone.
2.5 GAIN
The GAIN knob determines Input sensitivity and thus the Level of
saturation and distortion.
feature: Just before the knob arrives at the far right position, a
SWITCHBLADE’s GAIN offers a special
BOOST
stage kicks in (and the red LED lights up). Now, when you see Boost
on other amps, this usually means all frequencies are boosted. But
Switchblade’s Boost amplifies selected frequency ranges for each
Channel to attain creamier tone.
2.6 BASS, MID, TREBLE
The voicing section is tweaked to accomplish the best, most efficient
sound-shaping for each Channel. Getting right to the heart of the sonic
matter, every knob addresses each Channel’s characteristic frequency
ranges. Like on every tube amp, the knobs of a Channel influence each
other. That is, if you boost the Treble, the midrange is cut and vice
versa. This puts a much greater range of subtle tonal variations at your
fingertips.
2.7 PRESENCE
This knob determines the overtone content. Unlike a
which boosts whatever high frequencies are available,
TREBLE knob,
PRESENCE
actually determines the amount of harmonic overtones generated by
the amp. Usually a
PRESENCE knob controls the overtone content
of the overall amp rather than of individual Channels. Courtesy of
SWITCHBLADE’s programmability, you can define PRESENCE settings
not only for each Channel, but also for each Preset.
2.8 MASTER
Use the Channel
MASTER knob to adjust the given Channel’s Volume
and balance it out with the other Channels’ Levels. On Switchblade this
knob serves another vital purpose: It lets you store the same sound
at different Volumes to any of the 128 Presets, for example, a softer
version for rhythm and a louder setting for Leads.
Note: The Channel MASTER is a different breed of knob. It adjusts the
Channels’ relative levels, and is tweaked to help you quickly dial in the
best balance. Unlike a conventional Master knob, it can’t be turned
all they way Down; it merely boosts or cuts the given Level. This
design makes musical and practical sense: The Clean Channel normally
requires a much higher Master Level than a distorted Channel, which
is why it is about as loud as the other Channels when the knob is set
to the center position. That’s why the 12 o’clock position is always the
best starting point for adjusting Volume.
3 Digital Effects
SWITCHBLADE offers three independent digital effect sections that can
be used simultaneously. Like Channel settings, all ef fect settings are
programmable.
Note: The internal effects are added to the signal via an intelligent
analog circuit. Effect routings in no way comprise the integrity of
SWITCHBLADE’s tube tone, which remains intact in all its quality.
3.1 REVERB
SWITCHBLADE’s Reverb is modeled to match the warmth and musicality
of classic spring Reverbs. A genuine improvement over its analog
forebears, it automatically adjusts the Reverb tail to suit the setting: The
REVERB you add to the signal, the longer the REVERB time.
more
3.2 DELAY
The Delay section’s
total control over all parameters. This lets you dial in everything from
rockabilly style slap-back echo to U2-inspired Delay extravaganzas and
Queen-like bombast.
3.2.1 VOLUME
Adjusts the Volume of the repetitions, sweeping from all the way off to
just as loud as the original signal.
3.2.2 FEEDBACK
Adjusts the number of repetitions from one to infinite.
3.2.3 TIME
Adjusts the Time to the next repetition from 80 ms to 1.4 s.
TIP: TIME can be remote-controlled via the included FSM 432 using
the TAP function. This lets you respond quickly and conveniently to
timing changes. You’ll find TAP to be a very helpful feature, particularly
on stage! More on this in chapter 6.1.3
3.3 MOD FX
The three most important modulation effects are
and TREMOLO, and they’re all on board, readily activated via a single
knob. CHORUS is active in the first third, FLANGER in the second third,
and TREMOLO in the final third of the control range. You can shape the
effect within its assigned third of the control range using this knob. The
parameters were tweaked to make musical sense: A twist of the knob
is all it takes to get the desired effect. Twisting clockwise adjusts the
rate of the modulation effects. Modulation depth is adjusted
VOLUME, TIME and FEEDBACK knobs afford you
CHORUS, FLANGER
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17
Switchblade
automatically according to the rate so that every knob position gives
you the best effect sound. To switch modulation effects off, simply
twist the knob to the far left-hand position.
3.3.1 CHORUS
At slow settings, the
CHORUS sounds thick and lush, providing a great
sound for buoyant ballads. And because effect depth is adjusted automatically, fast
CHORUS settings don’t evoke that dreaded seasick tone.
3.3.2 FLANGER
Slow FLANGER settings yield a stately sweeping whoosh effect, while
faster settings give you swirly effects often heard in contemporary rock
and pop tunes.
3.3.3 TREMOLO
The classic
TREMOLO effect is great for dialing in typical sounds of the
‘60s as well as contemporary effect sounds.
4 Master
The Master section lets you adjust the amp’s overall Volume, route
external ef fects, and store Presets.
4.1 VOLUME
4.4.1 SERIAL
Switches the effects loop from Parallel (LED does not light up) to Serial
(LED lights up).
4.4.2 FX ON
Switches the effects loop on (LED lights up) and off (LED does not light up).
Tip: If you have not inserted an effect device into the FX Loop, you
can use this circuit for other purposes and store the configurations
individually in each preset:
•
In parallel mode, you can use the RETURN jack to connect a second
instrument or any other audio source. You can also route the amp’s
signal to a second power amp.
•
In serial mode, the effects loop lets you control the amp’s volume
remotely by simply connecting an analog Volume pedal to
RETURN.
Caution: The signal chain is severed if the effects loop is configured
serially and no effect device is connected. Send is not the best to-mixer
routing option because it accesses the preamp signal only. Patch the
power amp signal to a mixing console via the Hughes & Kettner
Red Box® and the speaker outputs.
SEND/
5 Rear Panel Connections and Control Features
As the name would indicate, this knob puts the power amp at your
thumb and forefinger’s command. Exercise restraint when handling
this knob to make music a pleasant rather than a painful experience.
Handling: Unlike the Channel and effect knobs, the MASTER VOLUME
knob is not programmable! It works like any standard knob, and the
position of the knob indicates the actual setting.
Caution: High volume levels can cause hearing damage. Spare yourself
a nasty surprise and twist the MASTER VOLUME knob to the far lefthand position before powering the amp up.
4.2 STORE
STORE button to save your Presets. See chapter 6.4
Use the
for more info.
4.3 ORIGINAL VALUE
This LED tells you which knob setting is stored in the given Preset.
To this end, select a Preset, grab the knob and twist it to the left or
right until this LED lights up. The setting at which the LED lights up
corresponds to the setting stored in the Preset.
4.4 FX LOOP
SmartLoop™ is a special effects routing circuit offering a switchable
Parallel/Serial effects loop for patching in external ef fect devices.
Its status is stored in each Preset, that is, whether it is on or off and
configured in a parallel or serial circuit.
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5.1 EFFECTS ON/OFF
®
This port accepts the two-way Hughes & Kettner
FS-2 footswitch.
Button 1 switches internal effects; button 2 the external effects loop.
The FS-2’s LED lights up to indicate ef fects are active and the
FX ON
button is engaged. It does not light up if the internal effects are
bypassed or the
Note: The footswitch deactivates the FX ON button on the front panel!
When a footswitch is connected, it always has priority. The current
status of the footswitch is valid when switching Channels, irrespective
of the switching status stored in the preset! The front panel FX ON
button now serves as an LED display indicating the status of the
footswitch.
FX ON button is switched off.
5.2 CHANNEL SELECT
If you ever leave your MIDI board behind, this flexible fall-back
connector for footswitches will help get you through the gig. It lets
you switch remotely between two Channels, say
using standard one-way footswitches such as the Hughes & Kettner
FS-1. A two-way footswitch such as the Hughes & Kettner
CLEAN and ULTRA,
®
FS-2
®
may also be connected. In this case, button 1 is responsible for the
Channels, and button 2 is disabled.
four-way Hughes & Kettner
Kettner® Trilogy and Matrix amp. It lets you switch all four Channels.
SWITCHBLADE even accepts the
®
FS-4 footswitch that ships with Hughes &
Switchblade
Note: The footswitch changes the Channels only, and not presets.
That is, it activates the most recent Channel settings and it does not
switch effects.
5.3 FX LOOP
If you wish to use an external effect device, you can insert it into the
FX LOOP.
5.3.1 FX SEND
Connect this jack to your effects processor‘s input jack.
5.3.2 FX LEVEL
This button cuts the
FX RETURN’s input sensitivity by 10 dB to match the FX Loop to the
FX SEND’s output level by 10 dB and boosts the
effect device’s input level. Press this button when using processors
designed to handle instrument levels.
5.3.3 FX RETURN
Connect this jack to your effects processor‘s output.
5.4 MIDI
SWITCHBLADE is MIDI-enabled, meaning that it communicates with
other MIDI devices.
5.4.1 MIDI IN
®
Connect the included Hughes & Kettner
FSM 432 or any other MIDI
sender to this port so that you can select and switch Presets remotely.
Though this is a seven-pin port, you can connect a standard five-pin
MIDI cable. The two additional terminals serve to supply phantom
power to the FSM 432.
in parallel, the resulting resistance (R) is calculated by multiplying the
two individual resistances and dividing their product by the sum of the
individual resistances. Use the following formula to do this:
R = ( R1 x R2 ) / ( R1 + R2 )
Take as an example a one 8-ohm and one 16-ohm cabinet:
R = ( 8 x 16 ) / ( 8 + 16 )
R = 128 / 24
R = 5.33
The cabinets’ impedance may never be lower than the amp’s output
impedance, so this combination must be connected to the 4-ohm
output. However, we strongly advised against configuring setups with
mismatched cabinets, and highly recommend using combinations of
cabinets with the same impedance!
6 MIDI Control and Programming
6.1 FSM 432
The included Hughes & Kettner
control serving to select the 128 memory slots conveniently arranged
in 32 Banks of four presets each. You can easily configure setups any
way you wish, say by assigning the four presets of a bank to a song.
®
FSM 432 MIDI board is a remote
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5.4.2 MIDI THRU
This port forwards signals patched into the
MIDI IN port to other
devices. You can connect any external MIDI-enabled signal processor
or any MIDI receiver that you wish to switch synchronously with
SWITCHBLADE.
5.5 SPEAKERS
SWITCHBLADE offers separate outputs for all standard impedances:
You have 1 x 4-ohm, 1 x 8/2 x 16-ohm, and 1 x 16-ohm outputs at
your disposal. Always ensure the impedance (that is, the ohm value) is
correct. Mismatches can corrupt the sound (high-impedance speaker
connected to a low-impedance output) and harm the amp (lowimpedance speaker connected to a high-impedance output).
Note: You may of course connect several cabinets to one port, even
if they have different impedances. Usually speaker cabinets are
connected in Parallel. Two cabinets of the same impedance connected
in Parallel have half the impedance of a single cabinet. For example, if
you have two 8-ohm cabinets, you must connect these to the 4-ohm
output. If you connect two cabinets with different impedances (R1, R2)
6.1.1 PRESET A B C D
Presets within a bank can be activated directly, that is, switching from
A to B within the same bank occurs immediately. The LED above the
A,B,C,D buttons indicates the preset.
6.1.2 BANK UP/DOWN
If you want to call up a preset in another bank, you can select the bank
via UP and DOWN while continuing to play using the current preset.
The number of the bank is indicated in the display, and it flashes until
you select a preset via A,B,C,D. Not until then will
SWITCHBLADE load
the new preset.
DIRECT MODE is available if you wish to trigger a direct program
change via bank Up/Down. In this mode, the FSM 432 will not wait for
your input, instead switching immediately, for example, from preset
B in bank 16 to preset B in bank 17 (
UP) bank or 15 (DOWN). Direct
Mode is activated as follows:
• Press and hold TAP, and then press PRESET A.
• First release PRESET A, and then TAP: The decimal point in the
display lights up.
Follow the same sequence to deactivate
than permanent,
DIRECT MODE is automatically deactivated when you
DIRECT MODE. Volatile rather
power SWITCHBLADE down!
19
Switchblade
6.1.3 TAP
The TAP function gives you a very fast and convenient option for
changing the Delay’s
on stage: Simply tap your foot on the
groove to match delay Time to the tempo. The ef fect adopts the new
time after the second tap. The
in time with the beat to give you a visual indication of the delay time.
Note: The TAP function works only when the DELAY is active. If the
DELAY is off, the effect will not adopt your TAP tempo.
6.1.4 Switching External Devices via the
FSM 432, Setting the MIDI Send Channel
If you wish to switch devices connected to
– say, a MIDI effect device – using the FSM 432, ensure the effect
device is set to the FSM 432’s MIDI Channel or to
device’s manual for more info.
To set the FSM 432’s MIDI Send Channel, proceed as follows:
• Turn SWITCHBLADE on while pressing the FSM 432’s PRESET A
button. The display flashes.
• Release button A. Use UP/DOWN to view and set the MIDI Channel
to a number between 1 and 16.
• Quit and store by pressing the PRESET A button.
Caution: If SWITCHBLADE and FSM 432 are not set to the same
MIDI channel, the amp will not respond to program changes!
Activating OMNI solves the problem in the event of an “emergency.”
See chapter 6.2 to learn more.
Note: If an external effect device is connected to MIDI THRU and
you want to switch Switchblade and the effect device simultaneously
with the same program change command, you must configure
Switchblade’s Store function and program this device accordingly.
Note: The table above should be big help if you wish to switch the
Presets of a device connected to the MIDI THRU directly via the
FSM 432. It shows the program changes sent by the bank/preset
combination. Please bear in mind that some MIDI devices switch
program 1 via program change command 0. If this is the case with
your outboard gear, simply add a 1 to each value indicated in this
table to activate the desired program.
TIME parameter. TAP comes in particularly handy
TAP button in Time with the
TAP LED flashes for about five seconds
SWITCHBLADE MIDI THRU
OMNI. Consult the
Bank
Preset
Programchange
Number
Bank
Preset
Programchange
Number
Bank
Preset
Programchange
Number
Bank
Preset
Programchange
Number
1 A 0 9 A 32 17 A 64 25 A 96
1 B 1 9 B 33 17 B 65 25 B 97
1 C 2 9 C 34 17 C 66 25 C 98
1 D 3 9 D 35 17 D 67 25 D 99
2 A 4 10 A 36 18 A 68 26 A 100
2 B 5 10 B 37 18 B 69 26 B 101
2 C 6 10 C 38 18 C 70 26 C 102
2 D 7 10 D 39 18 D 71 26 D 103
3 A 8 11 A 40 19 A 72 27 A 104
3 B 9 11 B 41 19 B 73 27 B 105
3 C 10 11 C 42 19 C 74 27 C 106
3 D 11 11 D 43 19 D 75 27 D 107
4 A 12 12 A 44 20 A 76 28 A 108
4 B 13 12 B 45 20 B 77 28 B 109
4 C 14 12 C 46 20 C 78 28 C 110
4 D 15 12 D 47 20 D 79 28 D 111
5 A 16 13 A 48 21 A 80 29 A 112
5 B 17 13 B 49 21 B 81 29 B 113
5 C 18 13 C 50 21 C 82 29 C 114
5 D 19 13 D 51 21 D 83 29 D 115
6 A 20 14 A 52 22 A 84 30 A 116
6 B 21 14 B 53 22 B 85 30 B 117
6 C 22 14 C 54 22 C 86 30 C 118
6 D 23 14 D 55 22 D 87 30 D 119
7 A 24 15 A 56 23 A 88 31 A 120
7 B 25 15 B 57 23 B 89 31 B 121
7 C 26 15 C 58 23 C 90 31 C 122
7 D 27 15 D 59 23 D 91 31 D 123
8 A 28 16 A 60 24 A 92 32 A 124
8 B 29 16 B 61 24 B 93 32 B 125
8 C 30 16 C 62 24 C 94 32 C 126
8 D 31 16 D 63 24 D 95 32 D 127
6.2 Setting Switchblade’s MIDI
Channel and Switching OMNI
Press the
SERIAL button longer than two seconds when SWITCHBLADE
is in normal operating mode, and the
ON/OFF
ORIGINAL VALUE LED will start
flashing. This assigns special programming functions to the amp’s LEDs
and buttons:
20
FX ON
Now serves as a +1/
UP button for setting the MIDI Channel.
Serial
Now serves as a -1/
DOWN button for setting the MIDI Channel.
Store
OMNI ON/OFF switches. If the STORE button (OMNI On) lights up,
SWITCHBLADE responds to all incoming program changes, irrespective
of the MIDI Channel over which they are sent. If the light on the button
is extinguished (
OMNI OFF), it responds only to messages sent via the
defined MIDI Channel.
Switchblade
FACTORY SETTING: MIDI CHANNEL = 1, OMNI = ON
Note: OMNI ON is helpful if you are unsure via which channel
a connected MIDI device sends its messages.
During the MIDI setup routine, the LEDs that normally indicate the
preamp Channel indicate the MIDI Channel. The following table MIDI
Channel lists the MIDI Channel settings in what is called binary code:
MIDI-Kanal Boost Clean Lead Ultra
1
2
3
10
11
12
13
14
15
16
4
5
6
7
8
9
Press and hold SERIAL for a few moments to quit the MIDI setup
routine and store the settings. The amp returns to its most recent
operating status (normal mode).
6.3 Factory Settings and Factory Reset
A factory reset is a seldom needed feature. Nevertheless, be sure to
read the explanation carefully to ensure you don’t accidentally delete
your presets.
6.4 Storing Settings/Programming
You have two options for storing a preset to one of the 128 memory
slots: Select a new memory slot via MIDI (6.4.1) or overwrite the
preset directly at the device (6.4.2).
6.4.1 Selecting a New Memory Slot via MIDI Learn
• Press the STORE button briefly; it lights up to signify that it is armed
(MIDI Learn).
• Select a MIDI bank from 1 to 32 on the FSM 432; it flashes to signify
that the FSM 432 is waiting for input via one of the four preset
buttons A to D.
• Engage preset button A,B,C or D; the board stops flashing, the light
STORE button extinguishes, and the preset is stored.
on the
Caution: When the FSM 432 is in DIRECT MODE (see chapter 6.1.2),
a BANK UP/DOWN command also triggers the storage process! We
recommend deactivating Direct Mode when programming to prevent
inadvertent overwriting of presets.
Note: Here’s how to proceed for other manufacturers’ MIDI boards
and MIDI-enables devices: Arm
STORE button and selecting the desired memory slot. As soon as
SWITCHBLADE receives a valid program change command, the STORE
button extinguishes and the preset is stored.
SWITCHBLADE by engaging the
If an error occurs (the amp remains armed), you can cancel the storage
process by pressing
STORE again.
6.4.2 Overwriting Presets Directly at the Device
There is an easier way to overwrite the most recently selected preset
than going from the amp to the MIDI board and back after every edit:
Press and hold the
about two seconds). The
flash to confirm. Then you can release the
STORE button until its light extinguishes (after
ORIGINAL VALUE and the Channel LEDs also
STORE button and your
settings are stored.
7 Replacing Tubes, Service
and Preventive Maintenance
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6.3.1 Triggering a Factory Reset
If you press
STORE and FX SERIAL simultaneously while powering the
amp, all settings are reset, including the 128 MIDI-switchable presets
and the basic MIDI configuration.
6.3.2 Factory Presets and Basic MIDI Configuration
The A to D presets of all banks correspond the channel settings; that is,
all 32 banks have the same settings: Preset A corresponds to Clean, B
to Crunch, C to Lead, and D to the Ultra Channel.
The basic MIDI configuration is:
• OMNI ON • MIDI Channel: 1
• FX ON is switched off. • SERIAL is deactivated.
CAUTION: This procedure is a last-resort option! It irrevocably wipes
out all stored settings.
SWITCHBLADE is factory-loaded with EL34 and 12AX7 tubes. Once
they’ve been burned in – that is, operated continuously under a load –they
are subjected to a rigorous selection process. Their electrical specs and
mechanical status (microphonics) are checked, and then they are installed
in an amp and their sonic performance is auditioned. One of the most
important steps in this process is tube matching, whereby tubes with the
same characteristics are teamed up in matched sets of power tubes.
When to Replace Tubes
The tubes in
SWITCHBLADE are exemplary in terms of quality,
workman-ship and long service life. Nonetheless, tubes show definite
signs of wear when their service life is nearing its end. Telltale signs are
increased microphonics, noise and hiss, muddier tone through loss of
high-end frequencies, degraded performance, etc. Take these indications
seriously and replace old tubes. Not only do these side effects take their
toll on sound quality, they also indicate the aging tube will soon fail!
21
Switchblade
Note: Replacing tubes for experimentation purposes is not
recommended. Installing the wrong tubes will damage the amp and
cost you a lot more than you bargained for in repair costs.
Before you start swapping tubes, ask yourself these questions:
• Was the fault or failure of the tube caused by the tube itself or by a
flawed peripheral device or component, perhaps a defective speaker
cable? If you don’t get to the bottom of the problem and remedy it,
it may crop up again even after you replace the tubes.
• Did the Mains voltage fluctuate or spike while the amp was on? In
all-tube amps, over-voltage surges in the Mains net can certainly
cause drop-outs. Over-voltages are often caused by generators and
faulty high-current power circuits.
• Perhaps a fuse blew even though none of the tubes is actually
defective? An old fuse, tube de-ionization or Mains voltage power
surges may have triggered the fuse.
Things to Bear in Mind When Replacing Tubes
Replacing tubes is a job best left to qualified professionals!
Accordingly, the following guidelines are addressed and apply to
qualified service technicians only:
• Pull Switchblade’s Mains plug and allow for a discharge time of at least
two minutes before removing the chassis from the rear of the amp.
• Once the chassis has been removed, carefully ease the tubes out of
their sockets.
• A single power tube may only be replaced if the replacement tube
precisely matches the original, that is, the old and new tubes’
characteristics are identical.
• When a new matched set of power tubes with characteristics
identical to the old set is installed, it is not absolutely necessary to
re-bias the amp.
• The amp must be biased when a replacements set’s characteristics do
not match the original set’s. This requires experience and extensive
working knowledge in measuring techniques, which is why this is a
job for qualified technicians with tube amp tuning experience.
How to Prolong Tube Life
• Never operate Switchblade without connecting a load (loudspeaker)!
• Never connect speaker cabinets with an impedance that is too high
or low!
• Always use high-quality, heavy-duty speaker cords that won’t crimp!
• Use the STANDBY switch for short breaks!
• Avoid exposing the amp to vibrations, especially when it’s powered up.
• Switch the amp off well before transporting it to allow tubes to cool
off completely.
• Make sure all peripheral devices and connecting cords are in a state
of good repair!
• Ensure air can circulate freely around the amp’s ventilation slots at
all times!
• Never expose Switchblade to extreme heat or cold!
• Prevent the intrusion of dust and moisture!
• Always check peripheral gear’s specs to ensure these accessories are
suitable for the amp.
• Never connect devices with high output signal Levels to
Switchblade’s Input.
• Never operate the amp with Mains power that is too high or too
22
low. When in doubt ask the venue’s sound technician or facility
engineer.
• Refrain from DIY repairs! Also have a qualified technician replace
internal fuses.
8 Troubleshooting
Mains connection: SWITCHBLADE
won’t power up when you switch it on.
• It‘s not getting AC power. Check the Mains cord to see if it is
connected and firmly seated.
• The Mains fuse is defective. Ensure it is replaced with another fuse
bearing the same rating.
• The local Mains voltage does not match Switchblade’s operating voltage
Available Voltages and How to Adapt Them
Switchblade ships in two versions rated for 110/120V and 220-240V.
You will find the rating indicated on the housing above the Mains
socket. Both models offer two operating voltages that are selected
using the voltage selector integrated in the Mains socket. Ensure that
the Mains voltage matches the voltage rating appearing in the voltage
selector window. This value is legible when the amp is in the standard
operating position, that is, placed right side up. The upright number
indicates the currently selected voltage, and the inverted number
indicates the alternative voltage. Check also the fuse ratings to ensure
they match the ratings indicated on the rear panel.
Voltage selection and fuse replacement may be performed by
experienced service technicians only. Accordingly, the following notes
are addressed exclusively to service technicians:
• Use a small flat screwdriver to remove the voltage selector from the
Mains socket.
• If the fuse is defective, replace it with a fuse bearing the specified rating.
• Turn the voltage selector and insert it back into the port so that the
desired Mains voltage rating is legible and appears at the top left
(next to the “Voltage Setting” arrow).
HEAD / COMBO 100
Switchblade
COMBO 50
Switchblade is connected
properly, but no sound is audible.
• The guitar’s VOLUME knob is turned all the way down.
• The amp is set to STANDBY.
• The amp’s VOLUME knob is turned all the way down.
• The effects loop is active and set to SERIAL, but no ef fect device is
connected.
• The anode fuse has blown. Ensure that it is replaced with a fuse of
the same rating.
• The fuse for the tube heating tripped (the tubes don’t glow). Ensure
that it is replaced with a fuse bearing the same rating.
The amp makes ringing noises
when played and tends to Feedback.
• One or several tubes are microphonic. Replace the defective tube
with another of the same type.
Signs of tube wear such as increased microphonics and
noise, Treble loss, weak power output or muddy sound
begin reappearing just a few hours after replacing tubes.
• The wrong tubes were installed when old tubes were replaced or
the amp was not biased properly. Take the amp to a professional to
correct the problem.
The sound is washed out or muddy when you switch an
effects processor on.
• The signal processor provides a wet signal that is blended with
the dry or original signal. Depending on the type of effect, the
processor may be returning a dry signal back along with wet signal,
which causes phase cancellations when mixed to the dry signal in
Switchblade’s Parallel loop. To prevent this, set the effects loop
to SERIAL or turn the dry signal all the way down on the signal
processor.
english
23
Switchblade
9 Technical Specifications
All level indications relate to 0 dBV (1V RMS).
9.1 Inputs
INSTRUMENT Input
Input: 6.3 mm (1/4”) jack
Type: unbalanced
Input impedance: 1 MW
Sensitivity: - 50 dB (Clean Channel)
Max. Input Level: 0 dB
FX Return
Input: 6.3 mm (1/4”) jack
Type: unbalanced
Input impedance: 48 k W
Max. sensitivity: -10dB button engaged: - 21 dB,
disengaged: - 11 dB
Max. Input Level: -10dB button engaged: + 0 dB,
disengaged + 10 dB
MIDI IN
Port: DIN 45 329 (7-pin )
Data reception: Program change data, Tap Delay function
Channels: 16, Omni mode
Power supply: 15V DC max. 200mA, pin 6 = positive,
pin 7 = negative
9.2 Outputs
FX Send
Output: 6.3 mm (1/4”) jack
Type: unbalanced
Output impedance: 2.2 k W
Output Level: + 3 dB
Max. output Level: -10dB button engaged: - 2 dB,
disengaged: + 8 dB
MIDI THRU
Port: DIN 45 328 ( 5-pin)
Data handling: All data sent to MIDI IN are patched
out unchanged.
9.3 General Electrical Data
Switchblade 100 Head/Combo Switchblade 50 Combo
Max. current consumption:
440 watts 290 watts
Max. power consumption:
1.75A @ 240 volts 0.97A @ 240 volts
1.89A @ 220-230 volts 1.07A @ 220-230 volts
3.50A @ 117-120 volts 2.00A @ 117-120 volts
3.95A @ 100 volts 2.15A @ 100 volts
Mains voltage tolerance range: +/- 10 %
External fuses (anode):
1 x T 630 mA 1 x T 400 mA
Internal fuses:
1 x TT 10 A Slo Blo 1 x TT 10 A Slo Blo
2 x T 630 mA 2 x T 630 mA
Mains fuse (5 x 20 mm):
Europe: (variable: 220 V-230 V / 240 V
1 x 250 V / T 1.6 A 1 x 250 V / T 1 A
USA/Canada/Asia:( variable: 100 V / 120 V)
1 x 250 V / T 4 A 1 x 250 V / T 2 A
Ambient operating temperature range:
0 °C to + 35 °C 0 °C to + 35 °C
9.4 General Mechanical Data
100 Head 100 Combo 50 Combo
Dimensions: (including corners, handles, feet)
Width: 750 mm 647 mm 600 mm
Height: 280 mm 500 mm 500 mm
Depth: 258 mm 285 mm 285 mm
Weight: 17.6 kg 30.3 kg 22.8 kg
Speaker Outputs
6.3 mm (1/4") jacks: 1 x 4 ohms, 2 x 16 ohms / 1 x 8 ohms,
1 x 16 ohms
Speaker
100 Combo 2 x 12" Eminence® Rockdriver 60
50 Combo 1 x 12" Eminence® Rockdriver 60
24
DRAWING-NUMBERS
EXAMPLE
HK0106-EX-R01-1A
VERSION
SERIAL NUMBER
DEPARTMENT:
R = R&D
REVISION
PROJECT-NR.:
HK = HK AUDIO
HU = HUGHES&KETTNER
MP = MINDPRINT
CHARACTER:
BL = SHEET METAL / BLECH
EX = EXPLODED DRAWING / EXPLOSIONSZEICHNUNG
HZ = CABINET / HOLZGEHÄUSE
KU = PLASTIC / KUNSTSTOFF
LP = PCB / LEITERPLATTEN
SO = MISCELLANEOUS / SONSTIGES
SP = SCHEMATIC / SCHALTPLÄNE
TR = TRANSFORMER / TRANSFORMATOR
GK = WIRING DIAGRAM / GERÄTEVERKABELUNG
Stand
W
Y
r
Standard for single wire confection.
16 B 150 638 I - 485 W Z I 1015
style 1015 according UL specifications
I = completely insulated with black shrinktube or appropriate sleeve
IT = partly insulated; only crimp connection insulated.
no marking = without insulation
Z = with additional junction
no marking = without additional junction
W = angled faston
no marking = straight faston
17. Jun 04
Faston connector brass tin-plated DIN 46245
638 = 6,3 * 0,8 [mm]
488 = 4,8 * 0,8 [mm]
485 = 4,8 * 0,5 [mm] if fully insulated (I) insulation with blue shrinktube
if partly insulated (IT) use IF 602 485 .
288 = 2,8 * 0,8 [mm]
285 = 2,8 * 0,5 [mm] if fully insulated (I) insulation with blue shrinktube
if partly insulated (IT) use IF 602 485
abiso = 5mm bared and tin-plated (teilabzug)
text for special constructions, (for example. 4mm ringshaped faston)
the larger faston connector always mentioned at first. (Nathan drawing number controlling)
lenght in mm within a 50 mm raster
colour
B = black (phase conductor)
R = red
BR = brown
BL = blue (neutral conductor)
= white
G = yellow-green (ground bonding/ earthing connection)
cross section
16 = AWG 16 (prefered usage)
Q1.5 = H07VK 1,5mm² (prefered usage)
wire designation:
P + lfd Nr. = AWG single wire black, red, blue, brown or white
E + lfd Nr. = AWG single wire green- yellow
L + lfd N
FQL + lfd Nr. = crossover wiring H07VK
Regarding special wirings like wiring harness or similar, drawings will be prepared and appropriate
. = twisted AWG double wire, lenght specification always in twisted condition
drawing numbers will be stored in the article archive.
Service Documents
Confidential, for authorized service technicians only!
Do not disclose this information to or share these documents with third parties.
TECHNICAL SERVICE:
Stamer Musikanlagen GmbH • Magdeburger Str. 8 • 66606 St.Wendel • Germany
Music & Sales P.E. GmbH • Leipziger Str. 3 • 66606 St.Wendel • Germany
HU1705
SwitchBlade
100 Combo
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