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
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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!
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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:
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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!
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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
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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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