Warwick ProTube IX, ProTube IV User Manual

OFFICIAL W ARWICK

AMP OWNER MANUAL

ENGLISH

Amps

4

Congratulations on the purchase of the
new Warwick amplifier head/combo.
Please read these instructions through before
connecting and operating the device.
If you keep to the guidelines set out in this manual,
you will soon be able to appreciate the quality of

this new Warwick amplifier. Please keep this
instruction booklet handy in case you need to
consult it again.

Please send the PASSPORT to the address
indicated therein.

The following recommendations are designed to
ensure that the device always functions reliably:
Never open the casing! To do so would expose
you to the risk of an electric shock. Should repairs
prove necessary, leave them to qualified service
personnel.
Avoid dust and high moisture levels, direct
sunlight and extremely high or low temperature.
Safeguard the device from excessive vibration.
Always place the unit on a stable and horizontal
surface.
See to adequate ventilation. The device should not
be placed on soft surfaces (carpet, cushions, etc.).
When mounting it in a rack, make sure that the
rear and lateral cooling vents remain unobstructed
(amp heads), resp. that the rear cooling vents
remain unobstructed (combos).
Avoid leaving the unit near radiators or other

objects producing heat.
Internal components should only be adjusted or
cleaned by qualified service technicians.
Ensure no object or liquid penetrates the device
through its cooling vents.

When replacing a fuse make sure you fit in
one of identical value!

Have the device examined by a qualified service
technician in the following cases:

- the mains lead or mains switch have been
damaged,

- objects or liquids have penetrated the device,

- it has been exposed to excessive moisture,

- malfunctions or abnormal operating conditions
have occurred,

- the device has been dropped or the casing
damaged.

RECOMMENDATIONS

To ensure secure rac k or sleeve mounting you will
find two nuts on the bottom side of the amplifier
for additional fastening (all amp heads).

Do only operate effects pedals in-between the
instrument and the amplifier, as these devices
are not designed for the supplied load of an
effects loop.

Each W-Pro unit has been conceived to match
perfectly as a system-component within this series.
Therefore best sound results can be achieved by
mutual combination of these devices.
Many combinations are possible and allow
gradual upgrading of several high-quality systems
within different performance scales and for almost
every kind of application.

HINTS

-Remove the plug whenever changing a fuse.

- Only ever replace a fuse with another of the
same type. Never bridge defective fuses.

- Make sure the top and bottom of the device are
properly ventilated and that the vents are not
blocked. In the rack, leave at least 2cm free above
the unit and do not remove the feet.

-Do not subject the device to excessive vibration
or hard jolts as these could damage the valves
("tubes").

- After using the device, allow around 10 minutes
for the valves to cool down before moving it.

-At power-up, the valves (tubes) need at least 30
seconds to warm up before achieving operation

readiness and a further few minutes before they
can deliver full power.

- When changing the valves, replace them only
with valves selected by Warwick, to avoid
problems like noise, microphonism and
imbalance. (special selection criteria).

-Valves can become very hot. Danger of
combustion.

-Don't undertake repairs yourself.

- Only allow the case to be opened by qualified
personnel. (Remove the plug).

-Repairs and valve changes should only be
undertaken by qualified personnel.

Pro Tube IX

23

GROUND LIFT switch isolates the earth
connection from the ground of signal. Should
several devices be simultaneously connected to
earth by the same conductor as well as via line
connections, a so called hum loop might appear. In
this case operate GROUND LIFT to eliminate the
current hum.

DI PRE/POST switches the signal lying at the DI
OUT sockets.
PRE the unmodified bass signal is retained on
both DI OUT sockets,
POST the tone control and effects loops are
inserted into the signal path in stereo.

REAR PANEL

1. INPUT socket to plug in a bass guitar.

2. GAIN control + 3 LE Ds to adjust the input
level: CLIP too high,

OK optimum,
LOW too low.

3. CH. SELECT + 2-colored LED to switch from
channel 1 (red) to channel 2 (green).

4. LIMITER switch + 2-colored LED to
compress the signal (channel 2 only):

green Limiter on,
red the signal level is actually

bein reduced.

5. For features of CHANNEL 1, please refer to
the chapter CHANNEL 1-TUBE.

6. For features of CHANNEL 2, please refer to
the chapter CHANN EL 2-SOLI D STATE.

7. OUTPUT control for each channel + OL

(overload) LED to mutually balance both
channel levels. Should the OL LE D light up,
reduce OUTPUT of the respective channel.
The standard setting, i.e. with neither
attenuation nor amplification, is position 8
(when tone controls are set linearly).

8. EFF. MIX controls determine the degree to
which the effects within the parallel stereo loop
(rear panel) affect the signal of each channel.

9. PHONES socket for connecting a headphone
(min 200 Ω).

10. MUTE switc h + red LED cuts the signal from
all outputs, except from the PHONES socket,
and activates the TUNER output (rear panel).

11. MASTER control determines the mains level.

12. POWER switch for turning the amplifier on
and off.

FRONT PANEL CONTROLS

24

Pro Tube IX

DI OUT LEFT and DI OUT RIGHTsockets for

supplying a stage or studio mixing console.
TUNER OUT socket for the connection of a tuner.
When MUTE mode is activated, the unmodified
bass signal is retained here.
MONO LOOP for the serial insertion of dynamic
effects units (e.g. compressor, auto wah, etc.).
Connect SEND with the input and RETURN with
the output of the effects device.
PARALLEL STEREO LOOP: the degree to
which external effects influence the signal can be
determined with the EFF. MIX control located on
the front panel. Connect SEND with the input and
RETURN L. and RETURN R.with the outputs of
the effects device.
LO CUT switch confines the SEND output to
frequencies above 200 Hz. Modulation effects (e.g.
chorus) remain clear this way.

Note:

You can also use the RETURN sockets as LINE INs
in case you wish to operate the amplifier as a power
amp. To this purpose rotate the EFF. MIX controls
on the front panel to their full clockwise positions.
CHANNEL 1/2 FOOTSWITCH allows to
connect a footswitch for selecting between both
channels. To do so use a switch (latch) and not a
key (unlatch).
SPEAKER OUT sockets designed to supply
loudspeaker cabinets. Each channel of the 2 x 450

watts power amplifier provides respectively one
XLR and one Speakon socket in parallel. The
signal from the Speakon outputs is leaded by 1+
and 1-.

LINE OUT PARALLEL TO SPEAKER OUT

sockets allow to connect additional power
amplifiers.
BIAMP/FULLRANGE switches over between
two operation modes of the power amplifier. In
FULLRANG E mode the whole frequency range
is provided by both SPEAKER OUT sockets. In
BIAM P mode the signal is splitted by an active
crossover.
X-OVER control sets the transition frequency
between 80 Hz and 4 kHz.
STEREO/MONO switch to use the amplifier
whether in stereo or in mono.
The combination of BIAMP and STEREO
switch settings give access to different operation
modes. Signal splittings at the respective sockets
are as follows:

SPEAKER OUT A,
LINE OUT PARALLEL TO SPEAKER OUT A,

called "A" hereafter;

SPEAKER OUT B,
LINE OUT PARALLEL TO SPEAKER OUT B,

called "B" hereafter;

LINE OUT STEREO BIAMP HIGH - LEFT

and RIGHT, called HIGH L and HIGH R
hereafter, are shown in the following chart:

Balances can be determined with the respective
BALANCE controls. The right one acts on the
outputs A and B (LINE OUTs and S PEAKER
OUTs), whereas the left one regulates between
low and high frequencies in STEREO BIAMP
mode. In this operation mode whether external
power amplifiers with cabinets or active
loudspeakers must be connected to the

LINE OUT STEREO BIAMP HIGH sockets.

IMPORTANT:

The BALANCE STEREO BIAMP CONTROL
should be centered or pointing to the right-
hand range in the operation modes mono­fullrange, mono biamp and stereo fullrange,

OTHERWISE NO SIGNAL WILL BE SENT
TO A AND B, RESPECTIVELY THE INPUT
LEVEL AT THE POWER AMPLIFIER WILL
BE TOO LOW.

Mode A B HIGH L HIGH R
Fullrange Mono Fullrange Fullrange no signal no signal

Left und Right Left und Right

Fullrange Stereo Fullrange Fullrange no signal no signal

Left Right

BiAmp Mono High Low no signal no signal

Left und Right Left und Right

BiAmp Stereo Low Left Low Right high left high right