HK_Switchblade_bda1_1_manual 电路图 维修原理图.pdf

deutschenglishespaol franaisitaliano Switchblade Head 100, Combo 100, Combo 50 Manual 1.1 收音机爱好者资料库 Ra d i o Fa n s .CN Switchblade 2 Vorwort Hughes 0-10 clockwise; left and right stops. At second glance, though, youll discover that there is just a single set of knobs to serve all four Channels. One GAIN, one Channel MASTER, one three-band EQ thats 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 VOLUME MASTER knob (and of course MAINS and STANDBY), this applies to all of SWITCHBLADEs control features, that is: 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 You wont find any control features for managing the 128 Presets on Switchblade. The included FSM 432 MIDI board or another MIDI- enabled 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 knobs actual setting are not necessarily the same. They are independent: When you switch from one Preset to another, the knobs actual position may not reflect the setting programmed in the Preset. This means you may well hear something other than what youre seeing would suggest. As soon as you touch the knob, it will respond like any other conventional knob. The ORIGINAL VALUE LED in the MASTER section tells you 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. 2 The SWITCHBLADEs Channels SWITCHBLADE offers four Channels with markedly different sonic characters. Courtesy of SWITCHBLADEs programmability, you enjoy 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 Channels characteristic sound. A chickenhead knob is sited at the far right of the CHANNEL section thats the Channel Selector. Use it to switch among the four Channels along with their GAIN, BASS, MID, TREBLE, PRESENCE and MASTER settings. 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. Youll 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, Switchblades 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 17 english 2.2 CRUNCH Channel Classic British overdrive la carte! The CRUNCH Channel covers the diverse tonal spectrum from Clean to mean, and all points in between. The Gain controls 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. SWITCHBLADEs GAIN offers a special feature: Just before the knob arrives at the far right position, a 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 Switchblades 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 Channels 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 TREBLE knob, which boosts whatever high frequencies are available, 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 SWITCHBLADEs 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 Channels 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 cant 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. Thats why the 12 oclock 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 effect 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 SWITCHBLADEs tube tone, which remains intact in all its quality. 3.1 REVERB SWITCHBLADEs 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 more REVERB you add to the signal, the longer the REVERB time. 3.2 DELAY The Delay sections VOLUME, TIME and FEEDBACK knobs afford you 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. Youll 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 CHORUS, FLANGER and TREMOLO, and theyre 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 Switchblade 18 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 auto- matically, fast CHORUS settings dont 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 amps overall Volume, route external effects, and store Presets. 4.1 VOLUME As the name would indicate, this knob puts the power amp at your thumb and forefingers 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 left- hand position before powering the amp up. 4.2 STORE Use the STORE button to save your Presets. See chapter 6.4 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 effect devices. Its status is stored in each Preset, that is, whether it is on or off and configured in a parallel or serial circuit. 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 amps signal to a second power amp. In serial mode, the effects loop lets you control the amps volume remotely by simply connecting an analog Volume pedal to SEND/ 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 button 2 the external effects loop. The FS-2s LED lights up to indicate effects are active and the FX ON button is engaged. It does not light up if the internal effects are bypassed or the FX ON button is switched off. 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. 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 CLEAN and ULTRA, using standard one-way footswitches such as the Hughes 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 on the STORE button extinguishes, and the preset is stored. 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: Heres how to proceed for other manufacturers MIDI boards and MIDI-enables devices: Arm SWITCHBLADE by engaging the 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. 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 STORE button until its light extinguishes (after about two seconds). The ORIGINAL VALUE and the Channel LEDs also flash to confirm. Then you can release the STORE button and your settings are stored. 7 Replacing Tubes, Service and Preventive Maintenance SWITCHBLADE is factory-loaded with EL34 and 12AX7 tubes. Once theyve 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! Switchblade 22 Note: Replacing tubes for experimentation