SWR Sound Sound Room Bass Player - Manual (Page 2)

51 M A Y 2 0 0 8 | B A S S P L A Y E R
demands of today’s player, SWR embarked on
a complete overhaul, resulting in this latest
model. While the new Redhead looks superf i-
cially similar to the old model (and its follow-
up, the Super Redhead), it’s substantially
d i ff e rent, with a redesigned, higher- o u t p u t
power amp, tube-driven DI, Eminence drivers,
built-in compre s s o r, tuning mute, steel-
re i n f o rced cover (the old cover was just wood),
and small aesthetic updates, like the fro n t -
p a n e l ’s deeper red hue and new SWR “shield”
badge. As with the original, SWR intends the
Redhead to be an all-in-one solution for any
bassist seeking a versatile, high-powered combo.
For a few years we’ve seen a steady stream
of new lightweight amp technologies, like
neodymium speakers, Class D power amps,
and switching power supplies. It’s spoiled me,
as the Redhead felt heavier than my new wussy
tendencies were prepared for. What it loses in
the weight battle, it makes up for with a sense
of rugged solidness. The
y" birch-ply cabinet,
which is glued, nailed, and dado-and-rabbet
joined, feels substantial, and the chro m e -
stamped grille is vibration free and ro b u s t l y
locked down. Overall, the Redhead’s constru c-
tion and design is well thought-out, particu-
larly the nicely placed handles and front panel,
which is angled up for better viewing and
recessed for protection. The included open
rackspace, perfect for a tuner or effects unit,
is another thoughtful feature. Unique among
similarly configured combo amps is the Red-
h e a d ’s steel-re i n f o rced cover. When latched to
the amp, it provides thorough protection for
the speakers and front panel. Detached, it dou-
bles as a nifty tilt-up amp stand with the cast-
ers removed. The components feel tough
enough, with smooth-turning pots, good-qual-
ity jacks, and no sense of chintziness anywhere .
RA RE HA I R
For the Redhead’s rehab, SWR didn’t mess with
the original’s preamp voicing, the core of which
dates back to SWR founder Steve Rabe’s orig-
inal design. It’s a justly iconized circuit, famed
for its cleanliness, shimmering highs, slightly
scooped mids, and taut, controlled lows. The
A U R A L E N H A N C E R is another classic SWR fea-
t u re; it’s a variable additive/subtractive EQ con-
tour that shifts emphasis as you turn the knob.
Low positions give a bass- and mid-frequency
bump while higher settings get progressively
s c o o p i e r, yielding ever more hollow, tingly
tones. The EQ is well voiced and useful; push-
pull pots on the
BASS and TREBLE controls aug-
ment the basic circuit, changing the shelving
filters’ knee frequencies when engaged. There ’s
a thorough array of mutes, including a speaker
ON / OFF switch, a TUNING mute, and a mute for
the DI. The two inputs offer not only sensitiv-
ity appropriate for active or passive basses, but
The Redhead’s cover offers protection beyond
any other similar combo, plus it doubles as a
stand that can angle the combo upward.
T EC H TA L K
B Y J O N AT H A N H E R R E R A
One of the key upgrades SWR touts in its revamped Redhead
combo (see page 50) is its tube DI. We ’ re more familiar with
tubes in an amp context, but tube DIs are relatively rare .
A DI is a device designed to interface a bass (we’ll stick
to bass applications here, although DIs are used all over the
band) with a mixer or mic preamp. It converts a bass’s high-
impedance, instrument-level signal to a balanced (for noise
rejection), mic-level, low-impedance signal appropriate for a
m i x e r. A passive DI uses a transformer to achieve this con-
version, but the transformer type results in the DI having a
low input impedance—making passive DIs less than ideal for
passive basses, which like to “see” a high input impedance
for maximum fidelity. A powered or “active” component
(either a tube or transistor) buffers the DI’s input, raising its
impedance and consequentially improving a passive bass’s
tone. The active component can also color the sound consid-
e r a b l y, particularly when it adds gain. A tube DI is simply a
DI circuit that uses a tube to buffer the input (and in some
cases, add gain) while also incorporating its pleasing audio
characteristics.
BP