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SWR Fan Club
- Thread starter iriegnome
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I have a question for my SWR Friends. On my Bass 750, I want to add a parametric EQ. Is it ok to run the EQ through the effect loop or should I run it differently? Any suggestions would be cool.
Thanks
Thanks
I posted a while back with no pic, so here's a pic:
I love this rig, nothing fancy, but it gets the job done nicely.
Number please!
I love this rig, nothing fancy, but it gets the job done nicely.
Number please!
Welcome
127 kcole4001
PLEASE if I have forgotten anyone or missed someone shoot me a pm and I will add you..
127 kcole4001
PLEASE if I have forgotten anyone or missed someone shoot me a pm and I will add you..
The effects loop would be best. This way the EQ is affecting the "finished product" of your sound, and not in line with any pedals you may use.
iregnome- did you get bellis1 at the top of the page?
I love this rig, nothing fancy, but it gets the job done nicely.
I played that same rig (older version of course) for years, and loved it too. That rig made me an SWR fan.
It certainly has won me over, and to the 4X10 cabinet crowd as well.
A little more power is all I would want, next amp will be a bigger SWR, an SM900 would be ideal, and a Goliath 4X10, and keep this rig for practice.
A little more power is all I would want, next amp will be a bigger SWR, an SM900 would be ideal, and a Goliath 4X10, and keep this rig for practice.
Completely agree that the tone shaping possibilities are huge on an SM400 and you can shag the thing out of sight, quite easily.
I run Jazzes with the bass no more than 12 oclock..anything more is a huge drain for subs you can't use, and treble at maybe 1 o clock.
Para is pretty much flat and I might boost a tad for the room but 95% of teh time it is gain and master and that is it.
The enahncer is best used between 10 and 2 max and no more, IME,
Used properly, SWR and Jazz are a classic sound, IMV.
I run Jazzes with the bass no more than 12 oclock..anything more is a huge drain for subs you can't use, and treble at maybe 1 o clock.
Para is pretty much flat and I might boost a tad for the room but 95% of teh time it is gain and master and that is it.
The enahncer is best used between 10 and 2 max and no more, IME,
Used properly, SWR and Jazz are a classic sound, IMV.
Count me into the club.
Here's a picture of my SWR-powered rig from about 5 years ago. At the time, my main amp was a rack-mounted Studio 220, along with a DBX 163. I sometimes used the ART Tube MP on top of the rack to drive the power stage of the 220, when I wanted a more natural tone.
http://www.flickr.com/photos/abr_studios/4864289823/
These days, a buddy is using the Acme B2 and the Studio 220. I replaced that setup with a Bose L1 system, and the Fender practice amp with an SWR Workingman's 10. I recently picked up a second Flite 103W as a backup (I use them as subs with the Bose, and occasionally as an extension cab with the WM10).
I'm currently looking at eliminating the WM10 and turning the two Flite cabs into a modular setup, for times when I don't feel like lugging the Bose. The Studio 220 or possibly a Headlite, are contenders for head duties.
Here's a picture of my SWR-powered rig from about 5 years ago. At the time, my main amp was a rack-mounted Studio 220, along with a DBX 163. I sometimes used the ART Tube MP on top of the rack to drive the power stage of the 220, when I wanted a more natural tone.
http://www.flickr.com/photos/abr_studios/4864289823/
These days, a buddy is using the Acme B2 and the Studio 220. I replaced that setup with a Bose L1 system, and the Fender practice amp with an SWR Workingman's 10. I recently picked up a second Flite 103W as a backup (I use them as subs with the Bose, and occasionally as an extension cab with the WM10).
I'm currently looking at eliminating the WM10 and turning the two Flite cabs into a modular setup, for times when I don't feel like lugging the Bose. The Studio 220 or possibly a Headlite, are contenders for head duties.
Hey guys, I'm a GK user (don't attack yet) but I would like to branch out into different sounds, and SWR is my first choice as far as something besides GK. Granted, I love my GK rig (700RB/410SBX+/115SBXII) so I won't be trading that in any time soon, but I would like to try a comparable SWR rig.
Are the Workingman/pro amps the same as say GK's Backline series? Do they deliver the SWR sound?
What amp would you guys say is SWR's "flagship" amp? I've heard a lot about the Redhead, and I've heard about the SM series.
Being a GK user, do you think SWR is similar to GK as far as dependability, tone, etc? The tones I like are from artists like Flea, P-Nut, TimmyC from Rage, etc.
Thanks for the help in advance.
Are the Workingman/pro amps the same as say GK's Backline series? Do they deliver the SWR sound?
What amp would you guys say is SWR's "flagship" amp? I've heard a lot about the Redhead, and I've heard about the SM series.
Being a GK user, do you think SWR is similar to GK as far as dependability, tone, etc? The tones I like are from artists like Flea, P-Nut, TimmyC from Rage, etc.
Thanks for the help in advance.
like's been said, thru the loop first.
I like the blend-able side chain effects loops on SWR amps for just about everything as you can dial in just as much of the effected/eq'd sound as you want. Also, many eqs and other units add their own tone stamp on the signal which you may or may not like, so being able to dial in just as much as you want is a boon. I run my sans amp pedal thru the FX loop for just that reason.
I can only answer regarding what I've tried.
The 'workingman' gear is assembled in Mexico, and is supposed to be (according to the promos) the same quality as the top flight gear, just with fewer options. A stripped down to basics approach was the original SWR intent, as to what the plan was since Fender took over, who knows?
All I know for certain is that I haven't had the slightest hint of trouble from my rig yet, going on 5 years, and it's been abused by others at jams and benefit gigs for many hours on end, and still delivers.
I'm not particularly hard on my stuff, but I do sometimes cringe watching some others flail away on it, the 'clip' light being a good indicator of how hard they're pushing it.
I'm sure many will say the SWR sound is best found on pre Fender gear, though I'm very happy with mine. It's cheap enough to try out, anyway.
A big difference between the workingman/workingpro amps and the pro series is the valve preamp. Yes it's (usually) only a single valve but the circuit exploits it well and so there's a different vibe about them. I prefer the valve pre in my amps. All the 'valve pre' models sound pretty similar - including the new HeadLite, so as for a 'flagship' model you could try any of these.
I've found my SWR amps to be dependable, with the caviat that you have to ensure there's plenty of ventilation on the higher power heads or they can cook themselves!
When you try an SWR head and cab out, try them in combinations with your existing gear first so you can tell what's being changed by the head and what's being accentuated by the cab.
Here is mine. My back is not what it used to be so I wanted to "lighten up" my studio / jam rig. I built this TL606 cabinet about 25 years ago out of solid core mahogany plywood. It now has a Emi Basslite 2515 speaker in it for a 50# weight that I can move.
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The amp is a SWR WM160 I just got from Ebay. It works great and is built like a tank. The fuzzy rack box I got from Music Go Round for $10. 15# and portable.
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The amp is a SWR WM160 I just got from Ebay. It works great and is built like a tank. The fuzzy rack box I got from Music Go Round for $10. 15# and portable.
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Hi, guys!
SWR WorkingPro 700
SWR WorkingPro 4x10" Cab
SWR WorkingPro 1x15" Cab
May I get a number?
SWR WorkingPro 700
SWR WorkingPro 4x10" Cab
SWR WorkingPro 1x15" Cab
May I get a number?
If it were me, I'd look out for pre Fender SM amps.
Top of my list would the SM900, then SM500 as these did not have the extreme ususable sub bass that sucked the power out of the amp..
Of course, you can just turn down the bass level on an SM400 or 400s, but that is if you know about the sub thing which was a decent idea with no practical value for bass, IMV.
I am not sure what model rectified this and whether the 400s
had the same issue.. I don't call it a problem..IF you know.
I run a SM400 which is nigh on 20 years old and it has done sterling service. My amp tech likes it...but he has only seen it the once to service it and repair it when it was knocked over under power.
And I have treated it a bit carelessly like running it with a banana jack for bridged whilst in stereo mode..and running cabs below 4 ohms.
Now, I didn't do this on purpose and I didn't do this for long but it didn't complain at all...just ran at a lower power level in stereo which is what you would expect.
I am looking at a modern day version or maybe a differnet voice like a TFB550-B/750-A but there is NO WAY I will sell this amp.
It is a classic, IMV and sounds just so right with a Jazz, IMV.
I couldn't recommend my amp any more.
The only thing I I don't like on my model of the push/twist fuse holders as these are too easy to fall out and you'll get nowhere without these line fuses, obviously.
But if it had been a bigger problem, then I would have changed them rather than put gaffa over them. Of course, A rack mount will prorbaly sort this out anyway.
So that is the only tiny tiny niggle..
Brill amps, IME.
I can't comment on Workingman or post Fender, but the deals you can get on pre Fender amps are a hell of a lot of amp, IMV..
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