JAZZ, CLASSIC peste Hazan, D0 NOT EXPOSE THIS APPLIANCE ‘TO RAM OR MOISTURE. BEFORE USING. Ths APPLIANCE, READ BACK COVER FOR FURTHER WARNINGS, OPERATING GUIDE GENERAL DESCRIPTION The Jazz Classic® procuces 210 watts RMS into a4 ohm load and features many new ideas which aur R&D program has designed to ‘enhance the warmth and smooth operating characteristics normally found only with tube amplifiers. The Jazz Classic® also features our Gain Block" which consists of three controls: Pre Gain, Saturation” and Post Gain. This Gain Block allows the player total controlo! the vera texture ofarmonic content and overlosd characteristics by varying the amount a drive! the Pre Gain and the Saturation control land finally, adjusting the Post Gain to the desired output level. The combination of the Input dynamics, Saturation effect. and the extromely effective equalization circuit enables the Jaze Classic® to quite literally simulate almost any guitar sound avaliable from any amp, old or new. This unit also features a second normal channel that is footswitch solectable and incorporates our unique automatic Switching circuitry now being copied by so many of our competitors. In addition to the above, we have included our 18" Black Widow Super Structure” loudspeaker whose characteristics have been carefully matched to complement the frequency response, ower output. and damping factor of the power amplifier. Since the Jazz Classio® is an extremely powertul single unit amplifier, we have included our patented Distortion Detection Technique (©DT"). As applied o this particular amp, this DDT feature wil allow the power amp to operate at optimum levels without aistorion, When Gistortion is utlized within the Gain Block, Nowever, the DOT circu allows the preamp to generate thewarm tube-like harmonice without the harshness created by the power amp FRONT PANEL INPUTS (x ‘Thorne Jarz Classic® hast input acks,eachhavingeieret sensitive and aunique arrangement allowing the gin of bothjcks tobeequeized nen natuments ere pagges niobolh inputs Me tigh gainjac (1) theinputnarmally used for most nstuments and tas conscereiy move sensi thanthelow gun jack (Thon gainjack'a Ga es senatvethantne nigh gin nputandahouidbe ssSementne signal em your tumors sry hot and premataeovertoading of re mule etected. ny mesh 2 ow gan tout shou be toed whe extemaly ot sionals ae avalable rom cher preamps such 88 eteca doves, ee GAIN BLock™ secTION contol sted below aiow ital eotralol tno amp’ gan srvture ynaric), harmon content, ovrlond exten ouput ev xchat ine vow contl functions mus be understood and saequateexpermenttion tine must be spent n order tly uae te PRE GAIN/PULL BRIGHT CONTROL (8) a Ahpre gun cantol orth loed Geis Block determines the input level and functions similar o an typical channel gain contol. This conttolshacld be operated wih sulin goin to ctvetne Saturation conta forthe emoath, compressed ube-ype ovelond Pease be ‘Stare tat ns conrol exists a sudo taper and develops approximatay «guna the 2 clock positon wth ie balance boing Sbuanedaa the contolisotetedetoctalce. Alter ajuclnginepostgai ots appronimate midpoint postion shpregal contol should Knobs pulled outward sight Sturtion generally sounds better wthaut he bright feature elated.SATURATION” CONTROL (C) Tha Saturation control isafunction ofthe preamp circuitry and very closely simulates warm tube-type, harmonic overload. This conto! steates preamp overload and werksin conjunction with he pre and post gain controisin helead Gain Block. When using Saturation, the re gain control should be adjusted properly to adoquatoly drivethe Saturation circutry. Avery low setting ofthe pre gain eontral dosent Usually producethe necessary crve for Saturation bu the overall fect is determined by the pul signal the instrument patched in, The {gain/compression effect af Saturation is increased with clockwise rotation and decreased with counterclockwisesetting of he conta). A {ull countercockwiee (0 setting wil result in no Saturation POST GAIN CONTROL (0) “The post gain control regulates the overall gin (sensitivity) and system noise ofthe leas Gain Block ands conventional in operation. ‘The post control may be used exactly lke any other master gain control. Seings of § oF less will ceduce load gain black lavale and simultaneously reduce noise levels generally required forsmaler club performances anc studio applicaions. Setbngs at and above wil allow maximum power output reserve trom the Jazz Classic's 210 walt PMS power amplifier section whilethe automate DOT feature will Prevent power ampilier clipping, thereby reducing the poss billy of loudepeaker damage end the aesociated harsh distortion sounds Usually associated with powsr ampliier breakup. NOTE: Thenarmal channel gain controls not affected by the post gain control wen the normal channel is footswitch selected. NORMAL GAIN/PULL BRIGHT CONTROL (€) “Thenormal gain control determines the overall level of therarmal channel. This channels 2eceeelbie only withthe remote footswitch, “Thenormal channel gain sunafected by tne post (master) gain and works independently for aclean sound whon no distortion desired, ‘When tne narmal channel is selectes, the pul thick feature is defeatad anc EC controls tunction normally. Notice also tnat Saturation not unctional with the normal channel. The normal channel gain also includes a pull right feature for additional bite oredgeon thehigh Iequencies when the control knob is pulled LOW FREQUENCY CONTROL (F) ‘The ow frequency control adjust the tonality forthe amount of smoothness and offers extended bandwidth on thelow end otthetonal Fange. Care should be taken to not overboost with this control to avoid muddiness and loss of headroom in the power amp. Extreme ‘overz00sting of ness frequencies tends to distract from the projection capably of the amplifier and confuses material which ehoule’be hears for lead guitar lines, MID SHIFT CONTROL (G) “The vilal mid fcequancios are controlled by this unique concentric (etaeked) system of potentiometers. Please be aware that mid {requencies contribute, to. large degree, tothe overall tone colo ofthe gullar in all forms of musle. Although this a newiype.0f system {or controling the mics, it should present no problem in operation. The inner (top) contal determines the amount of mig lrequencies, Rotating this control clockwise increases tho mids fora greater degree of at” tonalities while counterclockwise rotation will cause the ‘overall tone color to become "Thin." Ths outer (bottom) control allow the player to” passively” shiltinebandatwhioh themis frequencies will operate. After experimenting with these controls, the player will beable to determing “where” and “how much” of the midrange tonalite best sut hemor playing syle end technique. HIGH/PULL THICK (H) The high EO controls similar in operation toa typical passive treble control and varies response of the high end at trequencies below the efecto! the presence control The pul witch on the high control activates the thick” miorange boosted tonally which very popular ‘wih rock players. Notice thatthe bass and mid controts have ile effect when pl thick ie activates PRESENCE CONTROL (1) ‘The presence isan active high frequency EQ with cut and boost capability. This control may be used similarly toa bright boost for the upper range of raquancies when adaltional bite ts desired MASTER REVERB CONTROL (J) ‘The master rever’ contro! determines the dosirod amount of reverberation trom the intemal reverb system. Clockwise rotation increases the reverb effect anc counterclockwise decreases the elfect PILOT LED (K) ‘The pilot LEO indicates when the unit is receiving lecttical supply from the mains and is operational GROUND LIFT SWITCH (L) ‘This switchs thethreo-pesition type withthe center position completely removing the intemal grounding capacitor Thisswitch isthe {hree-position type with the canter position completely removing te internal grouncing capacitor This switchisthe three- position ype wrth the center postion completely removing the internal grounding capacitor trom the circu. This position is normally recommended for situations where ine AC power recepticle is known ta contain properly grounded third wire, I properly grounsew AC maine supply rot avaliable, suitable ground lift adaptor should be used. The (+ and =] postions are used to ground the amplifier properly when only two-wireservicas are available, One ofthese posiions wil yield the lowest amount of residual hum or popping” when the instrument i touched, NOTE: This witen is nat functional an 220/240 volt units, POWER SWITCH (14) This AC power switch isthe conventional rocker-iype that indicates off at tne Bottom and on atthe top. REAR PANEL PREAMP OUTPUT/POWER AMP INPUT (N) ‘To allow in-line patching of battery- 0” AC-powered etfects and signal processors, we have incorporated a simple outin ack on the bback panel. The out/n jack (post EG) is @ a" ringipisieeve configuration whore the ip portion ofthe jack servos asthe preamp output hile thering acts as the power amp input or return. Thoslaeveis ground. Atypical patch for this out/in jack wouldbetoutlizea'"” core land connect the output portion af the "Y" ta the input ofthe device. The retum portion ofthe “Y"is then connected o ine outpul of the ‘device which will return the procassed signal te the Jez7 Classic®. Shielded cable must be Used.Line our (0) ‘Same.as the preamp output, excopt the signal has been requency compensaed ioeliinatethe undesirable effect of overboosting hight or lows when patching to recording oF sound reinforcement consoles. Shielded eablo must be used. REMOTE SWITCH JACK (P) “The remote switch jack is ofthe two-circuitsterea type, featuring rng-tip-sleeve construction ‘ne circuit of nisjack controls Automix™ channel witching functions enabling selection of eth ‘me lead or normal channel, whilethe other controls tne reverberation signal. Remote switching is accompliched through the use of the supplied Automix footswitch, which is conventional in function and should present no operational citfculy, Please note when plugging inthe Autamix footswitch be sure and insert theplug all tneway (second eck) intothe ack. Failureto insert the ‘plug all the way will not allow fll function of the footswitch, LINE CORD (Q) For your safety we nave incorporated a $-wire line (mains) cable on the bottom of the chass with ‘proper grounding feclities. I 18 not advigable to remove the ground pin under any ‘ireumstances, itis necessary 10 use the ampiiier without proper grounding facilites, suitable ‘rounding adapters should be used. Much lass nolee and greatly reduced shock hazard exists ‘When the units operated withthe propar grounded receptacles. ‘SET UP AND OPERATING INSTRUCTIONS ‘The procedure for arriving at optimum control settings Plug into the high or low gain input jack. ‘Set the post gain contral around mid point ‘Set the pre gain control someunere in tne middle of its range, ‘Aalust the Saturation™ control for tne desired amount of galn/compressed clipping, Feagjust the pre gain control to assure adequate dive, Feadjust the post gain contol just below the point at which the power amp/spesker reaches the clipping point and ads its own harmonics tothe predistorted signal, This setting is readily noticaable since the additional Narmonics are audible when the power Amp reaches its maximum output level and will not necessarily be pleasing tothe ear. SPECIAL NOTE: ‘THE NORMAL CHANNEL CAN ONLY BE SELECTED WITH THE FOOTSWITCH. ALSO, THE NORMAL CHANNEL GAIN CONTROL |S. NOT AFFECTED BY THE POST GAIN AND IS THE SINGLE DETERMINING ELEMENT FOR THE LEVEL OF THE NORMAL CHANNEL. WHEN THE FOOTSWITCH IS USED TO SELECT BETWEEN THE SATURATED LEAD CHANNEL AND THE CLEAN NORMAL CHANNEL. THE PULL THICK FEATURE DROPS OUT (IS DEFEATED IF IT HAS BEEN SELECTED). AS MENTIONED, THE POST CONTROL DOES NOT AFFECT THE NORMAL CHANNEL. THIS SWITCHING ARRANGEMENT ALLOWS THE PLAYER TO PRESET THE BALANCE BETWEEN THE PRE GAIN, SATURATION, AND POST GAIN OF THE LEAD GAIN BLOCK FOR ANY DESIRED, QVERLOAD AND LEVEL, AND SWITCH SACK TO THE NORMAL CHANNEL FOR A TOTALLY CLEAN SOUND WITHOUT INTERFERENCE OF THOSE TWO CONDITIONS. tn any particular guitar and equalization characteristics are as follows: The fone seltings gen ave gere/al ane will ary aceording to ype of guar. type and gauges ol Ainge tye opi ane THE Ot Pek OQO/O/G@OO/O 2200/0 ese LEAD GAIN 7 EGUALIZATION —— ®}0-O0 OOJAZZ CLASSIC® SPECIFICATIONS: POWER AMPLIFIER SECTION: RATED POWER & LOAD: 2IOW RMS into 4 ohms with DOT™ compression POWER @ CLIPPING (Typically): 58% THD. 1 KHz. 120 VAC line 130 W FMS into 8 ohms 220 RMS into dohms ohms not recommended FREQUENCY RESPONSE: 0,-1.8, 201H2 to 20kKH2 @ 200 W AMS into 4 ohms ‘TOTAL HARMONIC DISTORTION: Lees than 0.2%, 100 mW to 200 WMS, 20Hzto 10 kHz, 4 ‘ohms (typically Below 0.15) DDT™ DYNAMIC RANGE: Greater than 2048, DDT" MAXIMUM THD: Below 0.5% THD for 648 overload Below 1% THD for 20 68 overioas HUM & NOISE: Greater than 86 dB below rated power POWER CONSUMPTION (Domestic: 6600 watts, 0/60 Hz, 120 VAC. PREAMP SECTION: ‘THE FOLLOWING SPECS ARE MEASURED AT 1 KHE WITH THE CONTROLS PRESET AS FOLLOWS: {Lead Gain/Pull Bright OF (in) Saturation at 0 Post Gain at 10 Normal Pre Gain at 0 "Normal Gain/Pull Bright Off (In) Low & High EG at 10 Mid EO at 0 Shittat § Paull Thick Off (in) Prosonce at 068. Reverb at 0 Nominal Levels are with Pre Gain at 5 ‘Minimum Lovels are with Pre Gain at 10 PREAMP/JACK A INPUT: Impedanco: High Z, 220K ohms Nominal input Level -28 dB, 40 mV RMS Minimum Input Lovo! ~€6 dBV. 5 mV RMS Maximum Input Love: -4 d8V, 1.5 V RMS PREAMP/JACK B INPUT: Impedance: High Z, 44K ohms Nominal input Level: -22 dBV, 60 mv RMS. Minimum Input Lovol:-€0 dBV, 10/mV RMS. Maximum Input Level “10 dBV, 3V FMS LINE OUTPUT (Frequency Compensated): Load Impedance: 600 ohms or greater Nominal Output: -10 dB, 300 mV AMS Maximum Output: +10 dBV, 3 V AMS into 50K ohms ‘68M, 2 V AMS into 600 ohms PREAMP OUTPUT (Full Range) {Load Impedance: 1K ohme or greater Nominal Output: 0 BV, 1 VRMS. POWER AMP INPUT: Impedance: High 2, 22K ohms Designed Inout Lovek: 0 BV, 1 VMS (Switching jack providing preamp output to power amp input connection when not used) SYSTEM HUM & NOISE AT NOMINAL INPUT LEVEL: 20 Fz 0 20 kHz unweighted; 7248 helow rated pow’ EQUALIZATION: Special Low, Mid & High passive-type EO with Mid Shift, (ThinvFat clrcuity & Pull Thick PRESENCE: 11-1248 @ 5 kHz; Shelving (Active) PULL BRIGHT: +608 @ 2kHz AUTOMIX” FEATURE Reverb Function defeated with Footswitch Normal Channel only operational witn Footswitch Pull Thick & Post Gain defeated in Normal Channel Printedin USA. ©1885 ecson216 6/85