Stimmen - 4, Durchschnittliche Bewertung: 4.3
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Anleitung Zusammenfassung
u am LM*»' ■ ■ ■•JIB ■•••«№ alHRBfll I IIRIIIIMUMMIIII LvviiaHaimi«» an Niiihiiiiiikihiih link ■ ■■■17, *mm■■■■■ muumm^ - ■ ......■■■■■■■■■■il ■■■■■■■■■■mmui H liamiBMaaa I JIBb]jn7RR||| 1119---«■■■■■ H mwrr Hi It I ■ H uiilHilhHBii I £■_£■■■■■■ eh ¡'¿■(Ti jainim ii ■ .■ _■*mmmmmms gal •llllllllai» I iiitiiiiivm ■ ws - . J.aa fa ■■«■■>■■■■■■■I ■■*■■■■■■■■■■I IT’S EASY TO FO RGET NOW, WHAT WIT H the ie c e n t glut of high-tech bass amps and cabinets, but when SWR released the original Redhead in 1988, it signaled a transition between eras. In a sense, much of what characterizes contemporary high-end bass combo designs—high fidelity preamps with pre c i s e signal shaping, gig-worthy power, and multi- driver cabinets—began with the Redhead. It quickly became the hip amp to have, and while subsequent years found other manu-fa c tu rers entering the increasingly competitive category and diminishing the Redhead’s dominance, the Redhead is still one of a handful of seminal amp designs. To bring the Redhead in line with the SOUNDROOM POLICY We test pro ducts in real-world enviro n me nts, evalua t i ng them with re g a rd to price and the ma nu fa c t u ier's de s ign int e nt. Advertising does not influence our product coverage. We invite manufacturers to fact-check product reviews prior to publication, and we print dissenting opinions when applicable. Street prices are approximate. 50 BASS P LAYER | M AY 2 00 8 TEC H TALK BY JONATHAN HERRERA 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 conversion, 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 ably, 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 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 if e rent, with a redesigned, higher- o u tp u t power amp, tube-driven DI, Eminence drivers, built-in compre s s o r, tuning mute, steelrein forced cover (the old cover was just wood), and small aesthetic updates, like the fro n t -p an el’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 %" 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 robu s tly locked down. Overall, the Redhead’s constru c-tion and design is well thought-out, particularly 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 Redhead’s steel-reinforced cover. When latched to the amp, it provides thorough protection for the speakers and front panel. Detached, it doubles as a nifty tilt-up amp stand with the casters removed. The components feel tough enough, with smooth-turning pots, good-qual-ity jacks, and no sense of chintziness anywhere. RARE HAIR 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 original design. It’s a justly iconized circuit, famed for its cleanliness, shimmering highs, slightly scooped mids, and taut, controlled lows. The A U RA L E N HA N C E R is another classic SWR feature; it’s a variable additive/subtractive EQ contour that shifts emphasis as you turn the knob. Low positions give a bass- and mid-frequency bump while higher settings get pro...