© 2011 PRS Guitars
All rights reserved.
“Paul Reed Smith,” “PRS,” the PRS logo, the PRS Paul Reed Smith logo, the Paul Reed Smith signature, the
bird inlays, the headstock bird, the PRS headstock shape, the PRS body shape, the PRS “scoop” design,
“Singlecut”, “Mira” and the “SE” are all registered trademarks of Paul Reed Smith Guitars “Custom 24,”
“Modern Eagle,” “SE Custom,” “SC 245,” “SC 250,” “Starla”, “Tonare”, “Sewell”, “ Blue Sierra”, and “Angelus”
are all trademarks of Paul Reed Smith Guitars. The Birds, New Birds, are copyrighted by PRS Guitars.
Footswitch Operation
Tube Chart - 2 Channel C and H
Footswitch Jack:
Connect the included footswitch to control channel switching and global
reverb. This bypasses your Lead/Clean Selector on the front of your amp.
Using your PRS Amplifier
IMPORTANT:
Before using your amplifier, refer to the IMPORTANT SAFETY INSTRUCTIONS insert
supplied with the product.
Powering Up:
1.
Make sure your speaker cabinet is connected to the correct speaker output impedance jack with a
high quality speaker cable. Do not use guitar cords.
2.
Make sure the power cord is connected to the correct grounded outlet.
3.
Make sure there is at least 6 inches of clearance behind the amplifier to allow for proper cooling.
Never place the amplifier against a wall or other equipment, and keep it clear of other heat sources,
such as other amplifiers or stoves. Make sure there are no flammable items, such as curtains,
behind the amp. Do not drape items over the amps that can prevent proper cooling. Do not set
drinks or other liquids on top of the amp that can spill into the amp.
4.
To increase the life of the tubes, set the “On/Standby/Off” switch to the STANDBY position before
powering on. Let the amp warm up for 2 minutes before setting the switch to ON. If this is the first
time you are turning on the amp, check to see if all of the tubes are glowing.
5.
Plug in the guitar cable, turn the volume knob down and turn the standby switch on and wait a few
seconds for the bias to settle. Bring the volume up and play some tunes.
Input:
1/4” standard guitar cord.
Lead/Clean Selector:
Select your channels when not using your footswitch. Up for leads, down for
cleans. This switch is bypassed when using the footswitch.
Lead Channel
Volume:
This is a vital control on the lead channel. It will add gain to allow you to go from subtle
crunch to full on “in your face” distortion. Each guitar will react differently, and exploring this control
should be a source of great enjoyment.
Bright Switch:
Adds extra shimmering highs to cut through a mix. Turn off for a round, warm crunch.
Treble:
The treble control is very sensitive. Let your ears guide you to the appropriate amount of
highs to suit your style and performance.
Middle:
Valuable control to go between scooped 80’s metal, or vocal solo sounds.
Bass:
Use this control sparingly. Back off to 9 o’clock when experimenting with overdrive. Consider
the maximum setting around 3 o’clock.
Clean Channel
Volume:
The volume control allows a ton of headroom for sparkly, chimey cleans tones. If you prefer
your cleans dirty, push the control past 1 o’clock or so. This will let you experiment with some great
overdrive.
Bright Switch:
The Clean channel’s bright switch is most responsive at lower volumes. It lets extra
highs to stay in the mix as you go down the sweep of the volume.
Treble:
Back off for warm, smooth tones. Dial up for more spank and cut.
Middle:
On the clean channel, dial down the mids for classic blues scoop. Dial up to find unique
placement in a mix.
Bass:
The Clean channel’s bass control crucial to finding just the right fatness in your clean tones. The
sweep is very sensitive, and the sweet spot seems to be around 1 o’clock.
Overview of amp
The 2 Channel “C” lets old-school tonehounds mix the classic vintage tones of the 50’s and 60’s. Its
custom-made Cinemag transformer and EL34 power tubes combine the warm, soft cleans of a classic
tweed and the syrupy, crunchy overdrive of the late 60’s Brit amps.
The 2 Channel “H” steers toward the tight, punchy sounds of the 80’s and 90’s, while leaving room to
invent a new sound for the future! It uses a Heyboer transformer and 6L6 tubes to give you the bright,
chimey cleans of a black face; and the searing, fluid distortion of modern American rigs.
Global Reverb:
Adds universal depth to both channels at your discretion. Adjust to taste.
Lead Master:
Increases the overall volume and output of your lead channel. Find just the right
setting before the neighbors call the cops!
Clean Master:
Gives you incredible control to find the perfect balance of volume compared to your
Lead channel
On/Standby/Off:
When this switch is in STANDBY, the amplifier tubes are effectively turned off, but
are still being warmed by the filaments. Keep this switch set to STANDBY when powering on the
amplifier for at least 2 minutes to allow the tubes to warm up. This also helps extend the life of the
tubes. When set to ON, the tubes are turned on, and the amplifier can be used.
Jewel Power Indicator:
If the jewel is lighted, the amp is on. NOTE: An amplifier may be plugged
in and “on”, but a malfunctioning or burnt-out indicator will not show the amp is on. Check the
power cord and Power Switch if the jewel light is not on. If these are connected correctly, then
check the main fuse. If the main fuse burns out, check for proper speaker connections. If the fuses
continue to blow, the amplifier may need servicing
Fuses:
Blown fuses may indicate that the amplifier needs servicing. Use only the type and rating
specified on the back of the amplifier. See the section on Service Notes for proper fuse servicing
and replacement.
B+ Fuse:
High Voltage Fuse
Fuse:
Main Fuses (See Technical Specs for Proper Fuse Type and Rating)
Effects Loop Description and Tips:
The 2 Channel features an Effects Loop that is integral to the
overall sound of the amp. This lets your amp’s tone stay pure whether you choose to use and
effects chain, or plug straight in and rock. There is no need for a bypass. The loop’s send and return
levels have a sweet spot at around 2 o’clock. However, you can lower these levels for recording, or
boost them for live playing. If the Send and Return levels are turned off, you will not hear signal
from your amp.
Loop Return:
Input for the end of your effect chain.
Return Level Control:
Volume control of your “wet” signal from your effects chain. Set lower for
recording, higher for live playing. We have found that the sweet spot is around 2 o’clock.
Loop Send: Input for the front of your effects chain.
Send Level Control:
Volume of your “dry” signal (signal before passing through effects chain). Again,
set lower for recording, higher for live playing. The sweet spot seems to sit around 2 o’clock here
as well.
Bias Jacks:
For reading and adjusting the bias of your power tubes (“C”=EL34, “H”=6L6). Review
the information on the back of this manual for guidance on replacing tubes. The bias adjustment
is located on the underside of the chassis, behind the back panel. Biasing and tube replacement
should be performed only by a qualified technician.
Ext Jack:
Output for an auxiliary speaker cabinet. Only use high-quality speaker cables. Never use a
guitar cord to connect speakers. See “Impedance Selector” instructions below.
Spkr Out:
Main output for primary speaker cabinet. Make sure to use a high-quality speaker cable.
Never use a guitar cord. See “Impedance Selector” instructions below.
Impedance Selector:
Use this switch to match the amp to the impedance of your speaker
cabinet(s). The total speaker impedance must be determined before connecting to the amp. It
is not recommended to exceed 2 total speaker cabinets. Be sure to only use cabinets with the
same impedance rating. Failure to do so can damage the amp. The combined value of 2 matching
cabinet impedances is half of the value of one cabinet’s impedance. Examples: Two 8 ohm cabinets
combine to create a 4 ohm combined impedance. If using two 16 ohm cabs, set the
Impedance Selector to 8. When using a single cab with an 8 ohm impedance, set the Impedance
Selector to 8.
Note: Confirm the total impedance of your choice of cabinets, and adjust your Impedance
Selector accordingly. Failure to do so can cause arcs on the tube sockets, failure of power
tubes, or even failure of the amp.
Back in 2006, I was at the Dallas Vintage Guitar Show and my
band was scheduled to perform a few times. A friend said,
“Hey. You need an amp to play through, and I have a friend
who makes great amps.” He took me to the booth of a Texas
amp builder, Doug Sewell. I loved the way his amps sounded,
and after barely saying hello, Doug and I were inside rewiring
the amp I was going to play through. Since that day, Doug and I
have spent years rewiring and listening to every single possible
variation to finalize the circuits. Our goal was to have highly
usable and musical amplifiers.
I am not an amp collector. I am an amplifier user who keeps
the amps I am presently playing through. That said, after Doug
and I got several of the prototypes finalized, I sold some of
my old coveted live and studio amps because ours sounded
considerably better. The next step was to take the prototypes
to musicians who are known for their amplifier tone as well as
their playing. What’s interesting is that when I spoke to these
artists about trying the amps, they all said the same thing.
“Sure I’ll use them, if I love them.”
In a real way, amplifiers are musical instruments. They are the
devices that “amplify” the sound of the player’s hands, the
guitar and possibly the pedal board. They must share many
qualities. They must work - they have to have a beautiful
balance of bass, midrange, and treble; the highs should be
sweet - not harsh; they should be easy to operate and be
highly musical. In addition, amps should clean up really well
when you turn your guitar down. The final quality that Doug
and I looked for are amps that sound good no matter where
the knobs are. It is a rare quality that we insisted on.
I hope this hand-crafted amplifier gives you years of
enjoyment, musical results, and pride in ownership. I
appreciate your confidence.
2 Channel Amplifier Back Panel Controls
Front Panel Controls
panel 1
panel 2
panel 3
panel 4
