Studio 220

Please Note: The Studio 220 was discontinued in 1998. A hardcopy of this manual is no longer available.This text below is
provided for the convenience of SWR users who purchased this model on the used market.
The SWR ST-220 Amplifier has a multi-primary transformer that enables you to use your unit virtually anywhere in the
world. The supply will work on 100 volts, 120 volts, 220 volts and 240 volts. All that is needed is a simple wiring change to
correspond to the country that you will be visiting. This modification can be done by any competent technician. For more
information and/or instructions, just write or give us a call.
GENERAL INFORMATION AND DESCRIPTION
The Studio 220 Bass Amplifier was designed from the ground up for specifically amplifying all bass instruments, Its
features, sound, packaging and performance specifications are the result of numerous years of input from musicians,
sound engineers and studio engineers. It is the upgraded version of out first product, the PB-200. A great deal of time was
spent to insure that the needs of the professional musician both on the stage and in the studio were met and that all
elements of their music will be accurately amplified.
Housed in an all aluminum chassis for lightweight and lasting beauty is an extremely low noise tube preamp section and a
solid state power amp utilizing all discreet components, The power amp delivers a minimum of 220 Watts RMS into 4 ohms
and 140 Watts into 8 ohms.
Standard features include Hi and Low Gain input jacks, Gain and Master Volume controls, 4 band/3 octave Variable Graphic
Equalizer, two Effects Loops, Balanced Out with pad and ground lift, and an adjustable electronic Crossover for Bi-Amp
capabilities.
The Studio 220 is rack mountable taking up two rack spaces (3 1/2") by 8 3/4 " deep (measured from the front panel
back). The Studio 220 weighs 13.5 pounds with a 17 pound shipping weight. It is easily carried and the front panel is
protected by the two handles secured to the front panel.
All of us at SWR hope you enjoy your amplifier and find it all you have ever wanted in an amplifier of this type.
RACK MOUNTING INSTRUCTIONS
To preserve the beauty and reliability of your Studio 220 Bass Amplifier, we recommend that you install your amp in a rack
case. The Studio 220 is completely ready to be rack mounted and needs no additional parts or accessories other than the
case itself.
Although it takes up only two rack spaces, we recommend you use a three rack space case. This will prevent the vents on
the top and bottom of your amplifier from being covered and allow for natural cooling of the power section. No fan is
needed in this condition and you will not have to remove the rubber feet. If you still would like to remove the feet, replace
the screws as they help to hold on the bottom of the amplifier -- THIS IS VERY IMPORTANT!!!
FRONT PANEL FEATURES
HI AND LOW GAIN INPUT JACKS
Both inputs accept a standard 1/4" phone plug and both inputs can be used at the same time. Since the two inputs are
totally independent, no loss in volume or tone will occur if two instruments are used simultaneously. Keep in mind,
however, that the Hi Gain input has five times more gain than the Low Gain input.
GAIN CONTROL AND PREAMP CLIP LED
The Gain Control adjusts the volume of the preamp section. After the tone controls, Variable Graphic Equalizer and Limiter
are set to your liking, the Gain Control should be adjusted to where the Preamp Clip LED barely flashes upon striking your
loudest note. Now adjust the Master Volume to the desired volume level. Utilizing these controls in this manner assures the
user of maximum signal to noise ratio with no distortion caused by the preamp circuits "clipping".
The Preamp Clip LED will light if any portion of the preamplifier reaches clipping or runs out of headroom. This can be
caused by the Gain Control being set too high or any tone or Equalizer Control set in a high boost position. To correct this
condition, turn down one of the previously mentioned controls.
NOTE: The Preamp Clip LED indicates that at some point the preamplifier is clipping. No harm is being done to your
amplifier, however, CONTINUAL CLIPPING CAN CAUSE DAMAGE TO YOUR SPEAKERS AND IS NOT RECOMMENDED!
LIMITER
The Threshold Control sets the level at which limiting begins to take effect. At that point the LED will light. Maximum
limiting will occur with the Threshold Control set in the Maximum position. The Limiter is completely out of the circuit with
the Threshold Control set in the Minimum position. Loss in volume caused by extreme limiting can be overcome by
increasing the Master Volume control.
NOTE: If the Threshold is set at maximum and still no limiting effect occurs, the Gain Control is set too low and should be
increased to a desired level.
AURAL ENHANCER
The Aural Enhancer was developed to help bring out the fundamental notes of the bass guitar and give a resulting

frequency response similar to that used for recording the bass in the studio. This effect becomes more radical as the
control is turned to maximum. The result is a more "transparent" sound and is especially noticeable with a slap style
technique of playing.
BASS CONTROL
The Bass Control is a shelving type tone control that cuts or boosts the lower or bass frequencies from mid-position.
Starting at mid-position, turning the control counter-clockwise cuts the bass response and turning the control clockwise
boosts the bass response.
VARIABLE GRAPHIC EQUALIZER
Level Control
The Level Control cuts or boosts the frequency set by the Frequency Control directly beneath it. It is used in the same
manner as you would a Graphic Equalizer. Starting at mid-position, moving the slider toward +15 boosts and moving the
slider toward -15 cuts that particular frequency.
Frequency Control
The Frequency Control selects the center frequency that will be cut or boosted by the Level Control directly above it. If the
Level Control is at "0" or mid-position, moving the Frequency Control will have no affect on the sound. The Frequency
Control covers a three octave range.
To better understand how the Level and Frequency Controls work with each other, try the following example:
1. Set the Gain and Master Volume Controls for listening levels.
2. Set all tone and level controls at mid-position and turn all frequency controls full counter-clockwise.
3. Strike the open "E" string on the bass and move the Level Control on the first band of your Equalizer to 40 Hz which is
the fundamental the open "E" string produces). The change in sound and pressure levels is a result of the fundamental "E"
note being increased by approximately 15db.
4. Keeping all controls in their present positions, (Level Control at +15 and Frequency Control at 40 Hz) strike your open
"E" string again and move the Frequency Control from 40 Hz to 160 Hz. As the Frequency Control is moved from 40 Hz to
160 Hz you should hear two increases in volume. The first will be at 80- Hz or your first overtone (harmonic) and the
second will be at 160 Hz or the second harmonic of your open "E" string.
From the above example a few things come to mind. One, there's a lot of information contained in one note on your
instrument. Two, if one position of the Frequency Control gives a much louder sound or volume, you may have found the
area of greatest efficiency of your speaker cabinet. And, three, the tonal variations you can achieve with the Variable
Graphic are just about infinite!
TREBLE CONTROL
The treble Control is a shelving type tone control that cuts or boosts the high frequencies. Starting from mid-position,
turning the Treble Control counter-clockwise cuts the high and turning the control clockwise boosts the high frequencies.
PULL TRANSPARENCY FUNCTION
Moving the Treble control to the pull "out" position activates the Transparency function. This gives a boost of up to 12dB at
frequencies above 5KHz enhancing the sibilance of each note. For an extra "sweet" tone, set the Treble Control to between
9 and 10 o'clock and activate the Transparency function.
FREQUENCY CONTROL
The Frequency Control sets the crossover point or dividing point of the "High" and "Low" jacks. For example, if the
Frequency Control is set at about mid-position or 500 Hz, all frequencies below 500 Hz will appear at the "low" output jack
and all frequencies above 500 Hz will appear at the "high" output jack. Crossover slope is 12 db per octave.
MASTER VOLUME AND POWER AMP CLIP LED
The Master Volume controls the volume of the internal power amplifier and the Balanced XLR jack when switched in the
"Line" position. The Master Volume does NOT affect the levels at the Preamp out jack or the Crossover High and Low
Output jacks located on the back panel. Those are controlled by the Gain Control only.
The Power Amp Clip LED will light when the power amplifier reaches maximum undistorted output. CONTINUAL CLIPPING
OF THE POWER AMPLIFIER CAN RESULT IN SPEAKER DAMAGE AND IS NOT RECOMMENDED!
POWER SWITCH
Moving the Power Switch to the "On" position will turn on your amplifier as indicated by the LED lighting.
REAR PANEL FEATURES

EFFECTS LOOP
The Effects Loop is provided for use with an external effect such as a chorus or delay unit. Using this feature lowers the
noise heard at the speakers generated by the effects unit. The output and input impedances seen at the "To" and "From"
jacks were designed to give optimum performance from effects units both new and old. The Effects Loop is
pre-EQ.
To hook up your effect, run a shielded cable from the "To" jack to the input of the effect and another from the output of
the effect to the "From" jack. When this is accomplished, your effect is now ready for use.
If there is an "Input Level" adjustment on your effect, it should be set at "0db" or the nearest setting.
BALANCED OUT
The Balanced Out is a true balanced output and serves two functions. In the "Direct" position, it serves as an active direct
box and can be used for recording or patching into a house P.A. System. No controls on the front or back panel affect the
signal appearing at the XLR connector except the XLR Pad. In the "Line" position, all controls on the front and back panels
affect the signal appearing at the XLR connector except the Master Volume. The level is set by the Gain Control and the
XLR Pad.
The "Line" mode can be used for recording directly into a tape machine as well as going directly to the studio board. An
external power amplifier with a balanced input can be driven in the "Line" position.
Pin out for the XLR connector are as follows:
Pin 1 = Ground Pin 2 = + Pin 3 = XLR PAD/GROUND LIFT
The XLR Pad is a continuous pad that adjusts the output of the signal appearing at the balanced output. Since it is a true
pad, the signal (or volume) will not go completely off when turned fully counter-clockwise.
When used in the line mode, this feature allows the user to adjust the level of the signal going to the "house system" or
tape deck etc. with the pad. You may now set your speaker volume with the Master Volume and not affect the level at the
XLR. All of these levels should be set AFTER the Gain Control is in the desired position.
The ground connection of the XLR can be lifted (or disconnected) by pulling the pad outward. In most applications, this will
not be necessary. If, however, you are experiencing a hum or grounding problem with the balanced output, try lifting the
ground. Always be conscious as to which position this switch is in.
ACTIVE ELECTRONIC CROSSOVER
High and Low Out Jacks
The crossover high and low out jacks have been provided for bi-amping capabilities. Present at the Low Jack are all
frequencies below the point set by the crossover or Frequency Control on the front panel. Present at the High Jack are all
frequencies above the point set by the Frequency Control. The signals at these outputs are line level. You cannot drive
speakers from these outputs. All patching from these jacks should be done using shielded cable.
Using the Internal Power Amp for Bi-Amping The internal power amp in the Studio 220 may be used for amplifying either
the low or high frequencies in a bi-amp system. As a general rule, the low frequencies should have at least twice the power
that the high frequencies have. So, if your slave power amp has a rating of 100 watts, use it for the highs and the Studio
220 for the lows. Once you have selected the use for the Studio 220, run a patch cord from either high or low out jack to
the Power Amp "in" jack on the back panel. This automatically stops any other signals from going to the internal power
amplifier.
NOTE: An external or additional "slave" power amp is needed for full bi-amp capabilities and should be used as noted
above.
EQ FOOTSWITCH
Insertion of a footswitch into this jack allows the user to turn on or off the Variable Graphic Equalizer. With no footswitch
plugged in, the EQ is always on. This feature will allow for one preset "sound".
PREAMP OUT/POWER AMP IN JACKS
The Preamp Out jack is an unbalanced line out and can drive a slave power amplifier or can be used for a patch to a mixer,
etc. The Preamp Out is located before the Master Volume in the signal chain and its level is adjusted by the Gain Control.
The Power Amp In jack is provided for bi-amping (See Active Electronic Crossover section) and for using the internal power
amplifier by itself. Insertion of a plug into this jack automatically disconnects the preamp signal that normally is present.
The volume of the power amp is still controlled by the Master Volume on the front panel.
Using the Preamp Out/Power Amp in Jacks as an Effect Loop These jacks can be used as a line level effects loop. When
used in this manner, the Preamp Out becomes the "To" and the Power Amp In jack becomes the "From" effects. Refer to
Effects Loop section for further information.
SPEAKER JACKS

Two speaker jacks are provided for hooking up your speakers. Use good quality cable for your speakers as it is the final
link between the electronics and your speakers. It should be made of at least 18 gauge wire or heavier (the heavier the
wire, the LOWER the wire gauge) and DO NOT use shielded cable such as that used for your instrument.
The power amp in the Studio 220 will deliver a minimum of 220 Watts RMS under clipping at 4 ohms and 140 Watts at 8
ohms. It also has a frequency response from 10Hz to 15KHz. Please make sure that your speakers are compatible with
these parameters as we have found that some "bass" speakers cannot handle frequencies under 40 cycles (a five string
bass will put out frequencies down to 30 Hz). Minimum load is 2 ohms.
SPEAKER FUSE
The speaker fuse is provided to protect your speakers in the unlikely event of a power amp failure. The fuse can also open
if there is a fault in the speaker cable or the speakers themselves. Size and rating of the fuse is 3AG, 8 AMP, FAST BLO. Do
not defeat the purpose of this feature by using a higher rated fuse.
LINE OR MAINS FUSE
The rating is 3AG, 4 AMP, SLO BLO. NEVER replace this fuse with one of a higher rating as it could cause damage and void
your warranty.