SWR Basic Black

Please Note: The Basic Black is no longer in production (it was discontinued in 1999). The
text below is provided for the convenience of SWR users who purchased this model on the
used market.

GENERAL DESCRIPTION AND DATA

The Basic Black Integrated Bass System has been designed as a no-frills amplifier for the
player requiring a pure sound and a minimum of controls.

The precision electronic section is entirely hand-built, employing a variety of technologies

selected for their sound quality and practical usefulness in a road able and studio-ready
amplifier, including vacuum tubes in the initial gain stages of the preamplifier section and
discrete solid-state design in the power amplifier. Regardless of its lower price, the Basic
Black offers no compromises of the essential SWR design and construction philosophy.
Corners are not cut from a more elaborate model: rather, each product's design parameters
are conceived from the ground up and the best available components selected for each
application.
The Basic Black's tone-shaping section, including the Aural Enhancer (found in all SWR
Preamps and Integrated Amplifiers) and the Tone Controls, will not impose a character on
your sound. They will instead make the interface between your instrument and the speaker
system, the two biggest factors in your final tone, a simple matter and a minimal effort. The
center frequencies of the Tone Controls were chosen for their musical effect on most basses.

The Basic Black speaker system features a single die-cast frame (as opposed to the more
frequently found stamped frame) 15 inch bass driver from Professional Audio Systems
coupled with a piezo tweeter for frequencies above 5KHz. The cabinet is constructed from
3/4" Douglas fir and 7-ply birch.

We truly hope that the Basic Black helps bring out the best in your playing and adds to the
enjoyment of your profession.

EVERY BASIC BLACK FROM SWR IS ENTIRELY ASSEMBLED BY HAND IN CALIFORNIA. AT

LEAST 75% OF OUR COST IN RAW PARTS ARE MADE IN CALIFORNIA. TRULY "HAND MADE IN
THE U.S.A."

SPECIFICATIONS - ELECTRONIC
Note: All measurements were taken with a line voltage of 120V AC. Maximum power at 1KHz
under clipping:

120 Watts RMS @ 8 ohms

160 Watts RMS @ 4 ohms
*current limited at 2 ohms for thermal stability.
*160 Watts RMS @ 2 ohms

Power Amp Distortion (1KHz)

0.05% THD at rated output, 8 ohms
Intermodulation Distortion @ 8 ohms,
100 Watts RMS, 60/7KHZ, 4:1, = 0.11%
Frequency Response (power amp): -3db at 10 Hz and 30KHz

System Distortion (Gain and Master Volume full, enhancer and tone controls set flat,
1KHz) 0.175%THD

Sensitivity (for full output @ 8 ohms, 1 KHz)

Passive Input Jack = 10 millivolts
Active Input Jack = 50 millivolts

Input Impedance
Passive Input Jack = 800K ohms
Active Input Jack = 60K ohms
Effects Return Jack = 27K ohms

Output Impedance
Effects Send Jack = 100 ohms
Tuner Out Jack = 100 ohms

Signal to Noise Ratio, unweighted

-70db (10 millivolts typical, mostly hum)

Equivalent Input Noise

3.2 micro-volts

CABINET/SPEAKERS
Size: 22.75" wide X 20.5" high X 16.5" deep
Weight: 50 lbs.
Impedance: 8 ohms
15" Woofer
2" edgewound copper voice coil; die cast frame with bolt on magnet; 150 Watts RMS power
handling capacity; custom designed and hand made in the U.S.A. for SWR by Professional
Audio Systems

Tweeter
Inductive type piezo crossed over @ 5KHz

Cabinet Construction
Interlocking dado, glued and nailed using 3/4" Douglas fir

TOP PANEL FEATURES

INPUT JACKS
PASSIVE: This input can be used if your instrument has passive electronics (no built-in
preamp). Some pickups, such as EMG, etc., employ batteries for operation and will work
perfectly using this input. Technically speaking, this input should be used if your instrument
has an output voltage of 1 volt RMS or LESS. Consult your owner's manual or ask the
manufacturer if you are unsure.

NOTE: Generally speaking, you should try the Passive input jack first. Some built-in preamps,
such as those made by Bartolini and Music Man, can be used with this input depending on
their internal gain settings. If you hear a small amount of distortion and neither the Preamp
Clip LED or the Power Amp Clip LED are activated, try using the Active input jack. And please
note, some passive pickups DO distort. If you would like to overdrive the first TUBE stage,
this can be done by using a preamp between your instrument and the Passive input. To
obtain optimum sound when trying this, make sure the Preamp clip LED is not activated. If
this occurs, turn down the Gain control. The first preamp stage is NOT monitored by the
Preamp clip circuit for this reason.

ACTIVE: The Active input jack should be used with instruments having a built-in (on-board)
preamp that will produce signals over 1 volt RMS. Known basses that should use the Active
input only are the Kubicki X-Factor and some Ovation electrics. Some really "hot" pickups
installed in your instrument may find the Active input more compatible. The best judge is
your own ears.

NOTE: Using the Active input with passive basses may result in a loss of high-end transients.
Players who roll off their high-end starting at around 2K to 3KHz may find this input more to
their liking.

If your hear some distortion from your active bass and are using the Active input jack, CHECK
YOUR BATTERY!! Also, make sure none of the overload indicators are lit.

PREAMP CLIP LED: The Preamp Clip LED will light whenever the Preamp, Tone section or
output buffer reach clipping (run out of headroom). This function DOES NOT monitor the first
tube stage of the Passive input jack (see that section for more info). In the event the Preamp
clip indicator lights, turn down the Gain control. Since the Preamp Clip also monitors the Tone
section, boosting any one of the tone controls can cause the LED to activate. Again, turn
down the Gain control if this happens.

PREAMP CLIP LED:

NOTE: Constant clipping of the preamp will not harm the electronics in your Basic Black.
However, damage can occur to speakers due to near-DC content present in a clipped
waveform. Overdriving the first tube stage as described in the Passive input jack section does
not apply to the above.

GAIN CONTROL: The gain control adjusts the volume of the preamp section. After the Tone
controls, Aural Enhancer and any effects you may be using have been set to your liking, the
Gain control should be set to where the Preamp Clip LED barely flashes upon hitting your
loudest note. After setting the Gain, use the Master Volume to set the desired volume level.
Using these controls in this manner assures the maximum signal-to-noise ratio with no
distortion caused by the preamp circuits clipping. Since the Gain
control is similar to a "pad", a small amount of signal will get through with the Gain control
turned all the way down.

AURAL ENHANCER: The Aural Enhancer was developed to bring out the fundamental low
notes of the bass, reduce certain frequencies that can "mask" fundamentals and enhance the
high-end transients. The effect becomes more pronounced as the control is turned up. The
result is a more transparent sound. Listening to a passive bass with the control set all the
way down, and then turning it all the way up, can be likened to listening to the bass suddenly
become "active".

TONE CONTROL SECTION

The Basic Black's Tone Control section is a three-band set of level controls centered around
the frequencies 80 Hz (Bass), 800 Hz (Mid Range) and 5KHz (Treble). Each control can cut or
boost its band a maximum of 15dB. Each control has a flat (center click) position that defeats
its function. In this position, the tone controls are inactive.

For each tone control, rotating the knob counter-clockwise from the center "click" position will
reduce or cut its designated frequency. Rotating the knob clockwise will boost its designated
band or frequency.

EFFECTS BLEND: The Effects Blend control mixes the signal coming from your instrument
with the sound coming from your effect. With the Blend control fully counter-clockwise, no
signal from your effect will be heard. As you turn this control clockwise, more of the effect
can be heard in the overall sound. When the Blend control is fully clockwise, no dry or
unaffected signal is heard other than the output of your effect device.

This type of control and patching arrangement is very effective in reducing noise caused by
effects devices and in maintaining a more natural sound. If your effects device has a similar
control, we suggest leaving it set to its maximum effect/minimum dry signal position and
using the Effects Blend control for this function. Please read the "Effects Loop" section for
more information.

MASTER VOLUME: The Master Volume adjusts the signal level going to the power amplifier.
It DOES NOT control the output of the effects send jack or Balanced Direct Record XLR
output. It DOES affect the output of the extension speaker jack. If the Power Amp clip LED
lights more than occasionally, turn down the Master Volume control to correct this condition.

POWER AMP CLIP LED: The Power Amp Clip LED will light when the internal amplifier
reaches clipping (runs out of headroom). Although no harm will come to the electronics due
to the power amp clipping, continual clipping of the power amp will shorten the life of the
internal (or any) speakers and could cause speaker failure. SPEAKERS THAT HAVE FAILED
DUE TO CONTINUOUS CLIPPING OF THE POWER AMP WILL NOT BE COVERED UNDER
WARRANTY! Occasional clipping of the power amp (no more than every fourth or fifth note)
will not harm the internal speakers. Turning down the Master Volume control will correct this
condition.

EFFECTS LOOP: The Effects Loop is located POST EQ and PRE Master Volume in the signal
path. The level appearing at the Send jack is controlled by the Gain control on the top panel.
If you are getting too hot a signal to the input of your effect, reduce the level of the Gain
control and raise the level of your Master Volume control to retain similar overall volume
levels. By using the Gain, Master Volume and Effects Blend controls, optimum performance
should be easily obtainable with any effects device.

The Effects Loop is designed as a "sidechain" (parallel) function similar to those found on
mixing consoles. Use of the Effects Loop should greatly reduce noise generated by effects
devices (as compared to in-line effects loops). Additional features of this type of loop can be
found below under the Receive jack section.

SEND: Run a shielded patch cable from the Send jack to the input of your effects device. This
jack may be used as an additional line level output, in which case its level is determined by
the setting of the Gain control.

RECEIVE: Run a shielded patch cable from the output of your effects device to the Receive
jack.

One unique feature of the Receive jack is the ability to practice along with pre-recorded
music. Insert a sound source into the Receive jack (make sure it is a mono source). Use the
Effects Blend control to mix the level of the recorded music with your instrument's level. The
combined signal will be heard from the internal speakers.

NOTE: Inserting a plug into the Receive jack activates the Effects Blend control, which
receives this "command" through the ground created by the insertion of a plug in the jack.
Therefore, best performance can only be obtained using a mono (2-conductor) phone plug. If
you have a stereo (3-conductor) plug only, tie the ring and the sleeve (ground) together.

If you are not getting any "effect" through the speakers, check the position of the Effects
Blend control.

REAR PANEL FEATURES

POWER SWITCH: Pressing the Power Switch to the ON position activates the Basic Black's
electronics as indicated by the red LED on the top panel lighting.

A/C LINE FUSE: The line fuse can open (blow) due to power surges or high power line
transients. This fuse will also open in the event of an electronics failure inside your amplifier.
Correct size and rating of the Line (Mains) fuse: 3AG, 3 amp slo-blo for 120V operation, and 1
1/2 amp slo-blo for 240V operation.

A/C LINE CORD RECEPTACLE: Accepts a standard A/C power cable (supplied with the Basic
Black), used with almost all current musical, professional and household electronic devices.
We recommend taking great care when packing up. Put the cable in your instrument case,
accessory case, etc. If it does become misplaced, replacement will be easy at almost any
appliance store, super market or the like. But

PLEASE NOTE: the rating for this cable is 3-conductor, 10 amperes. This is a rating of the
current capacity of the cable, designated for higher power-drawing devices like amplifiers. If
replacement is necessary, or if you wish to buy a longer cable, look for the rating on the cable
and be sure it is at least 10 amps.

SPEAKER FUSE: This feature is provided to protect your speakers in the unlikely event of a
power amp failure or your power amp from bad speakers or their respective cables. This fuse
can open (blow) if your amp is on and you are playing while plugging in an extension speaker
cabinet. This is because the power amp is momentarily shorted out to ground. Always check
this fuse first if no sound is coming from your cabinet. Correct size and rating of the speaker
fuse is: 3AG, 8 amp, fast blo. (3AG = fuse size, amp = current capacity).

EXTENSION SPEAKER: Use an unshielded 2-conductor cable with phone plugs (NOT A
GUITAR CORD!) to connect additional speaker cabinets. Use a high quality, heavy gauge
cable of at least 18 gauge (the lower the gauge, the heavier the cable). The impedance of the
speaker(s) can be either 4 or 8 Ohms. If you wish to connect two additional cabinets be sure
their combined load impedance is not below 4 Ohms (equivalent to two 8-Ohm speakers
connected in parallel).

Recommended extension speaker cabinets for the Basic Black manufactured by SWR are the
Basic 2-Way, the Triad and the Goliath II.

TO TUNER INPUT: The To Tuner Input jack allows the user to connect their instrument
tuner to the Basic Black without having to unplug and go back and forth from amp to tuner to
amp. This feature is totally isolated from the rest of the amp and will function regardless of
the settings of the controls on the top panel. Being on a sidechain (isolated) also avoids
loading down of the instrument causing a loss in its dynamic range.

To use this feature, plug in a shielded patch cord from this jack to the INPUT of your tuning
device. Turn the amp on and you're ready. If you don't want to monitor your sound while
tuning, turn down the Master Volume control.

BALANCED DIRECT RECORD OUT: The Balanced XLR output is true balanced 600- ohm
output. It is the equivalent of an ACTIVE TUBE DIRECT BOX, and no top panel controls affect
its signal. When using this output for recording, optimum results can be achieved by driving
the tape machine's input direct. This should always be tried; however, its output level may be
too hot for some tape machines.

This output is also suitable for sending a signal to a house mixer in live situations.

Wiring for the XLR connector is as follows: Pin 1 = ground, Pin 2 = +, Pin 3 = -
(American standard)

USING THE TONE CONTROLS

To get the most out of the Tone Controls of your Basic Black, it would be best to first
understand how the Aural Enhancer works, and how it interacts with the Bass, Midrange and
Treble controls. Think of it as a variable tone curve, changing with its position. As you raise
the control from its "0", or fully counterclockwise position, you are elevating the whole range
of sound (lows, mids, and highs) at frequency points different than those selected for the
individual Tone Controls. This remains true up to about the "2 o'clock" position, at which point
the mids start to drop off. The curves involved here are gentle, as opposed to the very
extreme curves you can create with the Tone Controls. Most significantly, the Aural Enhancer
will raise the low end at a point lower than the Bass control itself. For a "normal" bass (4-
string), the Bass control itself will suffice. For the 5- string player, the Aural Enhancer will
help bring out the fundamentals of your instrument, in the 30-60 Hz range. Discretion should
be used when doing this with a Basic Black with no extension cabinet. True low fundamentals
(one of the sonic signatures of all SWR amplifiers) require lots of headroom and air motion. It
is for this reason that we recommend that 5-string players use an extension cabinet to
increase the power output of the amplifier and get more air moving.

The Bass control itself, as stated above, works in a range that will be useful under most
"normal" conditions. Its musical use might be thought of as a "fatness" control. Leaving the
Aural Enhancer in a position lower than 12 o'clock will not boost the extreme bottom so much
as to make indistinct the working of the Bass control. The overall "punch" of your instrument,
from your low E-string on up about two octaves (midway up the G- string), will be
determined with this control. With passive instruments, this will be straightforward. With
active instruments having bass-boost controls more exploration will
be worthwhile. (Some active tone circuits have boost-cut controls such as Tobias, Sadowsky,
etc. Others such as Music Man, are straight boost controls).

The Mid Range control operates in a crucial area for most instruments. Many basses,
particularly with roundwound strings, can have a very "honky", or nasal, sound. Dropping the
Mid Range control can go a long way toward smoothing out your tone. We suggest, though,
that what sounds best when your listening to your tone by yourself may not be what works
best in a band or recording. Sometimes that objectionable quality may be just the right "hair"
on your note to still have an audible presence in the track or on stage.

The Treble control operates in a tonal area that extends through and beyond the usual Treble
control range. It may be thought of as a "Transparency" control (it functions similarly to the
option which we offer on our SM-400 amplifier; over time, we have found this approach to
result in a more musically useful "treble"). Boosting the control will open up the sound of a
dull instrument, particularly in conjunction with the piezo tweeter in the Basic Black's speaker
complement. However, this is also the range of string rattle, finger slides, pickup clicks, etc.
Again, we recommend you experiment with the control alone with your instrument while
finding your tone, and listen again in a band context, both near to and away from the Basic
Black. Qualities like punch, fatness, presence and bite can be fairly well spread out. Treble,
despite the broad dispersion of the piezo tweeter, is a very directional quality. Spend some
time exploring what you can hear in this area as you move around.

In the prototyping stage of the Basic Black we were asked why we didn't include an
attenuator for the tweeter. The Treble control operates in the same frequency range as the
tweeter, and can thus be used as a level control for it, in effect reducing the Basic Black's
output in that tonal region rather than the tweeter itself, accomplishing the same function.

CAUTION!
The expanded metal grill that covers and protects your speakers has extremely sharp edges.
If, for any reason, you intend to remove the grill, use a pair of pliers or an equivalent to lift
the grill out after removing all the retaining screws.

When installing the grill, try and use the exact same screw holes as previously used to
prevent any future "air leaks".

You may be interested to know that we have used a "powder coat" technique for the painting
process on the grill. It is very hard and weather resistant and will keep it from rusting or
corroding for many years.
Setup Tips for Amps and Speakers
PLUG & PLAY
By Steve Rabe, SWR founder
© Miller Freeman Inc., reprinted by permission
Originally appeared in the July/August 1992 issue of Bass Player magazine

Before leaving for your next gig, make sure you've got the following: an AC-receptacle
tester, spare fuses for your amplifier, and two 9-volt batteries. These items won't take
up much space - in fact, they should all fit in your bass case. Why do you need them?
Let's find out.

After arriving at the club and getting your gear onstage, the first thing you'll do is
locate the nearest AC outlet. But wait—before you plug in your valuable amp, grab that
receptacle tester and check the socket. These little gizmos are available at most
hardware and electronics stores for less than five bucks, and they're worth their weight
in gold. In less than five seconds, the best type will tell you the exact nature of any
problem that exists. Armed with one, you will know beforehand why your amp won't go
on, why it will blow a fuse, why it will hum like crazy—or why you will get shocked.

Okay, having found a good, well-grounded outlet with proper line voltage, you're ready
to set up your system. First, check your cables. Every cable you use for your bass or
for patching in effects units should be made with shielded audio cable. Make sure the
cables you buy are specified for musical-instrument use, and avoid ones with molded
ends, because they're next to impossible to repair. To avoid hum, all instrument and
patching cables should be as short as possible.

When using an effect, it's generally best to use the effects loop found on most modern
amplifiers. This should reduce the hiss coming from your speakers, because most
effects loops are located after the initial preamp gain stages in the amp. Therefore,
noise generated by the effect will be amplified less overall. However, some effects
units on the market (even today) have gain loss—that is, the signal level out is less
than the signal driving the effect. With these units, the volume with the effect
bypassed is greater than when the effect is activated. This change in volume will be
more prominent when the effects loop is used - so, if the effects loop does not have a
level control to compensate for this, or if the change in level is too drastic, you may
have no other choice than to place the unit between your instrument and amp. Before
purchasing an effects unit, try it in the effects loop of your amplifier, preferable before
your next gig.

When you're plugging in, never route instrument cables directly over or under your
amplifier. Because of the high impedance (resistance) of most pickups and the high
input impedance of your amp, hum can be injected into your cable from the internal
power supply of the amp. This is especially critical in rack systems.

Onward to your speaker cabinets. Speaker cable should be made of 18-gauge, or

heavier, wire. (The thicker the wire, the lower the gauge, so 18-gauge is heavier than
20-gauge and so on.) Do not use instrument cables to hook up your speakers. This can
result in intermittent power loss, cause your power amp to oscillate, and damage itself
and/or your speakers, and render the cables useless for any purpose.

If you're having a problem with your speakers and suspect one (or more) of your
cables, one of those 9-volt batteries now becomes a cable-tester. Plug one end of the
questionable cable into your speaker cabinet, and then touch the phone plug on the
other end to the two terminals (+ and -) of the battery, contacting the tip and sleeve.
When you connect the battery to the phone plug, a good cable will will pass the voltage
to the speakers, which will be indicated by both an audible noise and the physical
reaction of your speakers: the cones will move out. Disconnect the battery, and the
cones will move back in. (Reverse the battery, and the speakers will move in when
connected.) If you don't hear anything and your speakers don't move, then the cable is
bad.

You can test for an intermittent cable by keeping the battery on the phone plug while
swinging the wire like a jump rope. If the cable is good, the speaker will remain in its
battery activated position and not make any noise. This test can be especially handy
after making new cables or repairing old ones, and it can also be used to check
speaker phasing - more on that soon. (A couple of related notes: Holding a battery on
a phone plug continuously will drain the battery quickly, so don't overdo it. Conversely,
this test will tell you if you have a dead 9-volt; if you know the cable is good but the
speakers don't move - toss the battery.)

Before you turn your amp on, make one last check to be sure all of your cables are
connected properly—especially your speaker cables. If you have a loose speaker cable
that gets plugged in while you're playing, it could cause your AC or speaker fuse to
blow. For reasons like this, it's always wise to carry several spare fuses.

Now you're plugged in and switched on, but during soundcheck you find out you're not
quite loud enough to carry the room. A member of another band generously offers the
use of his speaker cabinet. That's great, but there are three questions you should ask
before you hook it up: (1) What's the impedance of your cabinet, and what's the
impedance of his? (2) What will the total combined impedance be? (3) Is that a safe
load for your amplifier?

When an additional speaker is hooked up to a system, it's generally connected in

parallel to the other speaker(s);see Fig. 2. This is the case when you use the extension
speaker jack(s) on your amp, or the in/out jacks (if provided) on the input panel of
your cabinet. As you add speakers in parallel, the total impedance the amplifier "sees"
becomes less. Also, other than plugging in an additional speaker in an existing jack, no
other wiring is necessary. In a series arrangement, on the other hand, the existing
wiring must be broken and the new speaker inserted; in this case, the total impedance
becomes greater. Let's look at parallel impedance, since it's more common.

To figure out the total impedance of two or more cabinets of equal value hooked up in
parallel, divide the impedance of one cabinet by the number of cabinets:

impedance of one cabinet / number of cabinets = total impedance

Let's say the enclosure you own is 8 Ohms and the cabinet you borrowed is 8 Ohms.
The formula is 8 / 2 = 4, so the total impedance will be 4 Ohms. Likewise, if you had
four 8 Ohm enclosures, the total impedance would be 2 Ohms ( 8 / 4 = 2). Now, it
may be just your luck that the second cabinet is 4 Ohms and yours is 8 Ohms. No
problem - just think of the 4 Ohm cabinet as two 8 Ohm cabinets (we know this is true
from the first example), so you now have, in effect, three 8 Ohm enclosures. The
formula is 8 / 3 = 2.67.

The owner's manual that came with your amplifier should state the lowest (or
minimum) impedance your amp is designed to drive. This may also be indicated next
to the speaker output jacks. Since the total impedance of the cabinets you want to use
is 4 Ohms, your amp must have a minimum load rating of 4 Ohms or less. This being
the case, you turn off your amplifier, hook up the second cabinet, and then turn your
amp back on. To your disbelief, the sound is not louder—in fact, it's tinny with no
body, and turning up the gain makes it sound even worse.

Most likely, the two cabinets are out of phase. This means that while the speaker cones
of one cabinet are moving out, the cones of the second cabinet are moving in. The net
result is little or no sound at all. To check for this situation, get out that 9-volt battery
again. Turn off the amp and unplug the speaker cable from the amp, leaving the other
end still connected to the cabinet. As shown in Fig. 1, touch the plus (+) side of the
battery to the tip of the phone plug and the minus (-) side of the battery to the sleeve
of the phone plug. When you do this, the cone(s) in the cabinet should move out.
When the battery is disconnected, the cone(s) will go back to their original position.
Now repeat the procedure with the second cabinet; chances are, the cone(s) will move
in the opposite direction—in. If so, the speakers are wired out of phase.

The guy who loaned you the cabinet is really upset, because it's brand new. He even
made a new speaker cable for it himself. Hmmm. Take your battery and recheck the
phasing of both speakers, using your speaker cable. If they check okay, then the
homemade speaker cable is miswired—that is, plus and minus have been reversed.
Give the cable back to its owner and suggest that he rewire the connectors (or buy a
properly wired commercial cord). Whenever you replace a speaker or have one
replaced, use this test to make sure it has been properly installed in the cabinet. You
should also check all new or repaired cables the same way.

Thanks to all your trouble-shooting, the night turns out to be a complete success. And,
as an added bonus, you get an offer from the club to be their house stage technician!

The next day, you set out to find a second speaker cabinet. Before going, you should
make a list of all the items pertinent to your additional enclosure, including:
impedance, power-handling capacity, function, and price range. In the owner's manual
of your amplifier, it says the minimum load is 4 Ohms. Since your existing cabinet is 8
Ohms, you know you can add one more 8 Ohm speaker safely ( 8 / 2 = 4). You could
also add one, or even two, 16 Ohm cabinets: two 16 Ohm cabinets in parallel have the
same total impedance as one 8 Ohm speaker.

To get the most efficiency out of your system with the fewest cabinets, your best
choice is to add one 8 Ohm enclosure. Since the two cabinets are of equal impedance,
each will receive half the power your amp can deliver. If your amp puts out 200 watts
RMS at 4 Ohms, then each cabinet will receive 100 watts RMS maximum under
clipping. (Clipping is the point where the power amplifier runs out of headroom and
begins to distort.) If you had four 16 Ohm enclosures, each one would receive a
maximum of 50 watts RMS under clipping. It should be noted that continuous clipping
is very harmful to speakers, especially in a bass system: the lower the note, the longer
the duration of DC content in the clipped signal. To understand what happens under
this condition, remember what your speakers did when you applied the 9-volt battery
to them. Now imagine what 20 or even 50 volts would do at the rate of 40 times a
second! The results can be overheating, disfiguring of the voice coil, overall fatigue,
and—eventually—complete failure.

After figuring out the power rating you need, look at the power specifications of the
speaker cabinets carefully—they can be deceiving. Some companies rate their speakers
in "music power" or "continuous program" or just plain "watts." The only specification
you should be concerned with is "watts RMS." The term RMS is short for "root mean
square," and I won't bore you with the complete mathematical explanation; suffice it
to say that a rating in watts RMS indicates true power. In musical terms, this means
that with a cabinet rated at 100 watts RMS, you can play 16th-notes on your 100 watt
amp at full volume (under clipping) constantly for extended periods. If the literature on
any cabinet you're considering does not have this specification, call the manufacturer
and find out before you purchase it.

Last, but not least, ask yourself why you're buying this cabinet in the first place. What
do you need: More volume to cut through in live situations? Lower lows for better
articulation on your 5-string? Crisper highs for slapping? If the most critical need is for
more apparent volume in live situations, a smart choice would be a cabinet known for
good punch and midrange response, such as a 2x10 or 4x10. (The ear "hears"
midrange and higher frequencies up to about 3KHz better than low notes. That's why a
solo on a 50-watt guitar amp blows away your 100-watt or even 200-watt bass amp.)
For this reason, a 1x15 or 1x18 may not be a good choice, especially if the cabinet you
currently own fits this description.

Now that most of the parameters have been defined, go to your local music store and
ask what they offer in an enclosure that has good punch and midrange response, 8
Ohm impedance, can handle at least 100 watts RMS, and is in your price range. Try
out everything that fits this description, preferably with your own amp and instrument.
And while you're there, don't forget to pick up a good speaker cable along with a
couple of spare 9-volt batteries. You're going to need them.

After playing guitar in surf and psychedelic bands during the 60's,
Steve Rabe turned his talents to musical electronics, working for
Cerwin-Vega and then Acoustic Control Corp. After joining Acoustic
in 1973, he helped to design more than 20 new products and
personally directed the maintenance of Jaco Pastorious' Acoustic
360 amplifiers.

In 1984, Rabe started his own company, SWR, which has become
the world's leading manufacturer of bass amplification systems.