WorkingPro™ 2x10C™
& WorkingPro 15COMBO
AMPLIFIERS

Important

SafetyInstructions

ENGLISH - PAGES . . . . . . . . . . . 6-10
This symbol warns the user of dangerous voltage levels localized within theenclosure.

This symbol advises the user to read all accompanying literature for safe
operation of the unit.
∆ Read, retain, and follow all instructions. Heed all warnings.

ESPAÑOL- PAGINAS . . . . . . . 11-15∆ Only connect the power supply cord to an earth grounded AC receptacle in accordancewith the voltage and frequency ratings listed under INPUT POWER on the rear panel ofthis product.
∆ WARNING: To prevent damage, fire or shock hazard, do not expose this unit to rain or
moisture.
∆ Unplug the power supply cord before cleaning the unit exterior (use a damp cloth only).
Wait until the unit is completely dry before reconnecting it to power.

FRANÇAIS - PAGES . . . . . . . . . . 16-20∆ Maintain at least 6 inches (15.25 cm) of unobstructed air space behind the unit to allow
for proper ventilation and cooling of the unit.
∆ This product should be located away from heat sources such as radiators, heat registers,
or other products that produce heat.

ITALIANO- PAGINE . . . . . . . . 21-25∆ This product may be equipped with a polarized plug (one blade wider than the other).
This is a safety feature. If you are unable to insert the plug into the outlet, contact anelectrician to replace your obsolete outlet. Do not defeat the safety purpose of thisplug.
∆ Protect the power supply cord from being pinched or abraded.
∆ This product should only be used with a cart or stand that is recommended by the
manufacturer.
∆ The power supply cord of this product should be unplugged from the outlet when left
unused for a long period of time, or during electrical storms.

DEUTSCH - SEITEN . . . . . . . . . . 26-30∆ This product should be serviced by qualified service personnel when: the power supply
cord or the plug has been damaged; or objects have fallen, or liquid has been spilled onto
the product; or the product has been exposed to rain; or the product does not appear tooperate normally or exhibits a marked change in performance; or the product has been
dropped, or the enclosure damaged.
∆ Do not drip nor splash liquids, nor place liquid filled containers on the unit.
∆ CAUTION: No user serviceable parts inside, refer servicing to qualified personnel only.

PORTUGUÊS - PAGINA . . . . . . 31-35∆ SWR® amplifiers and loudspeaker systems are capable of producing very high soundpressure levels which may cause temporary or permanent hearing damage. Use carewhen setting and adjusting volume levels during use.
∆ Hazardous voltages may be present within the cabinet even when the power switch isoff and the power cord is connected. Therefore, disconnect the power cord from the rear
panel power inlet before servicing. The power inlet must remain readily operable.

. . . . . . . . . . . . . 36-40

SWR® WorkingPro™ 2x10C / WorkingPro™ 15
Congratulations on your purchase of an SWR WorkingPro 2x10C
or WorkingPro 15 combo amplifier! You now own the famous
SWR tone, power, clarity, and true full-range response that’s
made SWR the choice of professionals for over twenty years.
Your WorkingPro amplifier combines the best SWR features:• The famous preamp designed by original engineer Steve W.
Rabe• Aural Enhancer™ and Active EQ controls• Bass Intensifier™ circuit—simultaneously boosts andcompresses specific frequencies to add pure low-end
thickness to your bass sound• New Wedge EQ specially designed for amp "tilt-back"
operation• Side-mounted monitor input converts the WorkingPro intoa powered stage monitor or auxiliary input for your CD/MP3
playerSince our founding in 1984, SWR has served one purpose—to
provide bass amplification products with professional quality,
tone, features and power delivery for players of all levels andstyles. We sincerely thank you for choosing SWR, and remaincommitted to helping you Amplify Your Future™.
Read through this Owner’s Manual before using your amplifier not only to ensure the safe operation of your investment,
but to take advantage of the full potential of your WorkingPro
amplifier!

Front Panel

A. INPUT—Plug your bass into this jack using ashielded instrument cable.
B. INPUT PAD—Reduces input sensitivity to allow cleaner
response from high-output (above 1-Volt RMS) bass guitars. Use the setting that sounds best!
NORMAL—Full input sensitivity–10dB PAD—Lower input sensitivity
For active (pre-amplified) bass guitars: If you hear distortion—even with the INPUT PAD switch IN and a low GAIN {D} setting (not clipping)—check your guitar battery.
C. MUTE—Disables the amplifier's audio outputs except
TUNER {W}, EFFECTS SEND {T} and HEADPHONES {S} which
remain active. Use MUTE during: instrument changes,
LED inditune-ups and when using headphones. The
cates when MUTE is engaged.
D. GAIN—Use GAIN primarily to control signal distortion,then use MASTER Volume {N} to adjust the loudness of
the amplifier. GAIN also sets the EFFECTS SEND {T} output
level, allowing you to match the input sensitivity of youreffects unit. Use the PREAMP CLIP LED to find the desired
GAIN setting:
PREAMP CLIP—Indicates when the preamp circuit
is being overdriven (clipping) and causing distortion.
Slight flashing at your instrument’s peak output isgenerally the cleanest (least distortion) GAIN setting.
NOTE: Preamp clipping is not harmful to the amplifierand can be used for effect.

6◊

E. AURAL ENHANCER—Featured on just about every SWR
amplifier since the company’s inception in 1984, the Aural
Enhancer delivers that famous SWR Sound! It brings out
the fundamental low notes of the bass guitar, enhances
the high-end transients, and reduces specific frequencies that mask the fundamentals. This provides a moretransparent sound particularly when slapping and popping and also gives "active" bass characteristics to passive basses (when set at “2 o’clock” or positions further
clockwise).
How the AURAL ENHANCER Works: Think of it as a variable tone curve that changes depending on where you
set the AURAL ENHANCER control knob. As you rotate
the control clockwise from the “MIN” position, you areelevating low– mid– and high–frequencies different thanthose of the active tone controls. This remains true up to
about the “2 o’clock” position, a favorite of many players
because it brings out the low-end fundamentals and crisp
highs plus lower midrange to help cut through the band.
However, if you go further clockwise past the “2 o’clock”
position, the mids centered around 200 Hz will start todrop off. From this point on, the effect becomes much
more pronounced. However, the curves involved here are
gentle, as opposed to the extreme curves you can createby boosting or cutting the active tone controls.

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Front Panel
Most significantly for basses, the AURAL ENHANCER will
help bring out the fundamentals of your lower registers
without masking them with overtones, as is possible
when using the BASS control only. At the same time, it
opens up the sibilance characteristics of all instruments
without being harsh.
F.

BASS—Shelving-type circuit that adjusts low-frequency
response ±15dB in the 30Hz–100Hz range (centered at
80Hz).

G. MIDRANGE SEMI-PARAMETRIC EQ—Use MID LEVEL toadjust signal response (±15dB) in the frequency range selected with the MID FREQ
knob. (Turning MID FREQ has no effect when
MID LEVEL is set to "0.")TIPS: If you want a tone that “cuts through”
the band, try boosting in the 200–400Hz range. If you
want a transparent or “scooped” sound, try cutting the
800Hz range.

To best hear what the BASS INTENSIFIER does: 1. Decrease
MASTER Volume to half its normal setting (or less). 2. Set
LEVEL to maximum and CUTOFF to 80Hz. 3. Play a note
repeatedly and slowly rotate CUTOFF clockwise. You willhear frequencies being boosted as you turn the dial, andthe overall effect will seem louder as more frequencies
are boosted. Your ears are the best judge so take sometime to experiment and hear what works best.
L. WEDGE EQ—Use this tone circuit preset when playing
the amplifier with the cabinet in the tilt-back position.
The Wedge EQ compensates for the acoustics lost withcabinet floor contact and the redirected tweeter horn.
M. LIMITER—This circuit protects the power amp and speakers from damage by governing peak signal strength. The
benefit is that you to can play at maximum loudness
levels safely. DEFEAT turns the Limiter OFF.
DEFEATED (LIMITER OFF)

LIMITER ON

H.

TREBLE—Shelving-type circuit that adjusts high-frequency response ±15dB in the 2kHz to 14kHz range.

ACTIVE—Indicates exactly when the LIMITER circuit is
LIMITER is ON).
working (whenI.

TRANSPARENCY—Boosts or cuts ultra-high frequencies(±15dB) above ~5kHz.

J.

EFX BLEND—Adjusts your effects level by controlling
the ratio of "wet" effects signal mixed in with the "dry"preamp signal. The EFX BLEND knob is functional only
when a plug is inserted into the EFFECTS RETURN {T}jack.

POWER AMP CLIP—Indicates when the power amp is
being overdriven causing signal distortion. Power amp
clipping can be harmful to your equipment, therefore, use
the LIMITER or reduce MASTER Volume {N} if POWER AMP
CLIP flashes often.

K. BASS INTENSIFIER™—Exclusive SWR® tone circuit that
integrates low-frequency boost with a smooth, fast-acting
compressor. This provides a radical increase of specificbass and low-midrange frequencies without the usualside-effect of overdriving the amplifier circuitry. This literally intensifies the bass tone in your sound! Use it for
the heavier sections of a song, or as part of your overall
preferred sound.

N. MASTER VOLUME—Use to set the loudness output fromyour speakers (and headphones) after all other levels areset, including external effects. MASTER Volume will affect
the BALANCED OUTPUT {X} and the UNBALANCED LINE
OUT {V} levels when the DIRECT/LINE {X} button is set toLINE. NOTE: Select DIRECT when you do not want
MASTER to change the signal level output to equipment
such as when you are recording.
O. POWER SWITCH—Switches the WorkingPro ON-OFF as
indicated by the LED.

ENGAGE—Activates the BASS INTENSIFIER circuit asindicated by the LED .
LEVEL—Adjusts the amount of bass boost added by
the BASS INTENSIFIER. Hint: Adjust slowly so you canhear the difference a small amount of this effect canhave on your tone.
CUTOFF—Adjusts the frequency range boosted by
the BASS INTENSIFIER. When fully counter-clockwise,
only frequencies below ~80Hz are affected. When fully
clockwise, frequencies below ~200Hz are affected.

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7

Rear PanelP.

FUSE—Protects the amplifier from electricalfaults. Replace a blown fuse ONLY with a fuseof the type/rating specified on the rear panelof your amplifier to protect your amplifier andmaintain warranty coverage.

Q. IEC POWER CORD SOCKET—Connect theincluded power cord to a grounded AC electrical outlet in accordance with the voltage andfrequency ratings specified above the input
power socket on your amplifier.
R. (WORKINGPRO 2X10C ONLY) EXTENSION SPEAKEROUTPUTS—Connect
extension
speakers here using Speakon® typeor 1/4-inch speaker cables. Use the
Speakon jack whenever possible totake advantage of its superior powertransfer efficiency and locking connectors. Both jacks arefull range and wired in parallel.
(WORKINGPRO 15 ONLY) SPEAKER OUTPUT—Internal
speaker is connected here. Unplug and connect an external speaker here if desired.

WORKINGPRO SPEAKER CONNECTIONS• DO NOT connect a speaker impedance load below theminimum rating of your amplifier to prevent damage toyour equipment. Read the Impedance Guidelines section
on page 10.
• ONLY connect speakers with a total power handling
capacity equal or greater than the power output ratingof your amplifier to prevent damage to your equipment.
• ALWAYS switch your system power OFF before connecting or disconnecting speakers.
• ONLY use unshielded speaker cable of 18 gauge or
heavier (such as 16 or 14 gauge) for speaker connections. Shielded instrument cable WILL NOT work andmay damage your equipment.
S. HEADPHONES—Plug in your stereo or mono headphones
here. Use MASTER Volume {N} to control your headphone
listening level. Use MUTE {C} to disable speaker audio
output if desired. NOTE: 75-ohm headphones are ideal
for use with your WorkingPro.

8

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T.

EFFECTS SEND / RETURN—Multi-purpose jacks:
EFFECTS SEND provides a preamp output that includes
the onboard tone circuits; output level is controlled by
MASTER Volume {N}. EFFECTS RETURN provides a power
amp input that can be blended in any ratio with onboard
preamp signal using EFX BLEND {J}.
• EFFECTS LOOP—Connect EFFECTS SEND to your effects
device input, then connect the effects device output
to EFFECTS RETURN. NOTE: Set the wet/dry control
on external effects units to the fully WET position toprevent signal phasing problems. Set the input level on
external effects as close to 0dB as possible.
• MULTIPLE AMPS—Connect EFFECTS SEND on the first
amplifier to EFFECTS RETURN on the second amp. Use
only the controls on the first amplifier—except Master
Volume which will still be active on the second amp, as
well as EFX BLEND, which should be set fully to WET.
• RECORDING OR REINFORCEMENT—Connect EFFECTSSEND to sound equipment input.
• ACCOMPANIMENT—Connect a CD player or drum
machine to EFFECTS RETURN. Control the input levelat its source and by using the EFX BLEND control {J}.
Use only standard 1/4” mono phone plugs with thesejacks. Use a stereo–to–mono adapter if your source hasa stereo plug.
The Effects Loop circuit is on a “side chain” of the main
circuit (as in studio recording consoles) to provide thefull sound of your instrument AND the diversity of youreffects units. This also reduces noise from effects units
being located after gain in the signal path.

U. FOOTSWITCH—Plug in the optional footswitch here.
Use the footswitch to remotely select MUTE and BASSINTENSIFIER™.

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Rear Panel
V. UNBALANCED LINE OUT—Provides unbalanced preamp
signal output to an auxiliary amplifier or sound equipment (includes effects loop signal). Output level is controlled by MASTER Volume {N}. DIRECT/LINE and PAD {X}also affect this output.
W. TUNER OUT—Plug in your bass guitar tuner to enable
inline tuning. Use MUTE {C} to disable audio output whiletuning.
X. BALANCED (XLR) OUTPUT—A true electronically balanced output, suitable for studio and “front-of-house”(live) mixing consoles with three switching options:
DIRECT /LINE—Select DIRECT to supply the
BALANCED OUTPUT and UNBALANCED LINE OUT jacks
with signal that bypasses the Tone and MASTER volume circuits. Select LINE to include these circuits.

GROUND /LIFT—Select GROUND for normal
operation. Select LIFT to disconnect the BALANCEDOUTPUT ground connection which may reduce hum
noise due a "ground loop" (non-standard XLR wiring).
NOTE: Lifting the ground connection will not solve
hum noise due to bad cables, poor connections,miswired A/C outlets, nearby fluorescent lighting(especially with single-coil pickups) or a cell phone
in your pocket.
0dB /–10dB—Select 0dB for normal operation.
Select –10dB to reduce the BALANCED OUTPUT and
UNBALANCED LINE OUT ouput levels as needed tomatch the input sensitivity of the equipment you areconnecting to.

Monitor Input Panel
Y. LINE LEVEL MONITOR INPUT—Δ CAUTION! For line-level
inputs only! Δ Amplified (speaker level) inputs will damage
your equipment!
Insert a 1/4-inch plug from a line-level audio
source such as: • Line Out from another bass rig—expand
your output for larger venues, • Monitor Send froma mixing board—mix in some vocals or monitor themseparately, • Headphones Out on a CD/MP3 player—for
accompaniment (use a stereo-to-mono adapter to hear
both channels of your player.
MONITOR VOLUME—Adjusts the level of the MONITOR
INPUT signal. MASTER VOLUME {N} and MUTE {C} also
affect the Monitor Input.
Z. TWEETER LEVEL—Sets the output level of the piezo
tweeter for the amplifier (not just the Monitor Input).
Select: ON for maximum output, –6dB for 50% output,or OFF for to mute the tweeter.

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9

Impedance Guidelines
speakers with lower impedances will be much louder than
the rest. For example, with an 8–ohm speaker and a
16–ohm speaker both connected to your amplifier, the8–ohm speaker will be twice as loud (and get twice thepower) as the 16–ohm speaker. Calculating total power
handling capacity and positioning speakers of different
impedances becomes complicated!

Before changing your speaker setup, a basic
knowledge of impedance ratings is essential to
the quality of your sound and the safe operation of your equipment.
The general rule is: if you connect a speakerload with a total impedance that's equal to theminimum impedance rating of your amplifier,you'll be OK—as long as the speakers are rated
to handle the power output from your amplifier.

Δ CAUTION!—Operating with a speaker load below
the minimum impedance rating of your amplifier
can easily overheat the amplifier and cause damage. Operating above the minimum impedance
rating will reduce the amplifier’s maximum power
output potential.

The illustration shows the impedance totals ofdifferent speaker combinations. NOTE: All SWR®
bass speaker enclosures, as well as most others,
are wired "in parallel" (not series), therefore, thissection applies to parallel speaker connections
only.
All speakers in a group should have the same
impedance so that each speaker will receive the same amountof power from your amplifier. If impedances are different, theFor an in-depth discussion of impedance andpower rating issues go to the SWR Website at
swrsound.com/support/setuptips.php—this article
by SWR founder Steve Rabe ran in the August ’92 issue ofBass Player™ Magazine.

Specifications
PART NUMBERS:POWER REQUIREMENT:POWER AMP

PRE AMPTONE CONTROLSEFFECTS LOOPUNBALANCED LINE OUTBALANCED LINE OUTFOOTSWITCH (OPTIONAL):
LINE FUSE

SPEAKERS:DIMENSIONSMINIMUM IMPEDANCE:POWER OUTPUT:
INPUT IMPEDANCE:SENSITIVITY AT FULL POWER:BASS:
TREBLE:MID SEMI-PARAMETRIC EQ:
TRANSPARENCY:
SEND IMPEDANCE:RETURN IMPEDANCE:SEND IMPEDANCE:SEND IMPEDANCE:
100V MODELS:
120V MODELS:
230V-240V MODELS:
HEIGHT:WIDTH:
DEPTH:

WEIGHT:

10◊

WorkingPro™ 2x10C
4452600010 (120V, 60Hz)
4452603010 (240V, 50Hz) AUS
4452604010 (230V, 50Hz) UK
4452606010 (230V, 50Hz) EUR
4452607010 (100V, 50Hz) JPN
840W
4Ω
400W RMS into 4Ω @ < 0.1% THD, 1kHz
250W RMS into 8Ω @ < 0.1% THD, 1kHz
3.9MΩ
15mV
±15dB @ 100Hz±15dB @ 2kHz
±15dB @ MID FREQ setting±15dB @ 5kHz
1.5kΩ
27kΩ
1.5kΩ
1.5kΩ
2-button, Mute, Bass Intensifier™ (P/N 065436)
T8A H, 250V
T8A H, 250V
T4A L, 250V
2 Eminence® 10'' 16Ω (067038)
22.8 in (58 cm)
22.5 in (57.5 cm)
17.25 in (44 cm)
85 lb (38.5 kg)
Product specifications are subject to change without notice.

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WorkingPro™ 15
4452000010 (120V, 60Hz)
4452003010 (240V, 50Hz) AUS
4452004010 (230V, 50Hz) UK
4452006010 (230V, 50Hz) EUR
4452007010 (100V, 50Hz) JPN
650W
4Ω
200W RMS into 4Ω @ < 0.1% THD, 1kHz
125W RMS into 8Ω @ < 0.1% THD, 1kHz
3.9MΩ
15mV
±15dB @ 100Hz±15dB @ 2kHz
±15dB @ MID FREQ setting±15dB @ 5kHz
1.5kΩ
27kΩ
1.5kΩ
1.5kΩ
2-button, Mute, Bass Intensifier (P/N 065436)
F8A L, 250V
F6A L, 250V
F3.15A L, 250V
1 Eminence 15'' 4Ω (071301)
24.9 in (63.5 cm)
22.5 in (57.5 cm)
17.25 in (44 cm)
68 lb (31 kg)