THE SOUND THAT CREATES LEGENDS

Twin,Amp

Owner s Manual 047775 P/N TYPE: PR266

Introduction

The Fender TWIN is the next step up in the evolution of High Performance instrument amplification. The new TWIN is a direct descendent of classic tube amps such as the Fender Twin Reverb, and 410 Bassman, which have shaped todays world of guitar amps. The features of the new Fender TWIN provide flexibility rarely found in tube amplifiers. Channel One is the traditional Fender design which offers the vintage sound as well as contemporary sounds with the use of switch-selectable Gain and Master Volume controls. Channel Two is like owning a second, modern hot-rodded amp with more soaring gain than previously found in a Fender tube amp. The CLASSIC Fender tube reverb sound is there too and is switch assignable to Channel One, Channel Two, or both. Finally, a master PRESENCE control allows you to dial-in just the right amount of highend sparkle. Special effects will interface to the Effects Loop easily and with no guesswork on levels. Simply set the three position LEVEL SELECT switch to match up to the latest rack-mount digital processor or your old favorite battery powered effect pedals. The effects MIX control is used for blending the effect (wet) sound with the normal (dry) guitar sound. Depending on the effects device used, the effects MIX control, when set to 10, will produce the wet sound only. A three position switch is provided for assigning the Effects Loop to Channel A, Channel B, or both. In addition, the PREAMP OUT & POWER AMP IN jacks can be used as a second effects loop, or as Send and Return points while slaving amps together. The possibilities are endless (e.g., by inserting a Chorus pedal between the PREAMP OUT of an amp and the POWER AMP IN of another, a true stereo image effect can be achieved). The power amplifier section of the TWIN is a 100 Watt Fender design which has become the industry standard as a result of its time worn reputation for reliability and good sound; however, this amplifier goes further than its clones. In addition to a HIGH/LOW POWER switch, that you can hear, the TWIN also features external bias and balance adjustment capability. The four 6L6WGC/5881 output tubes can be set up by anyone with a digital voltmeter without removing the chassis. This means that you can re-bias every time you re-tube and can check bias and balance over the life of the tubes. With the price of tubes today you cant afford not to have them set up right every time. In addition to being able to drive a wide range of speaker combinations from the three speaker output jacks, switch selectable to 4, 8, or 16 ohms, the BALANCED LINE OUTPUT will drive any 600 ohm line input. This is a transformer coupled, truly balanced, floating ground output which is particularly useful for driving slave power amps or, with the proper equalization, as a send to a mixing console for recording or sound reinforcement. The Fender TWIN features two Fender Special Design 12 speakers which have been specifically tailored to reliably produce the legendary Twin Reverb sound. The selection of a Fender amplifier will reward you with years of quality music in a wide range of controlled sounds. This manual is designed to familiarize you with the equipment and to acquaint you with its many fine features. Please read it carefully so that you will benefit from the many features as soon as you start using the amplifier. The built-in quality of a Fender amplifier is the result of over four decades of dedication in the combined skills of research and development by our engineers and musicians. That is why we proudly say. FENDER, The Sound That Creates Legends.

Twin Amp Sound Settings

Note: These settings are suggested starting points. Your settings may vary due to your guitar, venue, or most importantly.personal taste!
Twin Front Panel Functions (Fig.1)
A. INPUT 1 A high impedance, high sensitivity plug-in connection for instruments. B. INPUT 2 A plug-in connection for instruments. This input exhibits less input impedance and sensitivity than INPUT 1, making it useful for guitars that have active pickups. This input will provide a darker tone if used with guitars that have passive pickups. Note: INPUT 1 and INPUT 2 are inputs for both Channel One and Channel Two. C. VOLUME Adjusts the overall volume of the Channel One Clean Sound. D. PULL BRIGHT This pull switch on the Clean Sound VOLUME control (item C) boosts the highs. This has the sonic effect of adding high end sparkle (to the Clean Sound only). E. GAIN Adjusts the gain for the Channel One Vintage Drive Sound. Lower settings provide an on-the-edge clean sound, while higher settings provide gradual compression, like a cranked vintage amp, but at controllable volumes. This control works in conjunction with the Channel One Vintage Drive Sound VOLUME control (item J) to set the overall volume of the Channel One Vintage Drive Sound. F. TREBLE Adjusts the amount of boost or cut in the high frequency range of Channel One. G. BASS Adjusts the amount of boost or cut in the low frequency range of Channel One. F. MID Adjusts the amount of boost or cut in the middle frequency range of Channel One. I. VINTAGE DRIVE INDICATOR When lit, this yellow LED indicates that the Channel One Vintage Drive Sound is selected, and that the Channel One Vintage Drive Sound GAIN (item E) and VOLUME (item J) controls are active. J. VOLUME Adjusts the overall volume of the Channel One Vintage Drive Sound. K. PULL GAIN SELECT When this pull switch on the Vintage Drive Sound VOLUME control (item J) is in the in position, the Channel One Clean Sound is selected and the Clean Sound VOLUME control (item C) is active; when in the out position, the Vintage Drive Sound is selected, and the Channel One Vintage Drive Sound GAIN (item E) and VOLUME (item J) controls are active. This pull switch is overridden when the footswitch is connected. L. GAIN Adjusts the amount of gain in Channel Two. Lower settings provide gradual compression, while higher settings provide more sustain. lots more sustain.

M. TREBLE Adjusts the amount of boost or cut in the high frequency range of Channel Two. N. BASS Adjusts the amount of boost or cut in the low frequency range of Channel Two. O. MID Adjusts the amount of boost or cut in the middle frequency range of Channel Two. P. CHANNEL TWO INDICATOR When this red LED is lit, Channel Two is selected, and the Channel Two GAIN (item L) and VOLUME (item Q) controls are active. Q. VOLUME Adjusts the overall volume of Channel Two. As this control is rotated clockwise from the 1 position, the volume comes up slowly at first for additional control at lower listening levels; but near mid volume settings, the volume comes up faster for perfomance levels. R. PULL CHANNEL SELECT When this pull switch on the Channel Two VOLUME control (item Q) is in the in position, Channel One is selected. When it is in the out position, Channel Two is selected. This pull switch is overridden when the footswitch is connected. S. MIX Adjusts the amount of audible wet (processed) signal when the variable level effects loop (located on the back panel) is used. When the MIX control is in the full counter-clockwise position (1), the wet signal will not be audible. When the MIX control is in the full clockwise position (10), only the wet signal will be heard (depending on the type of effect used). When nothing is plugged into the EFFECTS RETURN jack (located on the rear panel), the MIX control will have no effect on the sound. Also see the EFFECTS SELECT switch in the Twin Rear Panel Functions section of this manual. T. REVERB Adjusts the amount of reverb present in Channel One and Channel Two. When the footswitch is connected, the reverb can be turned on and off remotely. Also see the REVERB SELECT SWITCH in the Twin Amp Rear Panel Functions section of this manual. U. PRESENCE This is a true vintage-style PRESENCE control that affects the way the power amplifier responds to upper high frequencies. As the control is turned clockwise, the power amplifier (in interaction with the speaker load) enhances upper highs, giving the Twins overall sound a sparkling quality. V. PILOT LAMP When this lamp is illuminated, the amplifier is receiving power. Should the lamp burn out, turn off the amplifier and unplug it from its power source, unscrew the red jewel, and replace the lamp with type T47 light bulb.
Twin Rear Panel Functions (Fig. 2)
A. FUSE The fuse is in the AC supply of the amplifier and will protect the amplifier and the operator in the event of an electrical fault.

Fig. 1

Fig. 2
If a fuse blows, it should be replaced only with a fuse in accordance with the listing at the fuse holder. If the amplifier repeatedly blows fuses, it should be checked out by a qualified technician. UNDER NO CIRCUMSTANCES should a fuse of a different type or higher rating, or a fuse bypass be used, as this could damage the equipment and present a serious safety hazard. B. POWER SWITCH This switch turns the AC power on and off. When the switch is off (down), the amplifier is completely shut down. C. STANDBY SWITCH When in the STANDBY position, the amplifier is off; however, the tube filaments are left on as to eliminate warm-up time, provided that the POWER SWITCH (item B) is ON. Use of this feature during short breaks versus using the POWER SWITCH will increase tube life. D. OUTPUT SWITCH When in the OUTPUT HIGH position, the maximum output power of the Twin is set to 100 watts RMS, when in the OUTPUT LOW position, 25 watts RMS. The OUTPUT HIGH position is normally used in most applications, and the OUTPUT LOW position is useful for simulating a smaller amplifier, especially when the power amp is overdriven. E. EFFECTS LEVEL This switch directly affects the signal level appearing at the EFFECTS SEND JACK (item F) by boosting or attenuating the signal being sent to the effects. External rack effects usually require a setting of 3dBV. Use the highest setting possible that does not produce distortion for the best low noise performance.
F. EFFECTS SEND JACK Provides an unbalanced output signal from the preamp, pre-reverb. It is used to patch into effects. G. EFFECTS RETURN JACK This jack provides a pre-reverb return from effects gear. Plugging into this jack makes the MIX control on the front panel active. H. PRE-AMP OUT JACK The PRE-AMP OUT JACK, in conjunction with the POWER AMP IN JACK (item I), provides a post-reverb patch point at the power amplifier input. This jack can be used to provide an unbalanced, line-level signal (1.3dBV) for recording and sound reinforcement consoles, and for driving external power amplifiers, or another TWIN used as a slave amp. To use another TWIN as a slave amp, simply run a guiter cord from the master TWINS PREAMP OUT JACK to the slave TWINS POWER AMP IN JACK. (Note: this output is best for driving tube type slave amps. See item P, BALANCED LINE OUT, for driving solid-state slave amps.) I. POWER AMP IN JACK This jack connects directly to the input of the power amplifier. It automatically disconnects the preamp signal when used. This is useful for using the Twin as a slave amp. J. OUTPUT BIAS ADJUST This trim adjustment is used in conjunction with the OUTPUT BALANCE ADJUST (item L) and the BIAS TEST POINTS (item K) to set the output tube bias. See Output Tube Bias Adjustment Instructions below. K. BIAS TEST POINTS Used to measure output tube bias and balance with a digital voltmeter. See Output Tube Bias Adjustment Instructions below.

L. OUTPUT BALANCE ADJUST Used in conjunction with the BIAS TEST POINTS (item K) to set the balance between the push/pull tube sections of the power amp. See output Tube Bias Adjustment Instructions below. Output Tube Bias Adjustment Instructions 1. Turn on the amplifier and let it warm up for at least two minutes with the STANDBY SWITCH (item C) in the ON position and the OUTPUT SWITCH (item D) in the OUTPUT HIGH position. 2. With a digital voltmeter set to its most sensitive DC voltage scale, measure the voltage between the two BIAS TEST POINTS (item K) labeled BIAS and adjust the OUTPUT BIAS ADJUST control (item J) for a reading of.08 VDC (80 mVDC). 3. Connect the digital voltmeter to the two BIAS TEST POINTS (item K) labeled BALANCE and adjust the OUTPUT BALANCE ADJUST control (item L) for 0 VDC. Notes: 1. Make bias and balance adjustments only when necessary. If you are unsure about setting bias and balance, it is best to LEAVE THIS FEATURE ALONE, as it is pre-set at the factory. 2. For optimum sonic performance, set bias to.08 VDC, then set balance. 3. For optimum sonic performance with increased tube life, set bias to.06 VDC, then set balance. 4. For optimum tube life, set bias to.04 VDC, then set balance. If a bias measurement of.04 VDC cannot be obtained, replace the 6L6GC output tubes. 5. If the output tubes cant be balanced, check the bias setting and/or replace the 6L6GC output tubes. M. FOOTSWITCH JACK Plug-in connection for the remote
footswitch. The footswitch GAIN SELECT button switches between the Channel One Clean and Vintage Drive sounds, the CHANNEL SELECT button switches between Channel One and Channel Two, and the REVERB button turns the reverb on and off. Note: Any good patch cord will work with the remote footswitch; however, a speaker grade cord, when its available, is perferable to a coax guitar cord. When the footswitch is connected, it overrides the front panel PULL GAIN SELECT and PULL CHANNEL SELECT switches. N. REVERB SELECT SWITCH This three position switch assigns the reverb to Channel One, Channel Two, or to both channels. For example, if the switch is set to CH. 1, reverb will be available for Channel One ONLY. This switch is used in conjunction with the front panel REVERB control and the reverb on/off footswitch button. O. EFFECTS SELECT SWITCH This three position switch assigns the EFFECTS RETURN JACK (item G) to Channel One, Channel Two, or to both channels. For example, if the EFFECTS SEND and EFFECTS RETURN jacks are being used to patch in an effect, and the EFFECTS SELECT SWITCH is set to the CH. 1 position, the effect will be heard ONLY when Channel One is selected. P. BALANCED LINE OUT This XLR jack provides a transformer coupled, balanced, floating ground output which can be used to drive slave power amps, or with proper equalization, used as a send to a mixing console for recording or sound reinforcement. For optimum performance when driving slave amps, use high power solid-state amplifiers of 300 watts minimum rating, and set the gain

of the slave amps such that they NEVER clip with full output from the Twin. Heres why: Since the signal at the BALANCED LINE OUT is derived directly from the output transformer, the signal is a replica of the voltage present at the speakers in the Twin. If the output of the slave amps never clip, then the voltage at the output of the slave amps will also be a replica of that on the speakers in the Twin. This will preserve the Twin sound. As for the 300 watt minimum rating. In order for a slaved solid-state amp to reproduce the sound of a tube master amp, a solid-state amp needs lots of headroom. For example, because of the way a tube amp interacts with a speaker load, a 20 watt tube amp, when driven into heavy clipping, can produce output signals equivalent to a 180 watt solid-state amplifier. This nine-to-one ratio can get excessive when a 100 watt tube master amp is used. But, if the solid-state slave amp has enough headroom to never clip, and if the speakers used on the slave amp are the same as those used in the Twin, voila! You now have the capability of obtaining large amounts of on-stage Twin sound. We recommend using a Fender Electronics SPL9000(s) with an additional Fender speaker enclosure(s). If the BALANCED LINE OUT is used as a send to a mixing console, it should normally be pre-equalized before going to the console input. What works well is to run the BALANCED LINE OUT signal through a low-pass filter set to 5 to 6 kHz. The slope of the filter needs to be steep, 18 dB per octave minimum. A handy way to do this is to use the low-pass output of an active crossover, or to use a parametric equalizer. By tweaking the equalization, some very useful sounds can be obtained. Q. EXT. SERIES JACK Plug-in connection for extension speakers. This should be used in conjunction with the MAIN SPEAKER jack (item R). By using the EXT. SERIES JACK, the extension speaker is placed in series with the main speaker; therefore, the impedance of the extension speaker adds to that of the main speaker. For example, by connecting a 4 ohm speaker to each jack, the total load is 4+4=8 ohms. The IMPEDANCE SELECTOR switch (item T) would then be set to 8 ohms. (Note: an additional 8 ohm speaker could be added to the EXT. PARALLEL JACK (item S) for a total of 4 ohms, with the IMPEDANCE SWITCH set accordingly.) R. MAIN SPEAKER JACK Plug-in connection for speakers. For proper operation, this jack should always be used first as connection to the primary speaker(s). If this jack is used alone, set the IMPEDANCE SELECTOR switch (item T) to equal the total speaker load impedance connected to it. S. EXT. PARALLEL JACK Plug-in connection for extension speakers. This jack should be used in conjunction with the MAIN SPEAKER JACK (item R). By using the EXT. PARALLEL JACK, the extension speaker will be placed in parallel with the main speaker; therefore, reducing the total load impedance. For example, by connection a 16 ohm speaker to the MAIN SPEAKER JACK and a 16 ohm speaker to the EXT. PARALLEL JACK, the total impedance will be (16X16)/(16+16)=8 ohms. The IMPEDANCE SELECTOR SWITCH (item T) would then be set to 8 ohms. (Note: An additional 8 ohm speaker could be connected to the EXT. SERIES SPEAKER JACK (item Q) for a total load of 16 ohms, with the IMPEDANCE SWITCH set accordingly.)

T. IMPEDANCE SELECTOR SWITCH Sets the output impedance of the amplifier. The setting should equal the total load impedance as determined above using the three speaker jacks. (The Twin is supplied with two 8-ohm speakers connected in series; therefore, the IMPEDANCE SELECTOR SWITCH is set to 16 ohms at the factory.) LOW POWER OPTION The Fender Twin can be run with only two output tubes instead of four. This is done by removing the inner two 6L6GC tubes (the 2nd and 3rd large tubes, counting left to right), and setting the IMPEDANCE SELECTOR SWITCH to one-half of the total speaker load; e.g., with a total speaker load of 16 ohms connected, the OUTPUT IMPEDANCE SWITCH should be set to 8 ohms. (Remember half the tubes, half the impedance.) This will produce 60 watts RMS in the OUTPUT HIGH setting, and 15 watts RMS in the OUTPUT LOW setting. LINE CORD Your amplifier is equipped with a grounding type supply cord to reduce the possibility of shock hazard. Be sure to connect it to a grounded AC receptacle. DO NOT ALTER THE AC PLUG. TUBES The Fender Twin tube complement consists of four Fender Special Design 6L6WGC/5881s (part number 039214), three Fender Special Design 12AT7s (part number 023531), and five 12AX7As (part number 013341). Fenders Special Design Tubes provide optimum performance in the amplifier. For best results, replace with Fender original equipment tubes only. Tube location lable is in cabinet. BLACK TOLEX COVERING CARE The exclusive Fender Tolex covering on your cabinet is especially designed to provide years of lasting beauty. A very light soapy solution on a sponge may be used to remove dirt and residue that may accumulate in the grain. Be careful not to let any liquid come in contact with the operating surfaces. DO NOT have the amplifier plugged into a power outlet when cleaning. TROUBLESHOOTERS CHECKLIST - Is the power cord properly plugged into an electrical outlet? - Is there power at the outlet? - Is the fuse blown? - Is the speaker(s) properly connected to the amplifier? - Is the amp on standby? - Are all the control knobs turned up above 4? - Is the volume control on the instrument turned up? - Is the instrument plugged into the amplifier? (Eliminate any effects devices and try another cord.) If, after checking all of the above, the system is still not operating properly, consult your authorized Fender Service Dealer.

Twin Block Diagram

2 Gain

Specifications

PART NUMBER: 120V version: 21-4809 230V version: 21-4889 PR 266 Height: 20-3/4 (52.7 cm) Width: 26-3/8 (67 cm) Depth: 11-1/2 (29.2 cm) Weight: 77 lbs. (35 kg) 120V version: 120 volts AC, 60 Hz, 360 watts. 230V version: 230 volts AC, 50 Hz, 360 watts. 100V and 120V versions: 4A SLO-BLO, 125V min. 230V and 240V versions: T2A, 250V. Input 1: 1M ohm. Input 2: 136k ohm. Pre reverb. Nominal level: +2, -5.5, -13 dBV. Output impedance: 4.2k ohm maximum. Input impedance: 130k ohm minimum. Continuously variable between the signal at the EFFECTS SEND and EFFECTS RETURN jacks. Post effects loop. Post reverb, +1.3 dBV nominal level. Recommended load: 22k ohm minimum. +1.3 dBV sensitivity, 130k ohm input impedance. Derived from the output transformer, fully balanced. +3 dBV nominal level into 600 ohms or greater. Pin 1 floating, pin 2 (+), pin 3 (-). Switch selectable for 4, 8, or 16 ohms. OUTPUT HIGH setting: 100 watts RMS, 5% THD. OUTPUT LOW setting: 25 watts RMS, 5% THD. Two Fender P/N 026488 Special Design ohm speakers wired in series.

TYPE: DIMENSIONS:

POWER REQUIREMENT:

FUSE TYPE:

INPUT IMPEDANCE:

EFFECTS LOOP:

EFFECTS MIX CONTROL:

REVERB: PRE-AMP OUT:

POWER AMP IN: BALANCE LINE OUTPUT:
AMPLIFIER LOAD IMPEDANCE: POWER OUTPUT: into 4, 8 or 16 ohms. SPEAKER COMPLEMENT:
A PRODUCT OF: FENDER MUSICAL INSTRUMENTS CORP., CORONA, CA 91720 MADE IN U.S.A.

soltanto da personale qualificato.
ATTENZIONE: Intervenire sull'unit con la dovuta cautela. Anche se
Non alterare la presa C.A. Questa unit deve essere collegata a terra.
l'interruttore di alimentazione in posizione OFF e la spia di alimentazione non accesa, l'unit non completamente disinserita dalla fonte di alimentazione. In alcuni casi la spina del cavo di alimentazione non polarizzata ed possibile un'inversione della linea "calda" e quella del neutro. Rivolgersi a personale di assistenza qualificato.
Setzen Sie dieses Gert niemals Regen oder Feuchtigkeit aus, um
Beschdigung, Brandentwicklung und elektrische Schlge zu vermeiden. von qualifizierten Technikern durchgefhrt werden.
Ziehen Sie den Netzstecker, bevor Sie das Gehuse des Gerts reinigen
(verwenden Sie zum Reinigen nur ein feuchtes Tuch). Stecken Sie den Netzstecker erst wieder ein, wenn das Gert vollstndig getrocknet ist.
Im Gert sind keine zu wartenden Teile. Reparaturarbeiten drfen nur Modifizieren Sie auf keinen Fall den Netzstecker. Das Gert muss geerdet sein.

WARNHINWEIS:

Gehen Sie beim Durchfhren von Wartungsmanahmen vorsichtig vor. Das Gert ist nicht vollstndig von der Stromquelle getrennt, wenn der Betriebsschalter auf OFF steht und die Betriebsanzeige nicht aufleuchtet. Bei einigen Anwendungen ist das Netzkabel nicht polarisiert und die Leitungen "Hot" (Stromfhrend) und "Neutral" knnen beim Gebrauch vertauscht werden. Wenden Sie sich an das zustndige Fachpersonal.

Fender Tw i n - A m p

Congratulations! Your Fender Pro-Tube Series amplifier delivers world-class tone and professional quality construction for many years of enjoyable service. Read through this manual to take advantage of the features built into your Twin-Amp: Two pre-amp channels: Independent VOLUME, TREBLE, MIDDLE, and BASS for each channel, Channel 1 BRIGHT switch for crisp tone emphasis, Channel 2 GAIN control for warm Pro-Tube distortion. Tools for tone: Sweet sounding Fender spring REVERB, Ultra-high frequency definition from the PRESENCE control, TREMOLO volume modulation with SPEED and INTENSITY controls. Effects loop options: Engage/bypass external effects devices with the LOOP button, Normalize (or set alternate) engage/bypass volume levels using the SEND and RETURN controls. Remote functions of the Fourbutton Footswitch: CHANNEL select, EFFECTS LOOP bypass/ engage, REVERB on/off, TREMOLO on/off. Expansion Options: Output to a second Pro-Tube amp using the PRE-AMP OUT and POWER-AMP IN jacks, and control both amps as one, Output to sound reinforcement equipment, Plug two 8 ohm speaker cabinets into each of your Pro-Tube amp(s) at the MAIN SPEAKER and EXTERNAL SPEAKER jacks. Selectable output levels: FULL POWER supplies 100 watts of output, 1/4 OUTPUT POWER supplies 25 watts of output for smaller venues, 1/4 OUTPUT POWER allows the drive tone created by high GAIN/ VOLUME settings to be generated at lower volume levels. Quality built: The chassis is constructed from the finest, most roadworthy components, Cabinets are made from sturdy 3/4 inch birch/maple plywood, Covered in genuine Tolex for long lasting good looks. Extras: Tilt-back legs provide an alternate listening angle, Removable castersON for easy transportation and OFF for secure cabinet placement. This manual includes procedures for testing, balancing and replacing the amplifier tubes at the core of your ProTube sound.

Front Panel

A. B. C.

D. E. F. G.

I. J. K.
INPUT - Input jack connection for your guitar. 1Channel1 VOLUME - Controls the overall loudness output of the amp when channel1 is active. BRIGHT - This two-position button gives channel1 a treble boost: button OUT > for BRIGHT OFF button IN > for BRIGHT ON TREBLE - Controls the channel1 high-frequency level. BASS - Controls the channel1 low-frequency level. MIDDLE - Controls the channel1 mid-frequency level. 2Channel2 GAIN - Controls the pre-amplifier distortion level when channel2 is active. Higher GAIN levels produce more distortion. Use GAIN in conjunction with channel2 VOLUME (K) to set the overall volume output of the amp. TREBLE - Controls the channel2 high-frequency level. TREBLE has less effect as MIDDLE is turned above 3. BASS - Controls the channel2 low-frequency level. MIDDLE - Controls the channel2 mid-frequency level. VOLUME - Controls the overall loudness output of the amp when channel2 is active in conjunction with GAIN (G). Use this VOLUME control to set the output level of channel2 relative to the channel1 settings.
CHANNEL SELECT - This two-position button selects the active pre-amp channel: button OUT > for Channel-1 > LED OFF button IN > for Channel-2 > LED ON Note: When the Footswitch is plugged in to the FOOTSWITCH jack, CHANNEL SELECTION is possible only from the Footswitch. REVERB - Controls the Reverb level of both channels. Note: Reverb can be toggled ON/OFF from the Footswitch when it is plugged in. SPEED - Controls Tremolo modulation rate. Note: The Footswitch must be plugged in (with TREMOLO toggled ON) to enable the Tremolo effect. Turn up INTENSITY to make SPEED settings more audible. INTENSITY - Controls the Tremolo sweep depth. Note: The Footswitch must be plugged in (with TREMOLO toggled ON) to enable the Tremolo effect. Tremolo is less intense in the 1/4 power mode. PRESENCE - Controls the ultra-high frequency level of both channel1 and channel2. POWER INDICATOR - Illuminates when the POWER is switched ON and the Pro-Tube amp is receiving power. Note: Unscrew the red jeweled cover to access the bulb for replacement. Use bulb type T47.

www.f e n d e r. c o m

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P r o - Tu b e S e r i e s
POWER - Switches power ON and OFF to the amplifier. (Reduce the shock to amplifier tubes at power-up, extending their life span, by turning the POWER switch ON with the STAND BY switch DOWN for the first minute, then UP for normal use. STAND BY - In the DOWN position, this switch puts the amp on stand by. Audio is muted and power is supplied only to the tube filaments. Use STAND BY in place of switching POWER OFF during short breaks (one hour max.). This eliminates the normal warm-up time when STAND BY is switched OFF (UP) when returning to play the amplifier and also extends the life span of your amplifiers tubes. IEC LINE CORD CONNECTOR - Connect the supplied IEC POWER LINE CORD to a grounded AC receptacle in accordance with the voltage and frequency ratings as shown on the rear panel of the amplifier. FUSE - Power Mains fuse, protects the amplifier from electrical faults. Replace a failed fuse only with the proper type and rating (See FUSE F200 under Specifications). If a fuse repeatedly fails, consult an authorized Fender service technician. OUTPUT POWER - Selects output power: Switch UP for 100-Watts, DOWN for 25-Watts. SEND - Controls the SEND jack output level. SEND JACK - Output jack for connection to the input jack of effects devices in an effects loop. LOOP - This two position button engages/bypasses the effects loop:

button OUT > button IN > to BYPASS the effects loop* to ENGAGE the effects loop
CC. POWER AMP IN - This input jack connects directly to the power amplifier, automatically disconnecting the preamp signal from the circuit. When using your Pro-Tube as an extension amp, connect the PREAMP OUT jack on another Pro-Tube amp, to this jack. Control both units from the source amplifier. DD. FOOTSWITCH JACK - Connect the supplied 4button Footswitch at this jack to enable these Footswitching functions:

SELECT Pre-Amp Channel*

BYPASS/ENGAGE the Effects Loop* Switch Tremolo ON/OFF Switch Reverb ON/OFF
*Note: When the Footswitch is plugged into the FOOTSWITCH jack, CHANNEL SELECT and EFFECTS LOOP BYPASS/ENGAGE switching are possible only from the Footswitch.
EE.LL. (See TUBE ADJUSTMENT on the next page.) MM. EXTERNAL SPEAKER - Connect a 8 ohm external speaker cabinet at this jack only if another 8 ohm external speaker cabinet is connected at the MAIN SPEAKER jack (see MAIN SPEAKER and the Speaker Connection Guide below for details). NN. MAIN SPEAKER - Keep the internal speakers connected at this jack for normal amplifier operation (4 Ohm Load). IMPOR TANT: SPEAKERS MUST ALWAYS BE CONNECTED HERE WHEN THE UNIT IS SWITCHED ON TO PREVENT SERIOUS DAMAGE TO THE UNIT. Recommended alternate speaker configurations:

Speaker Connection Guide

V. W. X. Y.
*Note: When the Footswitch is plugged into the FOOTSWITCH jack, effects LOOP BYPASS/ENGAGE switching is possible only from the Footswitch.
RETURN JACK - Input jack for connection to the output jack of an effects device in an effects loop.
The MAIN SPKR and EXT SPKR jacks are wired in parallel, therefore the proper load of 4 ohms can be achieved with speakers of 4 or 8 ohms connected in the following ways:
AA. RETURN - Controls the RETURN jack input level going into the power amp. BB. PRE AMP OUT JACK - This output jack supplies an unbalanced, line-level signal (with Reverb) to a recording/sound reinforcement console, or to an external power amplifier such as another Pro-Tube amplifier used as an extension amp.
MAIN SPEAKER JACK Internal 4 ohm External 4 ohm External 8 ohm + + +

EXTERNAL SPEAKER JACK

TOTAL LOAD
NONE = 4 ohms NONE = 4 ohms External 8 ohm = 4 ohms

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Effects
BYPASS and ENGAGE Volume Levels

Settings

match the bypass level set above (or to any alternate volume level). This is your engage level.
While playing guitar, turn SEND and RETURN up together* to By quickly switching between BYPASS and ENGAGE while
playing, you can fine tune these settings. *Hear unwanted distortion? Turning SEND and RETURN up at the same rate is usually a good way of setting levels quickly that will work with an external effects device. But with multiple effects devices or with devices having their own level controls, unwanted distortion may develop. Try reducing the SEND level or the level controls on individual effects devices, (increasing RETURN or MASTER will restore the overall volume level). Listen for improvement after each change. Experiment to find the right settings.

Use the SEND and RETURN level controls to normalize (make equal) the ENGAGE and BYPASS volume levels. Or, set the two levels unequal to create a preset alternate volume level, selectable from the Footswitch. Note: The alternate volume level will function with or without effects devices plugged into the loop jacks.
Setting effects loop levels. Turn SEND and RETURN knobs down to 1. BYPASS the effects loop from the rear panel or the Footswitch. Connect effects device(s) to the rear panel SEND and
RETURN jacks (optional for alternate volume level setting).
Play guitar and set the amp and instrument levels as preferred.
This is your bypass level.

ENGAGE the effects loop.

Tu b e

Adjustment

OUTPUT TUBE BIAS & BALANCE ADJUSTMENTS. 1. Warm up the Pro-Tube amp for 2 minutes with STAND BY switch DOWN and OUTPUT POWER set to FULL. Set SPEED and INTENSITY to 1 and toggle TREMOLO OFF. Put the STAND BY switch in the UP position. Remove the bias controls cover box. Set BIAS: With a DC voltmeter, measure VDC between the GND and V9,V10 test points. Adjust BIAS for.06 VDC (60mVDC). Set BALANCE: With a DC voltmeter, measure VDC between the V9,V10 and V11,V12 test points. Adjust BALANCE for zero (0) VDC. Replace the bias controls cover box.
EE. V9 & V11 TROUBLE LED* - Functional only with the STAND BY switch in the UP position. This LED glows red when either the V9 or V11 tube has failed. FF. FUSE V9 & V11 (F1)** - Protects the amplifier from damage if the V9 or V11 tube were to fail. If this fuse fails, replace the tubes in locations V9 & V11, this fuse, then set the BIAS and BALANCE. GG. BIAS ADJUSTMENT - Trim adjustment used in conjunction with BIAS test points to set the proper tube BIAS. HH. BIAS TEST POINTS - Test points used to measure output tube BIAS. II. BALANCE TEST POINTS - Test points used to measure the BALANCE between power tube sections. JJ. BALANCE ADJUSTMENT - Trim adjustment used in conjunction with the BALANCE test points to set the proper tube BALANCE. KK. V10 & V12 FUSE (F2)** - Protects the amplifier from damage if the V10 or V12 tube were to fail. If this fuse fails, replace the tubes in locations V10 & V12, this fuse, then set the BIAS and BALANCE. LL. V10 & V12 TROUBLE LED* - Functional only with the STAND BY switch in the UP position. This LED glows red when either the V10 or V12 tube has failed.

The TROUBLE LEDs do not indicate tube wear. Tubes may be worn and sound weak even when the TROUBLE LED still glows green. DO NOT WAIT FOR TUBE FAILURE TO REPLACE TUBES, (see Tube Replacement on the next page). Only replace a failed fuse with the proper type as indicated under Specifications on the next page. The fuse item F1 & F2 are used for tube failure protection. If a fuse repeatedly fails, consult with an authorized Fender service technician. Visit Fender online at: w w w. f e n de r. c o m www.mrgearhead.net
IMPORTANT 1. Make BIAS and BALANCE adjustments only when necessary. Take your Pro-Tube amp to the nearest authorized Fender Service Center if you are not sure about the settings. Always set BIAS first, then BALANCE. If the output tubes (6L6GCs) cannot be BALANCED, replace the output tubes (V9, V10, V11, V12), then set BIAS and BALANCE.

6 www.mrgearhead.net

Replacement

FIG. A

Tube life span depends upon things such as amplifier load and playing style. Power amplifier output tubes have a shorter life span than pre-amplifier tubes and usually need attention first. A simple way to check if your tubes are noticeably worn, is to replace them with a spare new set and listen for any improvement in tone quality: ALWAYS unplug the amplifier when replacing tubes. Replace tubes ONLY with the proper type (see Specifications below). CAUTION: let tubes cool before handling, they get HOT. 1. Replace the OUTPUT tubes (V9, V10, V11, V12 in FIG. A) with a new set. Set BIAS and BALANCE. Listen for any improvement. 2. Keep the new OUTPUT tubes in place. Replace the PREAMPLIFIER tubes (V1, V2, V3, V4, V5, V6, V7, V8 in FIG. A) with a new set. Listen for improvement. 3. Keep the new PRE-AMPLIFIER tubes in place. Put the original OUTPUT tubes back in the amplifier. Set BIAS and BALANCE. Listen for any improvement. If there is a noticeable improvement in sound quality after any of the 3 steps above, keep the tube arrangement that sounds the best. Obtain new spare tubes for future testing and tube replacement.

Specifications

TYPE : PART NUMBER : PR 449 021-5700-000 (120V, 60Hz) USA, 021-5760-000 (230V, 50Hz) Europe 021-5740-000 (230V, 50Hz) UK, 021-5730-000 (240V, 50Hz) Aust 021-5770-000 (100V, 50/60Hz) Japan 360W 100W RMS (Full Output), 25W RMS (1/4 Output) 1kHz sine into 4 ohms @ <5% THD (Presence @ 1) 1M ohm Four 6L6GC (P/N 053980), Two 12AX7A (P/N 023572), Five 12AX7WA (P/N 013341), One 12AT7 (P/N 023531) F200: F201: F1 & F2: T4A 250V (110V, 120V units), T2A 250V (230V, 240V units) T5A 250V (Internal Filament Fuse, 230, 240V units) T100mA (all units) Fender 12 in., 8, (P/N 037617) 4-Button: Channel, Effects Loop, Reverb, Tremolo (P/N 057025) Height: Width: Depth: 19 7/8 in. 26 3/8 in. 12 27/32 in. 80 lbs. (50.7 cm) (67.3 cm) (32.8 cm) (36.3 kg)