Laney L5-STUDIO Lionheart Guitar Amplifier

Introduction

Designed, engineered, and built with pride in Great Britain, the Laney Lionheart range delivers boutique Single-Ended and Parallel Single-Ended Class 'A' tube tone for discerning players seeking uniquely responsive BRITISH tube tone.

The L5-STUDIO's 5W Class A Single Ended output stage provides classic, warm tube tones that improve as they are driven harder. It offers enough gain for contemporary tones, alongside a mean, spirited character, making it ideal for any playing style. It is perfect for studio and practice use (utilizing the 5W or 0.5W output) and equally at home on stage when paired with a Laney LT112, LT212, or L412 cabinet.

Leveraging T-USB technology, first introduced in the IRT-Studio, the L5-STUDIO allows players to combine classic valve tone with modern digital flexibility, appealing to those seeking vintage aesthetics, great valve tone, and contemporary features.

Every Lionheart product undergoes extensive play testing by experienced guitarists before shipping. Each unit receives a unique build number, hand-stamped onto the rear plaque, only when it meets complete satisfaction.

To ensure you get the best performance from your L5-STUDIO, please take time to read this manual and familiarize yourself with its controls. Laney hopes you enjoy using the L5-STUDIO as much as they enjoyed designing and making it.

Front Panel Features

The front panel features a comprehensive set of controls for shaping your tone:

Input Jacks

• 1 - HI INPUT: Labeled 'Hi', this input is for high gain. It is designed for low output level guitars, making it suitable for guitars with single coils or low gain humbucker pickups. Using high gain pickups with this input may over-drive the preamp, potentially causing a "mushy" sound. Always use a good quality guitar cable.
• 2 - LO INPUT: Labeled 'Lo', this input is for low gain. It is attenuated by approximately 50% compared to the Hi input and is designed for high output level guitars. This input helps achieve a "tight" sound, avoiding muddiness, especially with high gain humbucker pickups. It also provides the cleanest full-range sound with extended low-end response. Always use a good quality guitar cable.

Clean Channel Controls

• 3 - CLEAN VOL: Sets the volume for the clean channel. Increasing this control can drive the power tubes harder, producing a classic retro sound and feel. The guitar's volume knob can then be used to control the amount of distortion (turn it up for distortion, back it off for clean).
• 4 - BRIGHT: This switch adds brightness and life to the treble frequencies on the clean channel. On the drive channel, it adds edge and picking emphasis. The effect is more pronounced at lower Clean Volume/Drive control settings. Use in conjunction with the Treble and Tone controls for optimal performance. Switch UP to enable.

Drive Channel Controls

• 5 - DRIVE: Sets the level of tube preamplifier drive or the 'dirtiness' of your sound. This control should be used in conjunction with the Drive Volume (6). Low gain settings with high volume can produce a clean sound with tube output stage overdrive. Medium drive and medium Drive Volume settings yield a crisp bluesy lead tone, also capable of driving the output stage at higher Drive Volume settings. High drive and low Drive Volume settings produce a punchy hard rock lead tone, again with the ability to drive output tubes at higher Drive Volume settings. Adjusting your guitar's volume and tone controls can unlock many other sounds.
• 6 - DRIVE VOL: Sets the volume for the 'Drive' channel. Experimenting with drive levels and volumes is recommended. For a very open, warm, and semi-overdriven sound, try reducing the Drive and increasing the Drive Volume. This reduces preamp gain but pushes the power amp section, creating desirable power amp distortion for a "retro" sound.
• 7 - DRIVE SWITCH: Switch UP to enable the 'Drive' channel. The switch must be in the DOWN (OFF) position for remote switching via a footswitch.
• 8 - DRIVE LED: This LED illuminates when the Drive channel is activated, either by the Drive switch (7) or the included Laney FS2-mini remote footswitch.

Tone Controls

• 9 - BASS, MIDDLE, TREBLE: These are traditional passive tone controls. Their advantage lies in sounding musical at any setting due to their interactive nature, providing players with natural tools for tone shaping. A good starting point is setting all controls to the midway position (5).
• 10 - REVERB: Controls the volume of the built-in reverb effect.
• 11 - TONE: This control functions similarly to a guitar's tone control but operates at the amplifier's output stage. It influences the overall top-end response and can reduce upper harmonics in output stage and preamp overdrive sounds, producing bright, cutting sounds at high settings and smooth, rounded sounds at lower settings. Midway (5) is a good starting point.

Master Controls

• 12 - STANDBY SWITCH: Disconnects the main HT voltage from the tubes while keeping them warm for instant use. Use for short breaks to avoid waiting for the tubes to warm up again.
• 13 - POWER LED: This LED indicates when the amplifier is switched ON. Always switch off and disconnect the power cord when the unit is not in use.

Rear Panel Features

The rear panel provides various connection and control options:

Power and Safety

• 14 - POWER INLET SOCKET: Connect your power source here. Ensure the specified voltage is correct for your country.
• 15 - POWER FUSE: This drawer houses the main safety fuse. Use only the correct size and rating as specified on the panel. If a fuse blows and a replacement of the same rating also blows, the unit likely has an internal malfunction requiring service from a qualified technician. Never use a fuse of a higher rating, as this can cause serious, irreparable damage and a fire hazard. Mains fuse ratings are detailed in the specification section.
• 16 - POWER: The main power switch for the unit.
• 17 - SERIAL NO: Displays the model and serial number of the unit.
• 18 - HT FUSE: This fuse protects the DC power to the amplifier's tubes. Use only the correct size and rating as specified on the panel. If the HT fuse blows and a replacement of the same rating also blows, first check and replace faulty output tubes. If the tubes are not the cause, the amplifier requires checking by a qualified technician. Do not use a higher rating fuse, as this can cause serious, irreparable damage. Fuses are designed for protection.

Connectivity and I/O

• 19 - DI: This connector provides a balanced direct feed, typically for a PA sound desk. It includes an adjacent ground lift switch to resolve hum loop issues. It is sourced from the post-output section and can be used with or without a speaker load. The socket offers a fully balanced output (switchable +4dB/-30dB & Ground Lift) for maximum noise reduction. It can be used for silent recording without a loudspeaker connected, as a protective load is applied when the speaker socket (25) is not used.
• 20 - EMULATION: Provides continuous 4x12 cabinet emulation for the Phones output and switchable emulation for USB and the DI output.
• 21 - USB: A standard USB 2.0 audio input/output connector is provided for recording purposes.
• 22 - PHONES: A stereo jack for headphones or a stereo feed to a PA system. A Source switch allows selection between speaker outputs or the stereo return from USB. A level control is included for comfortable listening. In 'amp' mode, the level to the headphones depends on the pre-amplifier controls and the phones level. Ensure the pre-amplifier is set before adjusting the phones level.
• 23 - AUXILIARY INPUT: Allows connection of backing tracks or any line-level audio signal to be mixed in post FX loop.
• 24 - FOOTSWITCH SOCKET: For connecting the included Laney FS2-MINI footswitch, enabling remote switching between clean/drive channels and reverb On/Off.
• 25 - SPEAKER CONNECTORS: For connecting an 8-16 ohm cabinet. Mismatched impedance can reduce performance and potentially damage the amplifier. The 0.5W attenuated socket offers the same sound and feel as the 5W output but with a maximum output of approximately 0.5W. The L5-Studio is designed to operate with or without speakers connected.
• 26 - FX LOOP:
  • RETURN: A mono jack socket to connect to the output of an external FX unit. It can also serve as a slave input for the power amp. As an insert type, a connector in the Return socket mutes the pre-amp signal.
  • ATTENUATION SWITCH: Selects the FX Loop mode:
    • -10dBu: For FX units with a -10dBu nominal output level. This switch increases the FX Loop gain by 10dB for devices with lower output.
    • 0dBu: For FX units with a 0dBu nominal output level.
    • Bypass: Removes the FX Loop from the signal path.
  • FX SEND: Mono jack socket for connection to the input of an external FX unit.

USB Functionality

The USB 2.0 audio I/O connector supports the following:

1. Simultaneous recording of the RAW untreated sound to channel 1 (left) and the full amplifier sound to channel 2 (right).
2. Playback of USB stereo information to headphones for monitoring.

Tip: Link the Headphone output back into the Auxiliary input using a 3.5mm to 6.5mm stereo jack lead for simultaneous USB playback.

Tip: This feature also allows external DSP effects from your DAW to utilize the RAW signal as a left input, with the effected signal sent directly back to the Aux input for mixing with the amp "through" signal via USB, without affecting your direct sound.

3. Re-Amp Send socket: Allows the recorded RAW channel to be sent back to the amplifier input for re-processing via a standard mono instrument jack lead. For optimal level matching, use the HI input on the amplifier's front panel. Fine-tune the level using the Dry Recording Gain control. A good starting position for unity gain is the 12 o'clock position. High output pickups or significant gain from FX pedals before the amp may require a slight reduction in level via the Dry Recording Gain Level control to prevent overloading your DAW's input stage.

Record out via USB: Connect to an iPad or iPad mini via a Camera USB adaptor, or to a PC/MAC via a standard A-B USB cable. Compatible with software like Garage Band®, Audacity®, MixPad Audio Mixer®, Pro Tools®, and similar. Note that the audio output from an iPad or iPad mini is disengaged and returned via USB. This can be monitored via the rear panel monitor switch on the amplifier headphones in stereo, or routed into a PA system/powered cabinets.

Re-Amp Facility: During recording, the amplifier's processed signal is sent to the right-hand channel, while the left-hand channel carries the unprocessed guitar signal. On an iPad using Garage Band, if the track is recorded in stereo and then copied with one track panned left and the other right, both raw and processed signals are available independently. This allows for re-amplifying sounds that may have been initially over-processed. To re-amp via Garage Band on an iPad, solo the original channel and record a new one with the link from the rear re-amp socket and the guitar input. The newly processed signal will appear on the right channel, with the guitar direct signal on the left. Other effects can be added via the link cable, but the original guitar sound will not be recorded. Instead, the sound directly after the effects (without the amplifier) will be recorded to the left channel, and the fully processed signal after the amplifier and effects will be on the right.

Tube Amplifier Survival Tips

• Tube amplifiers: Generally produce warmer/sweeter sound than solid-state amplifiers but require more care due to fragile glass tubes. The L5-STUDIO uses high-quality tubes: three 12AX7 preamp tubes and an EL84 output tube, designed for years of trouble-free service. Like all tube amps, they require careful handling.
• Tubes are fragile glass components: They can be easily damaged if handled roughly or dropped, especially when moving between locations.
• Impedance Matching: Ensure your cabinet's impedance matches the amplifier's setting. Improper impedance matching can lead to reduced output power, compromised sound, and at worst, amplifier or premature tube failure.
• Warm-up: Allow the amplifier to reach room temperature before switching it on. Sudden thermal shock can crack cold glass tube housings, and moisture is detrimental to high-voltage electronics.
• Cool-down: Allow the amplifier to cool down after playing before moving it. Hot tubes are more susceptible to damage than cool ones. Use good quality loudspeaker leads; cheap leads may not handle the requirements of loudspeakers and can cause short circuits.
• Open Circuit Operation: Tube amplifiers do not perform well when running into an open circuit. A tube's lifespan depends on factors like operating temperature, usage intensity, and vibration from travel. Tubes should be changed if any change in amplifier performance is noticed; they do not require changing at regular intervals.
• Typical Problems: Preamp tube issues can manifest as crackly noise, hiss, hum, or microphony. Preamp tubes can usually be replaced without further action if they fail or their performance degrades. Typical output tube problems include a blown HT fuse, lack of punch, distorted high or low frequencies, and low-level hum. Output tubes can be replaced individually if they are the exact same type and grade as the factory-fitted ones; otherwise, they should be replaced as a matched set. Refer to diagrams for checking tube grades. Replacement preamp tubes and matched output tube sets are available from Laney via your dealer.

Tube Replacement and Connections

• To change a tube: Switch off the unit and unplug from the mains supply. Wait for the tubes to cool down. Lay the amplifier on its front face and remove the protective grille held by four screws to access the underside of the amplifier chassis. Preamp tubes are protected by a screen can; remove it by gently twisting it anti-clockwise and pulling it up. The tube can then be gently pulled out. Ensure pins are aligned correctly when inserting a new tube. Output tubes have a spring retainer that must be pulled away before the tube can be removed.
• Amplifier Connection: To avoid damage, establish and follow a specific pattern for turning equipment on and off. With all system parts connected (including effects processors), turn on your guitar amplifier LAST. Many products generate large transient surges at turn-on and turn-off, which can damage speakers. By turning on your guitar amplifier last and setting its volume controls to minimum, any transients from other equipment will not reach your loudspeakers. Wait until all system parts have stabilized (usually a few seconds). Similarly, when turning off your system, always turn down the volume controls on your guitar amplifier, then turn off its power before turning off other equipment.
• Cables: Never use shielded or microphone cable for speaker connections, as they are not substantial enough to handle the amplifier load and could damage your amplifier system.
• Caution: These professional loudspeaker systems can generate very high sound pressure levels. Use care with placement and operation to avoid exposure to excessive levels that can cause permanent hearing damage.
• Servicing: Users should not attempt to service these products. Refer all servicing to qualified service personnel.

Tube Table

The following table details the tubes used in the L5-STUDIO:

Quick Start Settings

The following are suggested settings for various playing styles:

• Clean: Settings for a clean guitar tone.
• Blues: Settings tailored for blues playing.
• Blues Lead: Settings optimized for blues lead guitar.
• Rock: Settings suitable for rock music.

A section for 'USER SETTINGS' is provided for users to record their preferred configurations.

Sample System Connections

Diagrams illustrate typical system setups:

• L5-Studio with FX controller: Shows the L5-Studio connected to an FX unit, a footswitch, a mixer, and a computer, demonstrating a typical studio or live rig configuration.
• L5-Studio in the studio: Depicts the L5-Studio integrated into a studio environment with a mixer, computer, and MP3 player, highlighting recording and playback setups.

Schematic Diagram Overview

The schematic diagram illustrates the internal signal flow and connections of the L5-STUDIO amplifier. Key sections include:

• Input Stage: HI/LO inputs, PAD, BRIGHT switch, and CLEAN VOLUME control.
• Drive Channel: DRIVE control, DRIVE VOLUME, DRIVE SWITCH, and the EQ section (BASS, MIDDLE, TREBLE).
• Effects: REVERB and TONE controls are integrated into the signal path.
• Output Stage: Features a POWER SOAK for attenuating output volume (5W/0.5W) and the main OUTPUT.
• Connections: The diagram shows various rear panel connections including USB, PHONES, DI OUT, RE-AMP SEND, FX LOOP (SEND/RETURN with attenuation options), AUX IN, FOOTSWITCH, and SPEAKER CONNECTORS.

Technical Specifications

Product: L5-STUDIO

Type: GUITAR Amplifier

Power: 5 W or 0.5W RMS

Channels: Twin Channel

Features: T-USB Connectivity, Clean volume, Bright switch, Drive, Drive volume, Drive switch, Bass, Middle, Treble, Reverb, Tone, Internal dummy load, External Speaker socket, FX loop/LINE OUT send, FX Loop Return, Footswitch socket (FS2-MINI).

Dimensions: Unit Size: 190x420x185 mm (HxWxD)

Weight: Unit Weight: 8.7 Kg, Carton Size: 300x595x290 mm (HxWxD), Packed Weight: 11.7 Kg.

[Image of Laney L5-STUDIO amplifier front panel]