Blackstar 506L6 TOBY LEE Owner’s Manual

506L6 TOBY LEE
Owner’s Manual
The sound in your head

IMPORTANT SAFETY INSTRUCTIONS

1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings.
8. Install in accordance with the manufacturer’s instructions.
9. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
10. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the  third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
11. 11. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
12. Only use attachments/accessories specified by the manufacturer.
13. Unplug this apparatus during lightning storms or when unused for long periods of  time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the  apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

“TO COMPLETELY DISCONNECT THIS APPARATUS FROM THE AC MAINS, DISCONNECT THE POWER SUPPLY CORD PLUG FROM THE AC RECEPTACLE”.
“WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE AND OBJECTS FILLED WITH LIQUIDS, SUCH AS VASES, SHOULD NOT BE PLACED ON THIS  APPARATUS”.
This symbol is intended to alert the user to the presence of important operation and maintenance (servicing) instructions in the literature accompanying the appliance.
This symbol is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

CAUTION
RISK OF ELECTRICSHOCK
DO NOT OPEN

Warning!
Important safety information!
READ THE FOLLOWING INFORMATION CAREFULLY. SAVE ALL INSTRUCTIONS FOR FUTURE REFERENCE!
Follow all warnings and instructions marked on the product!
Danger! High internal operating voltages.
Do not open the equipment case. There are no user serviceable parts in this equipment. Refer all servicing to qualified service personnel.
Clean only with a dry cloth.
Condensation can form on the inside of an amplifier if it is moved from a cold environment to a warmer location. Before switching the unit on, it is recommended that the unit be allowed to reach room temperature.
Unauthorised modification of this equipment is expressly forbidden by Blackstar Amplification Ltd.
Never push objects of any kind into ventilation slots on the equipment casing.
Do not expose this apparatus to rain, liquids or moisture of any type.
Avoid placing vessels filled with liquid on top of the amplifier.
Do not place this product on an unstable trolley, stand or table. The product may
fall, causing serious damage to the product or to persons!
Do not cover or block ventilation slots or openings.
This product should not be placed near a source of heat such as a stove, radiator, or another heat producing amplifier.
Use only the supplied power cord which is compatible with the mains voltage supply in your area.
Power supply cords should always be handled carefully and should be replaced if damaged in any way.
Never break off the earth (ground) pin on the power supply cord.
The power supply cord should be unplugged when the unit is to be unused for long periods of time.
Before the unit is switched on, the loudspeaker should be connected as described in the handbook using the lead recommended by the manufacturer.
Always replace damaged fuses with the correct rating and type.
Never disconnect the protective mains earth connection.
High loudspeaker levels can cause permanent hearing damage. You should therefore avoid the direct vicinity of loudspeakers operating at high levels. Wear hearing protection if continuously exposed to high levels.
If the product does not operate normally when the operating instructions are followed, then refer the product to a qualified service engineer.
Only suitable for safe use under non-tropical climate conditions.
Maximum ambient temperature for operation: 35℃
Always make sure that the power cable is connected to a socket/outlet with an earthed connection.
Mains Voltage: 100-240V~ 50/60Hz
This amplifier is only designed and evaluated for safety at a maximum altitude of 2000m.
The U.S. Government´s Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures:

According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss.
Ear plug protectors in the ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss if exposure is in excess of the limits as set forth above. To ensure against  potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels such as this amplification system be protected by hearing protectors while this unit is in operation.

All electrical and electronic products should be disposed of separately-from the municipal waste stream via designated collection facilities appointed by the government or the local authorities.

Introduction

“I am beyond excited to personally invite you into the realm of sonic brilliance and artistic expression that this amp embodies. My journey with Blackstar began when I stumbled upon their team at the NAMM show back in 2019. At that time, I was a 14-year-old kid, utterly mesmerized by the overwhelming array of amps and guitars surrounding me. It was like being a child in a candy store, except the treats were instruments that held the power to shape my musical  journey. As I immersed myself in the diverse range of Blackstar products, I was able to discover my own sonic identity—the tone that resonated with my soul. Blackstar became more than just an amplifier company to me; they became the  guiding force behind my artistic journey.
From day one, the Blackstar team showered me with an outpouring of kindness and support. Their belief in my potential as a young artist filled me with gratitude and determination. They made me feel like a part of their musical family.  Together, we embarked on a quest to find my sound—an odyssey that initially led me to the HT-20R MkII amp. Blackstar then went above and beyond by customizing this amplifier to match my personality and style. They covered it in a  vibrant combination of red and cream, creating a visual masterpiece that spoke to my heart. It was a true testament to their dedication and commitment to helping me realize my artistic vision.

Today, I am humbled and honoured to reveal the pinnacle of our collaboration—the St James Toby Lee Signature Amp. This remarkable creation holds a special place in my heart, bearing my name as a symbol of our shared musical  journey. Its design encapsulates my love for the ‘60s, reminiscent of classic cars and vintage guitars that hold a piece of history within them.
I carefully chose 6L6 valves for their ability to produce the captivating, distorted tones that define my playing style. When you unleash the St. James Toby Lee, you’ll be greeted with stunning tone straight out of the box. The reverb  capabilities across all volumes and channels are nothing short of outstanding—an essential ingredient for my love of ambient soundscapes. This amp is a true chameleon, allowing you to traverse genres effortlessly, from the timeless  melodies of Buddy Holly to the thunderous power of Metallica, this amp can cover it all.
I love the vintage red vinyl and cream basket weave finish, crowned with luscious cream chicken head knobs. I love everything about the amp so much but the best feature is remarkable featherweight design, how they’ve achieved this without sacrificing any tone is beyond me!
Throughout my journey, Blackstar has been an unwavering pillar of support during my professional development. I started as a young performer, eagerly leaping onto the stage to join my musical heroes—legends like Joe Bonamassa, Buddy Guy, and Slash. Now, as an adult with my own band, Blackstar continues to stand by my side.”

Features

The St. James heads and combos are highly versatile amplifiers suited to a wide range of playing styles and situations.
Channel I: The valve gain structure and voicing of this channel has been inspired by classic American amplifiers of the mid ’60s. It is very clean and bright, but with a solid low-end and controlled mids. Also, on this channel the valve  power stage is set to be tight, relatively clean and linear across the frequency range.
This is one of the most popular choices for a ‘pedal platform’ as it provides a solid clean foundation to apply effects to.
Channel II: The ‘6L6’ models use a ‘modern’ preamp gain structure for Channel II.
This specific channel is a combination of Blackstar’s award-winning cascaded valve overdrive circuits and a traditional ‘British style passive tone stack’ (EQ). When CH. II is selected but Voice is off, the valve power amp is set to be tight  and relatively linear.
Switching to the alternative Voice setting on these models revoices the overdriven cascaded valve preamp for more saturation, as well as reconfiguring the power amp to be open loop, to provide that contemporary high-gain looser feel  with plenty of resonant low end ‘chug’.
All models feature a 3 way ‘Power’ switch to give the user options on how their valve output stage is run.
On the rear panel, in addition to the expected effects loop and footswitch sockets, we have also included separate stereo headphone, balanced XLR and USB outputs.
Key to the great sound from these is two very important additions. First is the inclusion of an internal reactive load, specially designed to load the valve output stage in the same way as a guitar speaker. The other is our newly developed  CAB RIG DSP technology to provide the user cutting-edge cabinet, speaker and room simulation. This opening overview cannot do it justice, therefore CAB RIG will have documentation all of its own!

Front Panel

1. Input
   Plug your guitar in here. Always use a good quality screened guitar lead.
   With no jack applied to the Input the amplifier will automatically be switched to a safe, low power consumption, silent mode.

2. Volume I
   This controls the volume of Channel I. Turning it clockwise increases the volume.
   At extreme clockwise settings the preamplifier will start to overdrive slightly. It has a natural, variable ‘bright’ response designed in. At lower settings the tone is ‘brighter’ with comparatively more high frequencies passed though. As  the control is increased the perceived brightness is effectively reduced due to the increase in all other frequencies.

3. CH. II Select
   This switch selects between the two preamp channels, as well as adjusting the response of the valve power amp. With the LED off it is set to Channel I which is the cleaner, ‘mid ’60s American’ preamp and a tight, linear response  from the power amp. Switching to CH. II will turn the LED on and activate Channel II.
   Channel II on ‘EL34’ models use an early ’60s British style valve preamp gain structure and sets the power amp to be loose and resonant.
   Channel II on the ‘6L6’ models use a ‘modern’ cascaded valve preamp gain structure.
   The power amp response is dependent on the Voice setting (see below).
   When the footswitch is connected this switch is bypassed but the LED will still indicate the channel status.

4. Gain II
   This controls the gain of Channel II and the amount of overdrive or distortion. Lower settings will clean up and respond well to the player’s dynamics and guitar volume setting. Higher Gain II settings will push the valves harder into progressively more verdrive and distortion.

5. Voice Switch
   This switch selects between the two voices of Channel II.
   On ‘6L6’ models this increases the gain into the valve overdrive section pushing the saturation available from the Gain II control even further. This is great for fluid ‘legato’ lines and sweep-picking techniques, as well as aggressive  alternate picking.
   On these models the power stage is tight with Voice off and reconfigures to a more resonant response with Voice on, to provide the low end ‘chug’ of modern high gain amps.
   When the footswitch is connected this switch is bypassed, but the LED will still indicate the Voice status.

6. Volume II
   This control adjusts the overall volume of Channel II. Turning it clockwise increases the volume. This is useful for setting the required balance between the two channels.

7. Bass
   This adjusts the amount of low-end frequencies in your tone. High settings will be fat, warm and resonant. Low settings will be thinner, but sometimes less muddy. This is a dual ‘potentiometer’ with each part working separately and differently on each channel. More on this below.

8. Middle
   This adjusts the amount of mid frequencies in your tone. The middle frequencies are particularly important in setting the amount of ‘body’ your tone has. As with the Bass control, this is a dual ‘potentiometer’ with each part working  separately and differently on each channel. More on this below.

9. Treble
   This adjusts the amount of high frequencies in your tone. At low settings the sound will be warm and darker in character. As it is increased the sound will become brighter, eventually to the point of being aggressive and cutting. Again, this is a dual ‘potentiometer’ with each part working separately and differently on each channel. More on this below.
   Differences in EQ ‘tone stacks’ on each channel and each model:
   At Blackstar we are always trying to get the best versions of a specific tone and spend hours (days!) analysing circuits; both electronically and sonically. We felt that despite having one set of EQ controls, a ‘one size fits all’ approach  for all the channels was not good enough. Therefore, we have used dual pots for each of the Bass, Middle and Treble controls and kept the rest of the EQ components electrically independent. This means we did not need to compromise on the control frequencies and level ranges of any of them. Instead, we have tuned the EQ to be different for each channel type and have used what is most appropriate for the specific channel.
   Channel I uses the same EQ topology as expected for a mid ’60s American clean tone. Bright treble, restrained middle and solid bass.
   The Channel II tone stack is configured similar to a British style lead amp for authentic rock tones and the response will be familiar for that application.

10. Reverb
    The REVERB control sets the overall level of the reverb effect. With the control at minimum there will be no reverb. Turning it clockwise will increase the amount of reverb.

11. Power Switch
    This 3-way miniature toggle switch allows the user to switch between three very different power output settings:
    50W – This is the full power setting which will give the loudest clean headroom. This is likely to be used for live, stage use.
    SAG – This includes a power supply ‘sag’ which is a form of dynamic compression that will be most noticeable on loud transients (attack). The overall headroom will be lower than the 50W setting and the ‘feel’ will be softer and more  ‘vintage’. Needs to be experienced to understand.
    2W – This is the low power setting and as suggested reduces the output power way down to a maximum of 2 watts. This is likely to be used when practising, recording and at smaller gigs, or when a more overdriven power amp tone is desired.

12. Master
    This controls the overall volume of the amplifier through all the following outputs:
    • SPEAKER OUTPUTS (also dependent on the Power switch setting (11).
    • D.I. OUTPUT XLR
    • LINE OUT / PHONES jack
    • USB AUDIO output
    Minimum will be no signal, fully clockwise will be the loudest. (You knew that, right?)

13. STBY Switch
    This large toggle Standby switch selects between two different modes: Position ‘0’ disconnects the main Speaker Outputs therefore there will be no sound from any connected speaker. It also re-routes the output of the valve power  amp signal to the internal reactive load. This is intended for silent recording use from any of the CAB RIG speaker simulated outputs. The guitar signal will still be passing through the whole amp from Input to after the power amp, through the internal reactive load and CAB RIG. Therefore, the tone remains intact. As the Speaker Outputs themselves are disconnected in this mode then the unit can be used without being connected to an external speaker load without worry of damage. In certain settings there may be a faintly audible amount of ‘bleed-through’ of signal to the speaker(s). If this needs to be eliminated completely then it is okay to disconnect the speaker lead from the rear  panel. (Refer to Rear Panel section 4 for more information.)
    Position ‘I’ will connect the Speaker Outputs, therefore driving the speakers as normal, and disconnecting the internal reactive load. The signal sent to the CAB RIG DSP will be from the same point, only now it will be loaded by the external speaker rather than the internal reactive load.
    All the CAB RIG Outputs can be used in either position as required or preferred..

14. Power Switch
    This large toggle switch is used to turn the whole amplifier on and off.
    Position ‘0’ is completely off, the same as detaching the mains cable.
    Position ‘I’ is on. Actual functionality will be dependent on other settings, including STBY and the small Power toggle switch, as well as what is connected to Input and Speaker Outputs.
    When switched on, the front ‘BLACKSTAR’ logo will light up and inform the band and audience members of your impeccable taste in choosing this product.

Rear Panel

1. Mains Fuse
   The value of the mains fuse is specified on the rear panel. Never use a fuse of the incorrect value or attempt to bypass it.

2. Mains Input
   The supplied detachable mains lead is connected here.
   Unusually for valve amplifiers, the St. James products are designed with a universal input power supply. This means that the mains input range is rated at 100Vac to 240Vac and capable of operating at 50Hz and 60Hz. (We actually test them beyond these rated limits.)
   Therefore, these products can be used anywhere in the world without needing to adjust anything. Not only will they simply function wherever used, but they will also be completely consistent in tone and output power, regardless of any changes or fluctuations in local mains supply. Along with the size and weight benefits, this makes them ideal for a musician who travels internationally.

3. H.T. Fuse
   The value of the H.T. fuse is specified on the rear panel. Never use a fuse of the incorrect value or attempt to bypass it.

4. Speaker Outputs
   The output marked ‘1 x 16 OHM’ is for the connection of a single 16 Ohm extension speaker cabinet or the internal speaker(s).
   The outputs marked ‘1 x 8 OHM OR 2 x 16 OHM’ are for the connection of either a single 8 Ohm extension cabinet or two 16 Ohm cabinets.

| ‘1×16 Ohm’ output| 1×8 Ohm or 2×16| Ohm’ outputs
---|---|---|---
Internal 16 Ohm combo speaker(s)| | |
Internal 16 Ohm combo speaker(s)
plus one 16 Ohm extension cab| | |
One 16 Ohm extension cabinet| | |
Two 16 Ohm extension cabinets| | |
Single 8 Ohm extension cabinet| | |

WARNING: The output marked ‘1×16 Ohm’ should never be used at the same time as any of the outputs marked ‘1×8 Ohm or 2×16 Ohm’. Failure to correctly match the impedance of the amplifier and speakers will damage the  amplifier.
NOTE: Unlike many other valve amps, these have clever sensing and switching which means that they can be used without being connected to a speaker load.
If the speaker lead is disconnected at the amplifier end then it will automatically switch it to a safe, low power consumption mode.
When using the STBY 0 mode then the output is automatically switched to the internal reactive load, meaning the speaker connection is disconnected anyway.
Therefore, for example, if you wish to record using the head and take the output from either the XLR, stereo jack, or USB, then you can set it on your desk without any need to be connected to a speaker load.
IMPORTANT NOTE: The protection sensing is at the speaker output jacks on the unit. So, do not disconnect at the speaker end only. Disconnect at the amp!

5. CAB RIG SPEAKER SIMULATED OUTPUT – MONO BALANCED XLR D.I. OUTPUT socket
   This output is for using an industry standard 3 pin XLR cable for connection to a recording device, stage box or mixing desk. This provides a low noise, low impedance, quality connection for recording or live use.
   The signal will be the actual speaker output signal (including power valves and output transformer), that has then been passed through the CAB RIG technology, to apply the authentic feel and response of a ‘mic’d up guitar speaker  cabinet in a room’. The actual sound is dependent on the CAB RIG switch setting and the more in-depth settings within the CAB RIG software.
   More on this in the separate CAB RIG documentation.
   As it is derived from post-power amp then the Master control will affect the signal level sent from this socket.

6. CAB RIG SPEAKER SIMULATED OUTPUT – STEREO JACK LINE OUT/PHONES socket
   This ¼” TRS jack socket provides a stereo connection to connect to a recording device or mixing desk. Always use a good quality TRS (stereo) type lead or TRS to 2 x TS (mono) (see diagram below).
   It can also connect to headphones therefore allowing silent practice with the STBY switch set to ‘0’.
   Again, the signal will be derived from the actual speaker output via the CAB RIG technology, providing a high-quality authentic ‘mic’d cab’ response. The actual sound is dependent on the CAB RIG switch setting and the more in- depth settings within the CAB RIG software app.
   More on this in the separate CAB RIG documentation.
   The signal level from this output will also be controlled by the MASTER control.
   When using headphones, please take into consideration that loud sounds over extended periods can result in hearing damage, both short term, long term and permanent. We spend a long time making our amps sound good, so we’d  prefer that you have a long life of good hearing to be able to enjoy them.
   

7. CAB RIG Switch
   This allows the user to switch between the three currently stored CAB RIG settings. Almost unlimited further options and permutations are controlled and set in the Cab Rig software.
   More on this in the separate CAB RIG documentation.

8. Effects Loop Return Socket
   Connect the (mono) output of an external effects unit here.

9. Effects Loop Send Socket
   Connect the (mono) input of an external effects unit here.

10. Effects Loop Level Switch
    The Level switch sets the effects loop to either +4dBu or -10dBV, which enables the user to use it with either professional audio equipment (+4dBu) or with guitar level effects such as effects pedals (-10dBV). If unsure, use -10dBV to  start with.

11. Footswitch
    The supplied 2-way footswitch can be connected here. The footswitch will enable the selection between Channel I and Channel II and also select between the two Voice settings of Channel II.
    Note: Using this socket will disable the front panel Channel and Voice Switches.
    Therefore, full control via the footswitch is granted irrespective of how the amplifier is set. When using the supplied footswitch, the Channel and Voice LEDs on the amplifier will always display the current setting. On the footswitch,  if VOICE is selected for CH. II then this LED will remain lit even when on CH. I, to let the user know the CH. II settings before they go to it. This prevents any surprise of difference in gain or volume when switching channels.
    EXTERNAL SWITCHING: This socket can also be used by people who wish to control the channel and Voice switching using an external switching device that connects via a common TRS jack to jack connection.
    The following external conditions will switch the Channels and Voices as follows:TIP| RING| CHANNEL| VOICE
    ---|---|---|---
    Closed| Closed| Channel I| N/A
    Closed| Open| Channel I| N/A
    Open| Closed| Channel II| OFF
    Open| Open| Channel II| ON

12. USB Audio socket
    This B-type USB socket is for the connection to a computer via a suitable lead (not supplied).
    This is for USB digital audio output and for connecting to the CAB RIG software.
    Again, the signal for the digital audio will be derived from the actual speaker output via the CAB RIG technology; providing a high-quality authentic mic’d cab response. The actual sound is dependent on the CAB RIG switch setting  and the more in-depth settings within the CAB RIG software.
    More on this in the separate CAB RIG documentation.
    For USB audio, standard audio drivers are used to connect the amplifier to a PC, Mac or other applicable recording device. No specific drivers are required.
    For a guide on low latency USB recording visit: www.blackstaramps.com/usbrecording
    NOTE: Always connect the amplifier via a main USB port; often found on the rear of the computer or side of the laptop. The amplifier will appear as an audio capture device within recording software.

Technical Specification

ST. JAMES TL506L6 Head
Power (RMS): 50 Watts
Valves: 2 x ECC83, 2 x 6L6
Weight (kg): 6.7
Dimensions (mm): 402 (W) x 222(H) x 214(D)
Footswitch: FS-20 included

ST. JAMES 50 6L6H Head Front Panel

ST. JAMES 50 6L6H/EL34H Head Rear Panel

References

• Home Page Blackstar Amplification
• YouTube
• Home Page Blackstar Amplification
• Home Page Blackstar Amplification
• YouTube

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