www.tonebone.

com ™

CLASSIC
T R I M O D E™

Owners Manual

1638 Kebet Way, Port Coquitlam BC V3C 5W9

Tel: 604-942-1001 Fax: 604-942-1010
email: [email protected]

Radial Engineering is a division of C•TEC (JP CableTek Electronics Ltd.)

Radial® Classic Trimode™ Owners Manual

Table of Contents Page

Introduction ...................................................................... 1
Feature Set ...................................................................... 2
Making Connections ........................................................ 4
Using The Trimode .......................................................... 4
Changing The Tube ......................................................... 8
FAQ ................................................................................. 10
Example Settings ............................................................ 12
Settings Record Chart ..................................................... 15
Warranty ....................................................................Back cover

Congratulations on your purchase of the Radial Tonebone

Trimode distortion pedal. Based on the original Tonebone
Classic tube distortion, the Trimode gives guitar players instant
access to the three most essential tones at once: clean, rhythm
and lead. These three tones form a solid foundation from which
to explore new sonic landscapes and spur on creativity.

This manual shows how to operate and maintain your Tonebone.

To take advantage of all of the wonderful features that have
been incorporated into the Trimode, please read through this
manual before using it. This will give you a broader sense of the
Trimode’s capabilities and answer most questions about its op-
eration. Once done, please take time to experiment. You will find
that the Trimode is so well designed it is practically impossible
to make it sound bad!

If you have questions that are not covered in this manual, please
visit the FAQ section on our website. This is where we post an-
swers from questions that come from users. If you cannot find
the answer to your question please feel free to send us an email
at [email protected] and we will do our very best to respond
as quickly as possible.

With three tones from one pedal, you're ready to TRI-umph!

www.tonebone.com
www.radialeng.com
Radial is a division of JP Cabletek Electronics Ltd.
Specifications and appearances subject to change without notice.
Radial Tonebone™ owners manual V1.0 - Part #: R870 1110 00
True to the Music

INTRODUCTION
The Trimode’s tone and distortion philosophy follows the Ameri-
can tradition set by Leo Fender some 50 years ago, the very root
of all the finest tube amplifiers made today.

Like the award-winning Tonebone Classic, the Trimode is a

12AX7 tube-equipped hybrid distortion pedal that combines
the warmth and natural harmonic generation of a tube with the
dynamics and control of our unique overdrive circuit. Activate
the Trimode and toggle between clean "true bypass", crunchy
rhythm and searing lead tones with days-of-sustain for the ulti-
mate live performance pedal.

The Trimode has three operational modes. The first mode is

true-bypass. In true-bypass mode, the clean sound of your amp
comes through without alteration. The second and third modes
are distortion channels 1 and 2. For the purposes of this manual
we will refer to channel-1 as rhythm and channel-2 as lead, as
this is how most players will use the Trimode.

The two distortion channels in the Trimode feature slightly differ-

ent tonal structures that have been voiced for rhythm and lead
use. The difference between the channel voicing is subtle, yet
very musical. The Trimode’s rhythm channel is slightly tighter to
ensure the distinctiveness of each string is retained even when
the tone is highly saturated. For added control, rhythm channel-
1 is equipped with an intermediate drive gain for fine-tuning the
amount of distortion.

The lead channel's voicing offers slightly more mid-range to cut

through and extra sustain. Furthermore, each Trimode channel
has slightly different MID BOOST settings that let you fine-tune
the critical mid-range frequencies. To add even greater control
over your lead sound, channel-2 features a built-in effects loop.
The effects loop allows an echo, chorus or delay to be inserted
into the lead channel and be instantly activated when the lead
channel is engaged. One foot stomp gets you distortion with ef-
fects for solos that stand out from the mix. This is way cool!

The Trimode's EQ is a powerful tool that allows you to make a

subtle change in your tone or carve up the frequency response
for extremes. Both Trimode channels share the HIGH, LOW,
FILTER controls and the TOP END switch for controlling the
overall tone.

Using the Trimode will become second nature as you become

accustomed to what each control does. The best way to get
there is to understand each function, experiment, and above
all, have fun!

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FEATURES AND FUNCTIONS OVERVIEW

14 13 12 11 10 8 7 5 3 2 1

9 6 4

15

16

18 17

1. Guitar input jack

1/4" jack connection for guitar input.

2. Intermediate drive gain control (on side)

Used to fine tune the distortion of rhythm channel-1. Works
in conjunction with DRIVE GAIN switch, DRIVE-1 and
LEVEL-1 controls.

3. Drive-1 control
Used to adjust the amount of input gain & distortion for the
rhythm channel-1.

4. Drive gain switch

Used to set the overall amount of distortion.
LOW = 0dB, MED = +9dB, HIGH = +20dB.

5. Drive-2 control
Used to adjust the amount of input gain & distortion for the
lead channel-2.

6. Mid boost 1 and 2 switches

Separate switches for rhythm channel-1 and lead channel-2.
Used to fatten up the sound for more cut and sustain.
Channel 1 High: Boosts +8dB @ 390Hz
Medium: Boosts +4dB @ 390Hz
Out: Flat, no boost

Channel 2 High: Boosts +12dB @ 390Hz

Medium: Boosts +7dB @ 390Hz
Out: Flat, no boost

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7. Filter control
Anti-presence gently reduces high frequencies to
compensate for overly bright amplifiers.

8. Low frequency control

Active ‘post-distortion’ tone control. Boost or cut ±14.5dB at
100Hz. 12 o’clock position equals zero boost/cut.

9. Top end switch

Shapes the Trimode's overall high frequency response.
BRIGHT: +6dB @ 10kHz, adds sparkle and character.
FLAT: switched out of circuit, no boost or cut.
DARK: -6dB @ 1.8kHz, compensates for bright-sounding
amps.

10. High frequency control

Active ‘post-distortion’ tone control. Boost or cut ±10dB at
4.3kHz. 12 o’clock position equals zero boost/cut.

11. 12AX7 vacuum tube

The Trimode combines solid-state circuity with a tube
(valve) to create a wide range of distortion from slight over-
drive to bone crunching saturation.

12. Level-1 control

This is used to adjust the overall output level of rhythm
channel-1.

13. Level-2 control

This is used to adjust the overall output level of lead
channel-2.

14. External power supply connection

15VDC (400mA) PSU connection.

15. Effects loop insert jack

1/4" TRS insert jack allows effect pedals to be placed in the
lead channel-2 signal path. (Tip=Send / Ring=Return)

16. Guitar output jack

1/4" jack connects to amplifier's input.

17. True-bypass footswitch with LED indicator

When the Trimode is bypassed, the guitar signal passes
straight through without any effect. The full size LED
illuminates when in true-bypass mode.

18. Channel toggle footswitch with LED indicators

Toggles between rhythm channel-1 and lead channel-2. Full
size LEDs indicate the active channel.

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MAKING CONNECTIONS
As with any pedal, make sure your amp is off and the volume
turned down before making connections. Connect your guitar to
the input of the Trimode and the output of the Trimode to your
amplifier. There is no power switch on the Trimode. Connecting
the 15VDC power supply automatically activates the Trimode.
The Trimode is designed to stay on for long periods and leav-
ing it on will exert very little wear and tear on the tube. Like a
tube amplifier, the Classic Trimode should be allowed to warm
up for a few minutes so the tube can reach a stable operating
temperature.

USING THE TRIMODE

The Trimode is now ready for operation. Turn on your amp and
bring up the volume slowly to ensure proper connections have
been made. To start, set your amp to a clean sound so you can
hear how each of the Trimode functions work.

Footswitches
The Trimode features two footswitches. The first footswitch is
labeled TRUE-BYPASS and selects the clean sound of your
amp. When in true-bypass mode, the bypass LED will illuminate,
signaling the Trimode is switched 'OUT' of your signal chain. The
second footswitch, labeled TOGGLE, selects between the two
Trimode distortion channels. Each channel has its own LED to
indicate the Trimode’s channel status. The cool thing about true-
bypass mode is you can still toggle between the rhythm and lead
channels to prepare for the next sound. Try it! Activate the true-
bypass footswitch. Now switch between the Trimode channels
by stepping on the channel TOGGLE footswitch. The channel
LEDs will alternately light up but the Trimode will remain in by-
pass mode until the true-bypass footswitch is depressed again.

Control Panel
The Trimode is extremely versatile and easy to use. To get
started, we recommend setting the Trimode up as follows:

Note the tone controls (HIGH, LOW and FILTER) are set at
12 o’clock in what is commonly known as ‘flat’. Begin by set-
ting the DRIVE GAIN switch to the MEDIUM position and set
the DRIVE-1 control to 9 o’clock and the DRIVE-2 control to 3
o’clock. Now, adjust the output LEVEL controls for each channel
to your desired listening level. With these settings, the rhythm
and solo channels will sound quite different. You are now ready
to start experimenting.

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TRIMODE DRIVE AND LEVEL CONTROLS

Think of the Trimode as a two channel amplifier. There are two
input drive controls and two output levels that work very much
like the preamp and power-amp stages of a guitar amp. On
the Trimode, this is supplemented with a 3 position overall drive
range control that allows you to set the input level from the guitar
from slight overdrive, to moderate or full on distortion.

The LOW position is great for replicating the sound of older

amps that do not have a master volume for those ‘clean’ but
slightly crackling tones from the early days of rock & roll. The
MED (medium position) lets you get into the crunchy rhythm
tones and bluesy lead tones and truly shines when used in
conjunction with the volume control on your guitar for added
dynamics. The HIGH position gives you maximum saturation
for metal and power.

Start by setting the Trimode to the MED position as this will give
you the most range. With channel-1 drive at 9 o’clock and the
channel-2 drive at 3 o’clock, you will immediately get a sense
of how these can be set to work together. Then set your rhythm
and lead channel output levels to suit.

For added control, we have introduced an intermediate drive

on the rhythm channel that is factory set at 12 o’clock. This
control lets you fine-tune the amount of distortion produced
by the rhythm channel-1. It is accessed through a small hole
on the side of the Trimode. Use a small “tweaker” screwdriver
to adjust the intermediate drive gain of channel-1. This control
is factory set at 50%. Turn the control counter-clockwise for a
“cleaner” rhythm channel-1. Turn the control clockwise for more
distortion.

i Note: If you find you are consistently placing the DRIVE-

1 control at the 1 o’clock position or higher, consider
increasing the channel-1 INTERMEDIATE DRIVE by
turning it clockwise. This will increase the range of
DRIVE-1 control by allowing you to set it at a lower
position. If you find that rhythm channel-1 is not quite
clean enough even with the DRIVE-1 control set low,
consider decreasing the channel-1 INTERMEDIATE
DRIVE control by turning it counter-clockwise.

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Mid Boost Switches

The Trimode’s rhythm and lead channels have been voiced
slightly differently to maximize their effectiveness. This is supple-
mented with a different 3-position MID BOOST switch for each
channel. In the OUT position, the switch has no effect. On chan-
nel-1, you can boost the signal +4dB and +8dB @ 390Hz re-
spectively, while on channel-2, the mid boost can be set at +9dB
or +20dB. The mid boost is one of the most beneficial functions
built-in the Trimode. Adding mid boost to your distorted tone will
make it sustain longer and help you cut through the mix.

TRIMODE TONE CONTROLS

Top End Switch

The TOP END switch controls the Trimode's overall high
frequency response. It has three settings; DARK, FLAT and
BRIGHT. Start with the FLAT setting and experiment with the
Trimode’s powerful HIGH and LOW EQ. If you have an overly
bright amp, you may end up with the DARK setting. On the other
hand, if you are looking for that big ‘scooped’ chunky tone, you
might increase the LOW EQ control to 5 o’clock and set the TOP
END switch to BRIGHT. Use your ears and have fun!

Filter Control
The FILTER control is like an "anti-presence" and is used to
tame bright-sounding amps. It also reduces the high end that
can be brittle when recording direct. Turning the FILTER control
counter-clockwise rolls off high frequencies. The full clockwise
setting removes it from the signal path.

Treble and Bass Controls

The HIGH and LOW controls are active EQ controls that come
after the distortion circuit. The 12 o’clock position is neutral or
“flat”. The HIGH control is capable of boosting or cutting the
signals by 10dB at 4.3kHz. The LOW control boosts or cuts the
signal by 14.5dB at 100Hz. These are very powerful EQ controls
and small adjustments will make a big impact.

i Note: While you are working with the Trimode, keep

in mind that all the controls interact together. This
means that when you add bass or treble, the perceived
loudness will be affected. The Trimode is designed to
allow you to create your own distinct tone by working all
of the controls together to find your personal sweet spot.
Because of the Trimode’s amazing interactive EQ, it is
almost impossible to find a bad or unusable tone. Take
your time, listen and test the extremes. This can lead to
all kinds of fun settings. So that you may recreate these
tones again, record them on the tone charts provided in
the back of this manual. There are so many possibilities
that it is worth taking the time to experiment

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Effects Loop (Lead Channel 2)

Once the basic connections have been made you may want
to experiment with the effects loop that is built into channel-2.
Inserting effect pedals into the lead channel can add a huge
amount of versatility. The possibilities are about as endless as
there are pedals. Insert an echo or reverb to expand the acoustic
space. Try a phaser or chorus to set your solos apart from the
rhythm channel. Or place all your pedals in the Trimode's effects
loop and start experimenting with combinations of effects. This
feature can be exploited to achieve a unique lead tone with
professional results.
Insert Cable Return

Insert Cable Send

Output Input

To use the Trimode’s effects loop you will need an insert cable.
Insert cables are commonly used to insert an effect into the
channel of a mixing console. An insert cable uses a TRS ¼”
connector (set up as tip=send, ring=return, sleeve=ground) at
one end and two standard ¼” mono jacks at the other end.

After you have pedals inserted in the Trimode's effects loop, the
benefits will become apparent: You can prep several pedals and

Tip - Send Ring - Return

1/4" MONO
1/4" TRS Send -
effect input
1/4" MONO
Return -
Common ground effect output

Insert Cable

engage them simultaneously along with your lead sound with

just one footswitch stomp. You can also remove noisy pedals out
of your signal chain until they are needed.

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 True to the Music

CHANGING THE TUBE

Your Tonebone has been designed to provide years of perfor-
mance before ever needing the tube changed. In fact, it is unlikely
that a tube change will be necessary for two to three years or more,
depending on use. Change the tube only when a degradation of
sound is noticeable.

Disassembly

1. Remove the rubber knobs by pulling them straight up. These

pressure-fitted knobs should be removed with care to avoid
damage.

2. Remove the nuts and washers securing the potentiometer,

footswitch, and input/output jacks using an open-ended wrench
or socket. Please use caution so as not to mar the finish.

3. Remove the 4 bottom screws that hold the top and bottom
chassis halves together. Carefully separate them. Note that the
chassis top and bottom fit snugly, so a little careful force may
be needed to clear the two side-mounted ¼” input and output
connectors. Watch you don’t lose the nylon washer between
the footswitch and the chassis top!

4. Remove and replace the tube. To do this, gently loosen the

12AX7 tube in the socket by wiggling it back and forth.

Reassembly

1. Install the PC board to the chassis top. Carefully align the

potentiometers, LEDs and footswitches with the holes in the
chassis and assemble through the top. Don’t forget the nylon
footswitch washer!

2. Attach the pot, footswitch washers and nuts (just finger-tight

for now), to allow alignment of the jacks when the bottom is
attached.

3. Carefully push the chassis bottom on, spreading the sides

slightly so as not to stress the side mounted ¼” input and
output jacks.

4. Attach the side ¼” jack washers and nuts. Do not over-tighten

the plastic isolation jacks as they can strip. Attach the 4 chas-
sis screws (don’t over-tighten). Now you can tighten up the
potentiometer shaft nuts.

5. Re-install the knobs... first rotate the potentiometer shafts fully

counter-clockwise. Place the knobs over the shafts so they
point to 7 o’clock and push straight down.

6. Test the pedal to make sure it works… plug in the power. The
LEDs should light when you depress the footswitches and you
can see the tube filament light up through the side vents.

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PHOTOS OF TONEBONE CLASSIC

Ready to change the tube? Ok, lets Knobs off, nuts & washers off, side jack nuts
start here. & washers off, now remove screws.

Ready to wiggle tube out of the socket. 12AX7 tube replacement.

Spread chassis sides to clear input & Press on knobs with shafts counter-
output jacks. clockwise and pointers at 7 o’clock.

TROUBLE SHOOTING
I am not getting any sound at all… Start by connecting your
guitar directly to your amplifier & check each cable to make sure
they work. Make sure that these are plugged in correctly.

I am getting sound but no distortion… Make sure pedal is not

connected backwards by reversing the input and output. If ok,
check tube. If the problem persists, see your Tonebone dealer.

The LEDs do not light up… Check the power adaptor to make
sure it is plugged in. If the LEDs do not light up, check the outlet
with another device to make sure power is present. If they still do
not light up, check the power supply with a voltmeter.

The sound has changed, it sounds thin… The tube may need
changing. Bring it to your dealer to have him test to make sure.

I am getting radio signals though my amplifier… Cables and

bad grounding are usually the cause. Check amplifier is properly
grounded with a 3-prong A/C cord and wall receptacle is wired
correctly. Use high quality guitar cables with proper shielding.
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 True to the Music

FAQ

Q: Why do you call it a Trimode when it only has two distor-

tion settings?
A: We felt that getting the ‘clean, rhythm, lead’ point across was
so important that we had to come up with a name to relate the
function. Trimode says it all.

Q: Is the Trimode like having a Classic and a Hot British in

a single pedal?
A: Yes and no. The Trimode’s two channels have been voiced
slightly differently to capture the very best rhythm and solo tones
in a single unit. This allows the Trimode to get close to some of
the fat tones that can be created with the Hot British. However,
the Classic employs two internal gain stages while the Hot Brit-
ish employs three and a different circuit topology.

Q: What is a hybrid design?

The Tonebone Classic Trimode combines tube and solid-state
circuitry to create the tone. The tube provides harmonics and
warmth while the solid-state gain stages provide the saturation.
We found that this winning combination provides great tone, lots
of dynamics and low noise.

Q: What kind of tube is inside the Trimode?

The Trimode employs a standard 12AX7. Because we are ‘starv-
ing the tube’ with low voltage, the tube will last a long time and
will never get very hot. The ‘air vents’ on the side panel provide
sufficient ventilation to keep the Trimode running cool.

Q: I thought tubes required high voltage to work?

This is true. To make tubes sound good and clean, they need lots
of voltage. But we are not trying to get the tubes to sound clean.
We are trying to get the tubes to distort, so we starve them of
voltage to suit our purpose. It’s an old trick, but it works!

Q: Why does the Trimode require 15VDC to work?

Even though we are starving the tubes, we still need sufficient
voltage to get the heater coils to "light up". The typical 9V sup-
plies just do not have sufficient voltage to do the job.

Q: Can I use a multi-pedal power supply with the Trimode?

Please check with the manufacturer and your dealer on this mat-
ter to be sure. Some pedalboard power supplies are equipped
with 16VDC outputs and the Tonebones may be run with these
so long as the polarity is correct and the supply can output
400mA of current.

Q: What is the benefit of having an effects loop?

There are several advantages in using the Trimode's effects
loop. The primary advantage is you can augment the tone of
the lead channel-2 by inserting effects or combinations of effect
pedals. Another advantage is the ability to prep several pedals
"off-line" and then engage with your lead sound simultaneously.

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The effects loops also allows you to take pedals out of the sig-
nal chain when they are not in use. This reduces noise and will
provide you with a better tone. Most pedals are not ‘true-bypass’
and therefore introduce a load on the signal which will affect the
clean tone.

Q: Can I not simply connect all my pedals in series?

As for using all of your pedals in series, you can of course do
this. You would, however, be losing the benefits of the Trimode's
effects loop that allows you to engage effect pedals along with
your lead sound. The Trimode's effects loop also lets you keep
the pedals connected to it out of the main circuit. This will trans-
late into better dynamics and less noise, especially when in
rhythm and clean modes.

Q: Can I get ‘Marshall’ style tones with the Trimode?

Tone is subjective. If you read the user comments on Har-
mony Central, (http://www.harmony-central.com/Effects/Data/
Tonebone/) you will find that some users find the Classic’s tone
to be very much like a ‘Marshall’ while others insist the Hot Brit-
ish is the best ‘Marshall in a pedal’ made. I think it is safe to say
that if you combine the Classic with a good amp, a good guitar
and a good pair of hands, you can get some very good sounds
and be able to perform most musical styles.

Q: Can I use the Trimode for two different lead tones?

Yes of course. We only refer to channel-1 as the rhythm channel
for reference sake. The Trimode’s rhythm channel is voiced very
much like the original Classic while the solo channel has been
voiced for a bit more bite. Both will yield exceptional lead tones.
If you are using channel-1 for lead work try increasing the chan-
nel-1 INTERMEDIATE DRIVE control for more distortion.

Q: How can I get more sustain with my tone?

Generally, there are two types of sustain: a heavily distorted
tone will provide plenty of sustain at low levels; a clean sustain
is generally played louder and is created by controlled feedback
with added mid-range. The Trimode is able to do both.

Q: Can I record 'direct' using the Trimode?

Yes. Many musicians use Tonebone pedals to record direct.
When you do, keep in mind that these pedals have been de-
signed to work best when connected to a guitar amplifier. Most
professional guitar amps use 12" speakers which tend to have
lots of mid-range. This means that you wil have to adjust your
EQ to suit. A good place to start is reducing the high end with the
Trimode's FILTER control. Most players find the high-end often
needs to be attenuated when recording direct.

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EXAMPLE SETTING

Slow Hand Bluez: created with a Strat with a

Duncan Stack in the neck
position.

Joe Sat Solo: created with a Strat with a Dun-

can Jeff Beck humbucker in the
neck position.

Adams Apple: created with a Fender Strat with

the bridge pickup.
Great for cutting through.

ZZ Texas Riff: created with a Strat with a Dun-

can Jeff Beck humbucker in the
neck position.

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Chunky Rhythm: created with a Strat with

middle pickup.

Water Smoke: created with a Strat with

middle pickup.

Deep Lazy: created using a stock Strat with a

Twin using the middle pickup. Move
to the bridge pickup for more cut.

Dire Violin Singing Strat: created using a Les

Paul in the neck position. Used
with volume control for effect.

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Metallic Shrine: created using a Strat in the

bridge position. Big sound with
small pickup!

Johnny B. Goodness: created using a Strat in

the bridge position. Great for all kinds
of rhythms when you want extra edge.

Clean Voodoo Child: Created using a Strat in

the neck position. Change the volume
on the guitar to get maximum effect

Stone Age Sugar: Created using a Strat and a

Fender Twin Reverb amp. Great dynam-
ics for rhythm.

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USER SETTINGS

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USER SETTINGS

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USER SETTINGS

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 RADIAL LIMITED THREE YEAR WARRANTY
Radial Engineering - a division of JP Cabletek Electronics Ltd. warrants
this product to be free from defects in material and workmanship to the
original owner and will remedy any such defects free of charge according
to the terms of this warranty. Radial Engineering will repair or replace at
its option any defective component(s) of this product, excluding the finish,
the tube, the footswitch (tube and footswitch are warranted for 90 days)
and wear and tear from normal use, for a period of three (3) years from the
original date of purchase. In the event that a particular product is no longer
available, Radial Engineering reserves the right to replace the product with a
similar product of equal or greater value. To make a request or claim under
this limited warranty, the product must be returned prepaid in the original
shipping container (or equivalent) to Radial Engineering or to an authorized
repair centre and you must assume the risk of loss or damage. A copy of
the original invoice showing date of purchase and the dealer name must
accompany any request for work to be performed under this limited war-
ranty. This limited warranty shall not apply if the product has been damaged
due to abuse, misuse, misapplication, accident or as a result of service or
modification by any other than an authorized repair centre.

THERE ARE NO EXPRESSED WARRANTIES OTHER THAN THOSE

ON THE FACE HEREOF AND DESCRIBED ABOVE. NO WARRANTIES
WHETHER EXPRESSED OR IMPLIED, INCLUDING BUT NOT LIMITED
TO, ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS
FOR A PARTICULAR PURPOSE SHALL EXTEND BEYOND THE RESPEC-
TIVE WARRANTY PERIOD DESCRIBED ABOVE OF ONE YEAR.

RADIAL ENGINEERING SHALL NOT BE RESPONSIBLE OR LIABLE

FOR ANY SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES
OR LOSS ARISING FROM THE USE OF THIS PRODUCT. THIS WAR-
RANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO
HAVE OTHER RIGHTS, WHICH MAY VARY FROM STATE/PROVINCE
TO STATE/PROVINCE.

True to the Music

1638 Kebet Way, Port Coquitlam BC V3C 5W9

tel: 604-942-1001 fax: 604-942-1010
email: [email protected]

www.tonebone.com
www.radialeng.com
Radial Tonebone™ Classic Trimode owners manual V1.0 - Part #: R870 1110 00