Eden Nemesis RS Series Combos Operating instructions

Nemesis
Owners Manual
RS Series Combos
Bass Guitar Amplifiers
THE LEADER IN BASS AMPLIFICATION.
© 05/18/2006 by U. S. Music Corp.
Bass Guitar Amplifier
RS Series Combos
OPERATION MANUAL
Publishing Date 05-18-2006
FOREWORD
Congratulations on the purchase of your new Nemesis RS Series Combo
Amplifier System. All of us at Eden are totally committed to providing you
with the very best bass guitar systems in their class. Our goals are to offer
you the outstanding performance quality of a top-notch, professional bass
amplification system at a reasonable price point, and to make Nemesis
amplifiers the most musical and reliable Bass amplifiers available.
This manual will cover domestic and international versions of the RS Series
Combo Amplifiers, including the RSC210, RSC410, RSC212 and RSC115.
The RS Series is powered by the RS320 amplifier which delivers 200 watts
RMS output @ 8 Ohms and 320 watts @ 4 Ohms, all with +3dB of
headroom. This amplifier also features a thermostatically controlled, active
cooling system with built-in thermal safeties.
You have purchased what we feel is one of the finest bass amplifiers
in its class. The pre-amplifier section, with its familiar Eden Enhance control
and powerful semi-parametric tone control system is coupled to a gentle
auto-compression circuit, allowing you to achieve a wide array of sounds.
This compact amplifier houses modular circuits made with superior
components and designed for years of trouble-free service.
The Nemesis products group is the result of our quest for ultimate bass tone
and maximum reliability. Your amplifier was designed, engineered and
manufactured equivalent to aircraft vibration standards and housed in a
welded steel chassis with steel top to ensure maximum reliability. The
modular design allows quick repair in the field should such a need arise.
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The Nemesis line of amplifiers is the result of our research and development
in combining high performance and compact size. Just as a skilled craftsman
needs good quality tools that won't let him down on the job, so does a good
musician. We hope you enjoy the tool we’ve created for you. Have fun; play
low!
Please read this manual in its entirety before operating your new amplifier.
Failure to do so could result in misuse or damage. We’ve taken the time to
write it, which was a lot longer than the time it will take for you to read it.
Help us help you by taking a few moments to learn how to properly use your
new amp. You’ll be glad you did!
CAUTION!
Your ears are your most important piece of equipment.
Unfortunately, they cannot be replaced as easily as your other
gear. Please take the following warning seriously.
This product, when used in combination with loudspeakers
and/or additional amplification may be capable of producing
sound levels that could cause permanent hearing loss. DO NOT
operate at high volume levels or at a level that is uncomfortable.
If you experience any discomfort or ringing in the ears or suspect
hearing loss, you should consult an audiologist.
Thank you for your purchase of an Eden bass guitar product.
This unit has been designed and constructed to give you years of
trouble-free service.
Please take the time to review this manual
and to send in your warranty registration card.
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FRONT PANEL FEATURES
Input Jack – Designed to accept a standard 1/4-inch mono phone plug. For
best results use a high quality shielded cable to connect your instrument to
the amplifier. The input is buffered and will handle standard passive, high
level active, and piezo input signals.
Mute Indicator – lights when the Mute function is engaged, which can only
by done via the included footswitch.
Gain Control – Regulates the first gain stage of the preamplifier and
controls the amount of signal available to the system.
-12dB Pad – Pulling the Gain knob engages a -12dB pad. This feature is
useful for basses that have a very high signal level. The light is on when the
pad is engaged.
Set Level/Compression Indicator – This light helps the user set the
appropriate amount of gain. When set properly, the indicator should light on
your loudest/lowest notes, or when the compressor is active. We’ll go over
this in more detail later in the manual.
Edge Control – Allows you to dial in a little vintage, tube-style distortion as
you like. The control produces a warm single-sided, even order harmonic
distortion that sounds just like the old tube heads. With the control turned
fully counter-clockwise, the circuit is bypassed. The further to the right you
turn the control the more distortion you will get. The distortion is fairly
subtle at low input levels and is more pronounced at high gain settings.
Enhance Control – Called the “Magic Knob” by some, this complex
control simultaneously boosts the very low bass, upper middle, and high
frequencies while putting a dip in the lower middle frequencies.
It is flat when set to its minimum level (fully counterclockwise).
Compressor Bypass – Pulling the Enhance control allows you to bypass the
front end Compressor/Limiter. The Compressor/Limiter in your unit is a
fixed threshold type. You adjust the Compression level by turning the gain
control up or down until you get the amount of compression you want. You
may find the bypass switch useful for getting that maximum punch when
you are slapping or popping hard.
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Semi-Parametric Equalizer – Allows you to dial in a specific frequency to
enhance or cut. This feature is especially useful for upright and acoustic bass
guitars that have a resonant frequency. Because we’ve included a bypass
switch, you can also use it to create a second tone that is available
instantaneously. (You’re welcome.) The frequency is adjustable from 40Hz
to 10KHz. The level can be adjusted +/- 15 dB. The control is FLAT when
the level control is at 12:00 position (straight up). ON/OFF Indicator
D.I. Selector – Allows the user to choose to send the D.I. either pre-EQ or
post-EQ.
Three Band Tone Controls – Divides the audio spectrum into three bands:
Bass, Mid, and Treble. The Bass and Treble controls are shelving type
filters. The Mid control is a band pass type filter. These controls give you a
broad general control of the tone shaping.
Master Volume – Controls the main stage sound level and the Head Phone
outputs.
Headphone Jack – Accepts a standard ¼ inch stereo or mono headphone
plug. It can also be used as a Master Output send to slave another amplifier.
DC Indicator – When lit, shows that the low voltage power supplies are
operating.
Mains On/Off Switch – This switch turns the system power ON or OFF.
The switch illuminates to indicate the presence of AC power present in the
chassis. This switch is prior to the fuse. The light in the switch may flicker
depending on local voltage conditions. This is normal and nothing to be
concerned about.
NOTE: The Mains Switch will illuminate even if the fuse is blown.
However, the DC Indicators will not illuminate if the fuse is blown.
IMPORTANT NOTE: When attached, the included lighted footswitch will
defeat the Front Panel controls for the Mute to Tune and Enhance Bypass
functions.
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BACK PANEL FEATURES
Amplifier Power Rating:
RMS output (with +3 dB headroom):
200 Watts @ 8 Ohms
320 Watts @ 4 Ohms
Cooling System – Your amplifier features a thermostatically controlled fan,
which will switch on when the internal temperature reaches 130 degrees F.
In low volume situations (into 8 Ohm loads) the fan may not come on at all.
The cooling system also features a high temperature thermal safety system,
which will activate a circuit if the operating temperature goes above 200
degrees F. This circuit will automatically turn off the output of the system in
the event of overheating. It will automatically reset itself as soon as the unit
cools down to a safe operating temperature.
NOTE: the D.I. will continue to operate normally even when the amplifier is
in thermal safety mode. Only the stage sound will be lost.
IMPORTANT NOTE: Excessive heat is a Very Bad Thing and can
result in severe damage to your amplifier. DO NOT bypass or
disconnect any part of your thermal safety system. Doing so will
immediately void your warranty!
Combination Power Cord Jack and Fuse Holder – The removable power
cord is attached here. To access the fuse holder, pull the holder out of the top
of the power receptacle. Your unit was shipped with a spare fuse inserted in
the fuse carrier. USE ONLY THE SAME SIZE AND TYPE FOR
REPLACMENT. Using a fuse with a different rating than specified is a
VERY BAD THING and can cause damage to your amplifier.
All models come with a holder marked (FUSE) and are factory configured
for 100/120/ 230/240 only and must be adapted by a service tech for any
voltage change.
Fuse Requirements:
USA @ 120 Volts /60 HZ – 4 Amps, 5 x 20 mm GMC/T/slow blow
Europe @ 240 Volts/50 Hz - 2 Amps, 5 x 20 mm GMC/T/slow blow
IMPORTANT NOTE: Always use slow blow or time delay type fuses.
Do not use fast blow fuses.
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To convert your amplifier from US to European fusing, remove the Fuse
Holder and insert a 2 Amp slow blow fuse. Flip the fuse holder over and
reinsert.
IMPORTANT NOTE: In order to operate properly in parts of the
world not listed above, your amplifier may require minor modifications.
These modifications should be made by a QUALIFIED technician.
Contact your local distributor for further information.
Auxiliary Speaker Output – This consist 1/4-inch jack is wired in series. It
allows you to connect an additional speaker system to your combo. Please
note, however, that your combo is designed to put its full available power
into the internal speaker.
Speaker On/Off Switch – This switch turns off the loudspeaker output
jacks allowing the user to use the headphones only for silent practice. Room
mates and neighbors may really appreciate this feature, especially at three in
the morning.
FX Loop (Send and Return) – These standard 1/4-inch jacks allow you to
send and receive your signal to and from external devices. The effects loop
is positioned post (behind) the compressor and before the Enhance control
and the tone section. This loop is at line level; do not use instrument level
effects in this loop as they tend to be overloaded by the higher signal level
which can cause distortion.
Footswitch Jack – Connect the footswitch here. The footswitch offers two
functions that are not available on the amplifier. (See below.)
D.I. Level – Controls the level being sent from the XLR balanced output
jack. We suggest setting the control at approximately 12 o’clock initially. If
the signal to the board is too hot, it’s better to engage the Input Pad on your
channel of the board than to turn it down here, if at all possible. In general,
it’s better (in terms of signal-to-noise ratio and dynamic presentation) to
send as hot a signal as possible to the board. However, you can adjust the
signal level, if necessary, so make sure your soundperson or recording
engineer is aware of this capability.
Ground Lift Switch – This switch lifts the ground within the balanced
output system to allow you to eliminate excessive noise/ground loops when
connected to external systems.
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Recording Out (D.I.) – This fully balanced XLR output allows you to send
a pre- or post-EQ signal to a recording or sound reinforcement mixing
console. We use Pin 2 hot configuration. Adjusting the Master Volume
control will not affect this send. This output is designed to use with phantom
powered systems. However, it never hurts to turn off the phantom power at
the board, if possible.
Tuner Out – Sends a signal to your tuner. When used in conjunction with
the Mute function, this allows silent tuning. Vocalists and lead guitarists
love this feature. It can also be used to provide pre-tone signal to other
devices such as a direct box or console. The signal is enough to provide
adequate signal to virtually every tuner on the market.
Mono Pre-EQ Effects Send/Return – These standard 1/4-inch jacks allow
you to send and receive your signal to and from external devices. This
effects loop is positioned post (behind) the compressor and before the
Enhance control and the tone section. This loop is at line level; do not use
instrument level effects in this loop as they tend to be overloaded by the
higher signal level which can cause distortion.
FOOTSWITCH FEATURES
As previously stated, the footswitch activates two features not available via
the amplifier itself. We think they both qualify as Really Neat Things.
Mute to Tune – Step on this switch to mute everything except the Tuner
Out. Now you can tune without bothering your singer. Or the audience.
Neat, huh?
Enhance Bypass – Bypassing the Enhance allows you to create two
different tones – one with, and one without Enhance. Then, use this switch
to flip between the two. Even Neater, don’t you think?
ABOUT THE SPEAKERS
Eden is the only bass amplifier manufacturer to design, engineer and build
its own drivers. Designing and building our own speakers and highfrequency drivers allows us to create far greater synergy between our drivers
and cabinets than any other manufacturer can achieve. We can create several
speaker and/or cabinet prototypes and then test them together to find the best
possible combination. No other manufacturer has this capability, which is
why no other manufacturer can equal Eden’s sound and reliability.
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We manufacture a broad array of enclosures to ensure the every bassist on
the planet can find the perfect cabinets to match his or her playing style and
personal tonal requirements. The RS combo line includes the following
models:
RS115
RS210
RS410
RS212
OPERATING INSTRUCTIONS
Mechanical and Thermal Issues – During operation, your amplifier should
always be placed away from sources of moisture or heat. Care should be
taken not to obstruct the ventilation holes on the bottom and sides of the
unit. In the event of thermal shutdown, you should eliminate the cause of the
thermal problem (poor ventilation, speaker loads lower than 2 ohms)
immediately. The supplied rack ears can be used to install your amplifier in
a conventional equipment rack for protection during transportation.
Electrical Connection – The RS amplifier requires at least 10 Amps of
correctly wired alternating current for proper operation. Providing less than
10 Amps of power may result in poor amplifier performance, so it’s
probably not a good idea to plug all of your band’s gear into a single wall
outlet.
Connections – All instrument-level input connections (everything but the
speakers) should be made with high quality shielded cables. The use of
speaker cables for input connections will result in excess noise. Speaker
connections should be made with high quality 16 gauge or heavier
unshielded speaker cables. We recommend 10 or 12 gauge cables. The use
of shielded line or instrument cables for speaker connections can
damage your amplifier. The speaker cable should be as short as possible.
INITIAL SET UP
As bassists, each of us has in our head a concept of our perfect sound. Eden
amplifiers are designed to help you easily achieve the sound you hear inside
you. However, it’s a multi-step process as explained below.
In order to ensure the ultimate in tone, it’s important to follow the procedure
outlined below. Don’t skip steps; don’t jump around. Yes, this may take a
minute or two, but the work is well worth it. Once they’ve done it a few
times, most users can do it time and again in about a minute.
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IMPORTANT NOTE: Before you plug in your unit for the first time,
please do the following things. First, turn the power switch to the OFF
position. Check the back of your unit for the correct voltage notation for
your county of operation.
Once you’ve ensured correct voltage, set the Master Volume control to
minimum (fully counter-clockwise). Set the tone controls to the center
position (12:00 or 0). Turn the Enhance and Edge controls to the minimum
position. Set the Input Gain control to the minimum (fully counterclockwise). Set the Compressor to the OFF position (push the switch IN).
This will set your amplifier flat and with the Compressor disengaged. Next,
plug in the power cord to the AC inlet on the back of the unit. Use only a
safe grounded receptacle for proper operation at the correct voltage for your
country.
Double check to make certain your amplifier is set for the correct voltage in
your country. Double check that all connections and switches are correct for
your chosen mode of operation.
Turn On – Once you’ve completed the steps above, you can plug in your
bass and turn on the unit (plug it in first, ok?) and let’s get started. We
recommend turning your system on with the Master Volume control set to
its minimum position. This will prevent any unexpected signal from being
sent to your speakers.
Setting Your Level – Remember, begin with the Input Gain, Enhance,
Compressor and Master Volume completely OFF – fully counter-clockwise.
All EQ should be set flat, that is, at 12:00 – straight up.
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While playing your lowest note (or loudest), slowly turn the Input Gain up
until the Set Level light begins to blink with regularity. If you go past 2 or 3
o’clock, you may engage the Gain Switch to better match the gain of your
instrument to the amplifier.
If you have disengaged the Compressor as we suggested, the Set Level light
will barely blink on your loudest notes when you reach clipping in the Input
stage. We recommend you decrease gain one or two clicks to ensure there is
no clipping in the system. By the way, this is David’s favorite way to set
level, even if you intend to use compression.
Once you have properly set your Input Gain, turn the Master Volume up to a
comfortable listening level and proceed with the rest of the setup process.
Setting the Compressor - If you want to use compression, engage it now by
turning the Compressor Defeat switch OFF. The compressor light will now
blink when your gain goes above the compression threshold. This will
generally show up more on the lower notes, or when you employ Slapping.
(A properly compressed Slap sound is very cool, indeed.) If you want more
compression, increase the Input Gain a little at a time, until you achieve the
amount of compression you desire.
SETTING YOUR EQ
The frequencies that you’ll need to boost or cut are dependent upon your
instrument, playing style, speaker cabinets, and venue. Extreme settings of
boost or cut are unlikely to be necessary or helpful. We are frequently asked
to provide suggested settings for various styles of play. We have discovered
though, that most of our endorsers tend to set their EQ generally flat, using
varying amounts of the Enhance Control to achieve their sound. In fact, a
number of our recording artists tell us that their standard recording set-up is
to have the Enhance set at approximately 9 or 10 O’clock and the tone
controls set flat. We encourage you to experiment with different settings to
obtain the sound you desire.
Enhance – Once you’ve set your gain, you can move on to setting your EQ,
beginning with the Enhance control, or Magic Knob, as some call it. The
Enhance circuitry adds very low bass, upper mids and highs while scooping
out a bit of low middle. The more Enhance effect you dial in, the greater the
boost (and cut). As with all of our EQ controls, a little goes a long way.
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Slowly bring the Enhance control up while playing. If you turn it up close to
12:00 on the dial and still don’t have your sound, stop there. Return the
Enhance to OFF or leave it at no more than 12:00 and work with the EQ
section.
Using the EQ Controls – Before you begin to twiddle knobs, let’s talk
about a few things. Excessive boosting of one or more EQ frequencies may
cause an overload in the EQ section. If this happens, the EQ Clip light will
engage. This is a Very Bad Thing and needs to be corrected immediately.
If EQ clipping occurs, you can either decrease the boost or decrease the
Input Gain. Remember, too, that our EQ controls are active, and are meant to
turn both ways – not just UP! This means that you can enhance a certain
frequency spectrum either by boosting that frequency or by cutting the
adjacent frequencies. This latter method has the advantage of maximizing
potential headroom.
If possible, step well forward of your rig to get a better idea of how you will
sound in the room. You may be surprised at how different you sound once
you step away from the speakers.
NOTE: Many players rely on the Enhance Control (and perhaps a little
Midrange Massage) to get their sound. This method leaves the Bass and
Treble controls available to dial in to a particularly difficult room. Just
something to keep in mind, ok?
Setting Bass Mid, and Treble – OK, now it’s time to set the EQ, beginning
with the Bass and Treble controls. These controls cover a fairly broad
frequency spectrum and a little goes a long way. Adjust these controls up or
down as needed. We suggest playing a few notes in various areas of the neck
so you can hear what your adjustments have done across the fretboard.
Using the Semi-Parametric EQ Controls – Adjusting the Semi-Parametric
control set allows you to focus in on particular frequencies to achieve your
desired tone. We suggest you spend some time experimenting with these
controls to learn more about how they can affect your sound. Here’s an easy
way to do that:
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Begin with the frequency control fully counterclockwise. Turn the Level
control to approximately 9:00. Now, while playing, rotate the frequency
control to the right a little at a time. You should be able to easily hear the
frequencies this first set of controls affects.
Now, cut the Level control to approximately 3:00 and do the same thing.
Here are a couple of tips to help you dial in your desired tone:
For a great fretless tone, dial in a little extra at approximately 550Hz.
For extra grind for Rock and other aggressive music, add a little at 1-1.2KHz
or 2-2.2KHz. Remember, though, that a little goes a long way. Don’t over
boost.
NOTE: Remember that the tone you get when playing alone may not cut
through as well as you’d like when playing with others. You may need to
adjust the tone controls to achieve the same (apparent) tone, especially in the
mids and high end.
Edge Control – If you want to add a touch of old-school style grit to your
sound, this is the control for you. This is not a full-shred type of distortion,
however. Rather, it is mean to add a little, well, edge to your sound. This
control interacts with the Input Gain; the effect will be more noticeable at
higher gain settings. At lower gain levels, the effect will be very subtle. We
recommend you spend some time experimenting with this Really Neat
Feature.
A FEW TECHNICAL THINGS TO REMEMBER
Clipping = Bad – Keep an eye on the EQ Clip light. If it blinks, either
reduce Input Gain or cut back on one or more EQ ranges. As we said earlier,
Clipping in the preamp section is a Very Bad Thing and is to be avoided at
all times. If you find yourself running out of amplifier headroom, cut a little
in the lower frequencies, which require the most power from your amp.
You’ll know this is happening if you see the Limit light flashing. As long as
the light is just blinking, you’re fine. But, if it’s on more than it’s off, you
might want to back off a bit.
Frequency Oddities – Two areas are a frequent source of frustration for
bassists trying to achieve their sound: frequency masking and frequency
enhancement. Frequency masking occurs when other instruments
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(particularly cymbals and electric guitars) obscure the important upper
harmonic content of your sound. As a result, you find that the EQ settings
that were so perfect at home lack definition in a live setting. On the other
hand, the stage settings that worked so well sound harsh and/or thin in the
absence of other instruments.
Frequency enhancement results from cabinet placement and room acoustics.
A cabinet placed on the floor will have the lower frequencies boosted by
about 3 dB. Placement against a wall adds another 3 dB. A corner adds 3 dB
more. Consequently you may find a surprising boominess to your sound.
Certain qualities in the room itself can also enhance the lower frequencies,
further contributing to this problem. Frequently this effect is more noticeable
in the audience than it is on stage. Compensating for it may result in a stage
sound that may seem a little thin. However the sound is actually quite full
out in front.
NOTE; Remember, you can’t equalize out major physical room anomalies.
If things sound really weird where you are, try moving you rig a few feet
and see if that helps. This may be particularly helpful on saggy stages that
bounce like a drum head. (The propellerhead term for this is
“diaphragmatic.” So says David. – LB)
YOU’RE DONE. GO PLAY.
There you have it: a quick and easy process to help you get the perfect tone
from your Nemesis amplifier. As previously mentioned, it make take a few
extra minutes the first few times you go through this, especially if you take
the time to experiment with all the knobs and switches, which we highly
recommend.
We are confident that the time you spend getting to know your new friend is
an important investment, one that will pay off immeasurably in Great Bass
Tone. And, after all, that’s why you bought a Nemesis, right?
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MORE ON SPEAKERS
Break-In Period – We recommend that you use your RS combo at low to
moderate volume levels for approximately ten hours before using it in a high
volume situation. This will allow the suspension components to “seat”
themselves and the speaker to break in. This is very similar in concept to
breaking in the engine of a new car. It will actually take about 24 to 50 hours
of total playing time to fully break in your speaker system. If desired, you
can plug a CD player into your amplifier and play a CD through your
enclosure to accomplish this break-in.
Connections With Additional Cabinets – We designed the RS series
combos to provide maximum power without the need for additional cabinets.
That’s why the impedance of the internal speakers is 4 Ohms. In order to
protect the amplifier from misuse and abuse, the extension speaker jack is
wired in series, so the amp can’t be forced to operate in an unsafe mode.
What this means to the user is that, when you connect an additional cabinet
to your RS combo, you will not get quite as much power to the speakers.
However, because of the added speaker surface area, you will still notice an
increase in volume – just not quite as much as you might expect.
Also, keep in mind that simply adding amplifier power will not necessarily
increase your volume significantly. The addition of more speakers will
usually have more impact on your overall volume level and improve your
overall presence and tone.
Cabinet Placement – The placement of your cabinet can also have an
impact on the amount of bass it produces. Placing the unit on the floor
increases the amount of Bass you get by an additional +3dB . With each
additional wall surface placement you get another 3 dB increase. This is due
to the reinforcement of bass frequencies by the adjacent surfaces.
The absence of reinforcing surfaces is the reason why outside settings are so
problematic for bass amplification. A system that may be perfectly adequate
in a fairly large club can be rather disappointing on an outdoor stage. If you
have plans to perform in such a setting and are not confident that the P.A.
system can provide you with sufficient reinforcement (both out front and via
monitors), you should consider using additional equipment to support your
own sound.
OTHER CONSIDERATIONS
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Headphone Jack as a Line Driver – On some occasions (such as highvolume or outdoor situations) it may be desirable to use your RS combo
along with an additional power amplifier and added cabinets. A standard
shielded instrument cable may be used to connect from the headphone jack
of the unit to an unbalanced input of a standard power amplifier. This will
provide a signal that is post-EQ and after the Master Volume control,
allowing the entire system to be controlled from the RS. This way, you only
have to adjust one set of knobs. This is a Really Neat Thing, huh?
Using the RS Amplifier Without Speakers – This amplifier is designed to
be used safely with headphones only, without the loud speaker plugged in.
No harm will result from using the amplifier in this fashion. This allows the
use of the unit for practice with headphones and as a preamplifier with other
amplifiers. Neighbors and room mates really love this, which qualifies it as
another Really Neat Thing.
MAINTENANCE
Your Nemesis amplifier has been designed to require minimal routine
maintenance. Attention to the following areas will ensure optimum
performance of your amplifier. We’re serious. Don’t blow this off, OK?
Contact Point Cleaning – One of the weakest links in most bass
amplification systems are the solderless connection points where
instruments, speaker cabinets, effects, and other devices are connected to the
amplifier. (The most vulnerable of these types of connection is the jack on
your instrument). In addition to contamination from airborne pollutants,
these points are frequently assaulted by connectors that have picked up
debris from dirty stages, cases, etc.
This contamination can result in poor contact as well as poor tone, and we
all know that bad tone is a Very Bad Thing. These points should be cleaned
regularly with a cotton swab soaked in denatured alcohol or a commercially
available de-oxidant. Frequent cleaning of the plugs on your cords is also
recommended.
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Dust Removal – You should periodically inspect the ventilation openings
on the top and sides of the unit to ensure that they have not become blocked
by accumulated dust. Vacuum the openings to remove any dust buildup.
Dust bunnies are definitely not cool.
The Magic Smoke – Few people realize just how much magic goes into
creating Great Bass Tone. It isn’t something you normally need worry about.
Just have fun and leave all that to us. However – and this is very important –
if you ever release the Magic Smoke from your amplifier this is indeed a
Very Bad Thing, perhaps the worst thing you can do. If you see any smoke
(Magic or otherwise) coming out of your amplifier, immediately turn it off
and seek the services of a qualified magician…uhm, we mean…technician.
DO NOT continue to use the amplifier in this condition.
Learn More – If you’d like to learn more about your amplifier (or about our
company and its activities), we invite you to visit our website – www.edenelectronics.com. There you’ll find articles to help you better understand our
products and the technical stuff some people find so interesting. You’ll also
find our FAQ (Frequently Asked Questions) file, which is updated regularly.
While you’re there, check out our on-line forum. There you can meet
hundreds of other Edenites who’ll be glad to help you with any questions
you may have about our gear. Not to brag too much, but we think our forum
is a Really Neat Thing, filled with Really Neat People. We’re pretty sure
you’ll think so, too.
Service – In the event of amplifier malfunction, or questions about your
unit’s operating features that aren’t answered in this manual or on our
website, you should contact your Dealer. Once you and your dealer have
determined it’s definitely a malfunction (and not an operator error) you must
call our Customer Service Department and obtain a Return Merchandise
Authorization (RMA). We WILL NOT accept any gear sent without an
RMA, so save the time and money by calling first, ok?
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If you have any problems, please contact your local dealer or distributor, or
call USM Customer Service at 1-800-USSOUND (1-800-877-6863). When
you hear the voice prompt, press 1 on your keypad to be connected to the
Customer Service call queue.
International customers should contact their local distributor for warranty
assistance.
Please send Authorized Returns to:
Eden Electronics
c/o US Music
444 E. Courtland Rd.
Mundelein, IL 60060
Email: eden@eden-electronics.com
Website: eden-electronics.com
Note for those who care: This manual was written by David (Eden)
Nordschow, Eden’s Chief Propellerhead & Master of All Things Technical,
and Lane Baldwin, Eden’s Special Projects Coordinator (Many Other
Functions). Any grammar errors are David and Lane’s fault, as are the
attempts at humor. Please don’t blame anyone else for any weirdness, as we
were warned several times. Really.
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My Favorite Settings
Setting 1____________________________________________________
Setting 2____________________________________________________
Setting 3____________________________________________________
Setting 4____________________________________________________
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EDEN WARRANTY
WHO IS COVERED BY THIS WARRANTY?
Eden Warranty- protects the original purchaser as long as your Eden product has been purchased in the
United States. If your product has been purchased outside the United States, please contact your local
Eden distributor for warranty information. The original dated bill of sale must be presented whenever
warranty service is required.
WHAT IS COVERED BY THIS WARRANTY?
Your Eden Warranty covers defects in material and workmanship, except as
specified below. The following items are not covered:
damage caused by accident, misuse or abuse,
damage caused by product modification or neglect,
damage caused by shipment,
damage resulting from the performance of repairs by anyone not authorized by Eden Electronics,
claims based upon any misrepresentation by the seller, and,
damage to any Eden product on which the serial number has been defaced, modified or removed.
WHO PAYS FOR WHAT?
In the event that warranty repairs are necessary, Eden Electronics will pay for all labor and materials on
all factory authorized repairs covered by this warranty. Eden Electronics will have no obligation to pay
for repairs not authorized as warranty by Eden Electronics. Save the original shipping carton. Upon
authorization, return the equipment in the original carton to Eden. Replacement cartons may be available
upon request for an additional charge. Improper packaging may cause damage resulting in denial of this
warranty. If repairs are covered by warranty, Eden will pay to ship the equipment back to you. You are
responsible for shipping charges to the factory.
HOW TO OBTAIN WARRANTY SERVICE?
If your equipment needs repairs, first contact your local Eden dealer or Eden Electronics, at 800-8776863. You will need to present a copy of the original dated bill of sale. Please do not ship your
equipment to the factory without obtaining a return authorization. You are responsible for properly
transporting your product to the factory.
LIMITATION OF IMPLIED WARRANTIES.
The above warranty is in lieu of any and all other warranties, expressed or implied, including but not
limited to warranties of merchantability and fitness for particular purpose. Neither the dealer nor the
manufacturer shall be liable for incidental or consequential damages resulting from any alleged defect
and the warranty shall extend exclusively to repair or replacement of the equipment described.
This limited warranty gives you specific legal rights. You may also have other legal rights, which vary
from state to state.
PLEASE FILL OUT WARRANTY
REGISTRATION CARD AND MAIL,
WITHIN 1 0 DAY OF PURCHASE.
Date of Purchase _______________________________
WARRANTY REGISTRATION CARD
Name________________________________________________________________________
Address_______________________________________________________________________
City ________________________________________________State ________Zip__________
Model________________________________________
Model_________________________________________
Serial #_______________________________________
Dealer Name___________________________________
Serial # ________________________________________
Date of Purchase_________________________________
Dealer Name___________________________________________________________________
DealerAddress_________________________________________________________________
City _________________________________________________State ________Zip_________
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