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SOLO SERIES
CXC-300/400 Discrete
FET Bass Amplifier
Owner’s Manual
1/10/99
1
Congratulations on your purchase of the Eden CXC-300/400 Bass Instrument
Amplifier. You have purchased what we feel is one of the finest bass amplifiers
in the world. The CXC-400 produces 400 watts of pure power into 4 ohms (240
watts into 8 ohms) with 3db of dynamic headroom. The CXC-300 produces 300
Watts @ 4 Ohms and 175 @ 8 Ohms The discrete preamplifier section, with its
enhance control, powerful quasi-parametric tone control system, and gentle autocompression circuit allow you to achieve a wide array of sounds.
This compact, rack mountable package houses modular circuits made with
superior components and designed for years of trouble-free service.
Thank you for choosing Eden. Please take the time to review this manual and to
send in your warranty registration card.
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 a sound source and loudspeakers
or headphones, 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. DO NOT place your ears next to the speakers. If you
experience any discomfort or ringing in the ears or suspect hearing loss, you
should consult a health care professional.
Please complete for your records:
Date of Purchase: __________________________
Model: ___________________________________
Serial Number: _____________________________
Dealer: ___________________________________
2
FRONT PANEL FEATURES
Input Jack – Designed to accept a
standard ¼ inch mono phone plug. For best
results, use a high-quality, shielded cable to
connect your instrument to the amplifier.
controls will boost or cut the selected
frequency by 15 db. They are flat at their
12:00 setting.
Treble – This is a traditional shelving-type
Gain Control – This regulates the first gain
tone control. It provides 15 db of boost or
cut. The knee of the filter is at
approximately, 2KHz. The control is flat at
the 12:00 position.
stage of the preamplifier and controls the
amount of signal available to the system.
EQ Clip Indicator – Flashes to indicate
Set Level Indicator – Lights to indicate
clipping within the tone control circuit of the
preamplifier. This should never be lit up.
that the preamp is sitting right on the sweet
spot of the gain balance and is at optimum
signal to noise as well as best overall head
room.
Master Level Control – Adjusts overall
system output.
Headphone Jack – Accepts standard ¼
Compressor Indicator – Lights to
stereo or mono headphone plug.
indicate that the signal has crossed the
threshold of the compression circuit and that
compression is taking place.
Output Limit Indicators – Lights to
enhance knob out will disengage the
compressor.
indicate activity of the power amplifier
limiting circuit, which protects the speaker
system from severe distortion. This LED
indicates that the amplifier has reached its
maximum output level.
Enhance Control – Called the “Magic
On/Off Switch – This switch turns the
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.
system power on or off. The switch
illuminates to indicate the presence of
current prior to the fuse.
Tone Control Section
Combination Power Cord Jack and
Fuse Holder – The removable power cord
Bass – This traditional shelving tone control
is attached here. Pulling the holder out of
the top of the power inlet accesses the fuse
carrier. Your unit was shipped with a spare
fuse inserted in the fuse carrier. USE ONLY
THE SAME SIZE AND TYPE FOR
REPLACMENT. U.S. users should make
sure the fuse holder is installed so the “115
VOLTS” reads right side up. For Europe the
230 should be right side up. Some European
models come with a holder marked (FUSE)
they are configured for 230 / 240 only and
must be adapted by a service tech for U.S.
standard voltage. The standard fuse for U.S.
use is (5) Amp slow blow or time delay.
Compressor Bypass – Pulling the
provides 15 db of boost or cut at 30 hz.
Quasi-Parametric Tone Control –
These three pairs of controls, with
overlapping frequencies, allow you to boost
or cut the tone at the desired frequency
center. The one octave fixed bandwidth
(Q=1) allows the controls to interact
smoothly and musically.
Frequency control – Provided for low,
mid, and high frequency ranges, these
controls select the frequencies you wish to
boost or cut.
REAR PANEL FEATURES
Do not use fast blow fuses.
Boost/Cut Controls– Located beneath
Amp Out – These two ¼ inch jacks accept
each frequency selection control, these
the speaker connection cables. The jacks
3
are wired in parallel. The total speaker
system impedance should not exceed 4
ohms.
the D.I. will continue to operate normally
even when the amplifier is in thermal shut
down only the stage sound will be lost.)
Effects Send/Return – These standard ¼
OPERATING INSTRUCTIONS
jacks allow you to send and receive your
signal to and from external devices. The
effects loop is positioned post (behind) the
compressor and enhance control and prior
to the tone section.
MECHANICAL AND THERMAL
ISSUES – Your amplifier should always be
Recording Out – This fully balanced XLR
output allows you to send a post-EQ/premaster signal to a recording or sound
reinforcement mixing console. This output
is designed to allow use with phantom
powered systems.
D.I. Level – Controls the level being sent
from the XLR balanced output jack.
Ground Lift Switch – This switch lifts the
ground within the balanced output system to
allow you to eliminate excessive noise when
connected to external systems.
AUX In Right / Left - These standard ¼
mono jacks are designed to accept the
stereo signal from an external source such
as a CD or cassette player, drum machine,
synth. module, etc. The stereo signal is
summed prior to the master volume control.
The signal enters the system post the tone
controls. These jacks can also be used to
return a studio cue signal, allowing the
CXC-300/400 to provide you with your own
headphone mix in the studio.
Tuner Out Jack – This standard ¼ inch
jack is designed to provide a post-tube, pregain signal for connection to a tuner. It can
also be used to provide pre-tone signal to
other devices such as a direct box or
console.
Cooling System – Your amplifier features
a continuously operating low noise fan. The
system also features a high temperature
thermal safety system which will activate if
the operating temperature goes above 190
degrees F. This circuit will turn the system
off in the event of overheating. It will
automatically reset itself as soon as the unit
cools down to a safe operating temperature.
Usually it takes from 2 to 5 minutes before
the unit will begin to operate again. (Note:
placed for operation away from sources of
moisture or heat. Care should be taken not
to obstruct the ventilation holes on the top
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 4 ohms)
immediately.
ELECTRICAL CONNECTION – The
CXC amplifiers require at least 10 Amps of
correctly wired alternating current for proper
operations.
CONNECTIONS – All line connections
(everything but the speakers) should be
made with high-quality shielded cables. The
use of speaker cables for line connections
will result in excess noise. Speaker
connections should be made with highquality 16 gauge or larger 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.
TURN ON – 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 – Effective use
of the gain control will ensure the best
signal-to-noise ratio. The Set Level,
Compressor, and EQ Clip indicators are all
provided to assist you in setting your level
correctly. You should begin the process
with your master control set to a low, or off
position, and your tone controls set flat.
While playing your instrument normally,
bring the gain control up until the set level
light or the compressor light winks on the
peaks that result from your strongest normal
attack. This will generally show up most on
your lower strings. You will use the
4
compressor light if the compressor is
engaged (enhance knob pushed in) and the
Set Level light if the compressor is disabled
(enhance knob pulled out). If more
compression is desired, increase the gain
control so the compressor light comes on
more readily. Having set your initial level,
you are now ready to proceed with setting
up your tone controls. Since tone
adjustments have an impact on the overall
preamp gain level, you may well need to
return to the gain control and repeat this
process once you have completed your EQ
adjustments.
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. We encourage you to experiment
with different settings to obtain the sound
you desire. We have included some EQ
panel diagrams at the back of this manual to
help you record your settings.
EQ Clip Light – This indicator will flash if
SETTING UP YOUR EQ
Begin with all tone controls set flat and with
the Enhance Control set to its minimum
position. After setting your Gain level, bring
the Master control up to a moderate level.
Slowly bring the Enhance control up, playing
as you make each adjustment. Many
players find that there is a small amount of
boost on the Enhance control that will get
them very close to the sound they are after.
If it doesn’t, return it to its minimum or 0
position.
Overall bass and treble adjustments can be
made with the Bass and Treble controls.
These controls cover a fairly broad range of
the frequency spectrum. Many players use
these controls to compensate for acoustic
situations, relying on the Enhance and
Parametric controls to achieve their basic
sound.
Effective use of the quasi-parametric section
can help you boost and/or cut more narrow
sections. In each band, you will need to
“find” the frequency you wish to boost or cut.
The fastest way to do this is to boost the
Level control of one section significantly,
then rotate the Frequency control above it.
If you hear more of a frequency than you
like, leave the Frequency control at that spot
and reset the level to the desired amount of
boost. Conversely, if you hear a frequency
which is undesirable, leave the Frequency
control at that spot and reduce the Level
control to the desired amount of cut.
The frequencies that you will need to boost
or cut are dependent upon your instrument,
playing style, speaker cabinets, and venue.
clipping occurs in the EQ section of the
preamp. This can be remedied by
decreasing the amount of boost in the EQ
section or by decreasing the Gain control.
This light should never be on while playing.
Other EQ Considerations – If you find
yourself running out of amplifier headroom,
cut a little in the lower frequencies, which
require the most power from your amp.
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 (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.
5
OTHER CONSIDERATIONS
Suggested Speaker Systems – Your
speaker system, should be chosen to
accommodate the characteristics of your
amplifier and your predominant application.
If you will only be using one cabinet. It will
be at 8 Ohms as are all the CXC models.
If you are using two cabinets, they should
both be 8 Ohm models so their combined
impedance will be 4 ohms.
Headphone Jack as Line Driver – On
some occasions (such as high-volume or
outdoor situations) it may be desirable to
use the CXC-300/400 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 CXC-300/400 to an
unbalanced input of a standard power
amplifier. This will provided a signal that is
post EQ and master volume controls,
allowing the entire system to be controlled
from the CXC Amplifier.
Using the CXC-300/400 With out
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.
frequently assaulted by connectors that
have picked up debris from dirty stages,
cases, etc. 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.
Dust Removal – You should periodically
inspect the ventilation openings on the and
sides of the unit to ensure that they have not
become blocked by accumulated dust.
Vacuum the openings to remove any dust
buildup.
Tube Replacement –This system does
not use tubes. The CXC amplifiers
feature a discrete FET front end
coupled to Bi-FET OP Amplifiers for the
preamplifier section.
Service – In the event of amplifier
malfunction, or questions about your unit’s
operating features, you should contact the
your Dealer, the factory, or one of our
authorized service centers for assistance.
Eden Electronics
P.O. Box 338
115 second Street
Montrose, Minnesota
55363
MAINTENANCE
Your Eden amplifier has been designed to
require minimal routine maintenance.
Attention to the following areas will ensure
optimum performance of your amplifier.
(763) 675-1890
(763) 675-3777(fax)
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
[email protected]
http://www.edenelectronics.com
6
EQ Settings
Setting name: _____________________
Setting name: ___________________
Setting name: _____________________
7
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