Ashdown FIVE 15 MINI RIG User Manual [en, de, fr]
1
USER MANUAL
WELCOME
THANK YOU
Thank you for purchasing your Ashdown Engineering Amplier and welcome to the family!
We really think you’ve made the right choice and know that this amplier will give you years of great
tone and service. It is a machine though and needs to be looked after, please read through this user
manual which will help you get the most out of your new Amp and keep it running as long as some
of our happiest and very famous customers.
REGISTER ONLINE
Please register this product online so we can make sure we give you years of customer support
through our friendly in-house service centre.
Here is where you need to visit to register your product:
http://www.ashdownmusic.com/register
2
www.ashdownmusic.com www.ashdownmusic.com
Perfect 10 Demo Video:
www.ashdownmusic.com
3
AFTER 8 Front Panel
PERFECT 10 Front Panel
USER MANUAL
AFTER 8 / PERFECT 10
Back Panel
Ashdown Ampliers reserve the right to change specications without notice. E & O E. All contents © Ashdown 2011. Ashdown Ampliers reserve the right to change specications without notice. E & O E. All contents © Ashdown 2011.
4
www.ashdownmusic.com www.ashdownmusic.com
FRONT PANEL
HEADHOPNES
A headphone jack socket is provided to allow stereo headphones to be plugged into the amplier for silent practice. This cuts
out the main speaker when a jack plug is inserted.
LINE IN
A single balanced line input is provided for play along practice. Used in conjunction with the Headphones socket for silent
practice. Also see, MIX.
MIX LEVEL
Set the level of your Backing Track by using the ‘MIX’ Rotery control provided.
MASTER LEVEL
Use the output level control to adjust the playing volume of the amplier.
E.Q.
This passive EQ has bass, middle and treble tone controls.
GAIN
This adds tube emulated overdrive as a tube amp would when adding gain. From slight grit to full on overdrive.
INPUT
A single input jack socket is Provided for your instrument. This is a high impedance input designed to perfectly match the
impedance of the pick-ups on a passive bass. It also has sucient headroom available to allow active basses to be used. Use
the input gain control to adjust for the sensitivity of your instrument.
REAR PANEL
FUSED MAINS INLET SOCKET
This is for connection of the unit to your countries mains power supply. Please ensure that the type and rating of mains fuse
marked on the rear panel is used when this is replaced.
POWER SWITCH
The power to the unit is turned on with the rear panel power switch. A power led on the front panel will light to indicate that
the amplier is switched on.
AFTER EIGHT
Output Power 20watts RMS into 8 ohms
Input Impedance 1 Meg ohm
Input Signal Range 100Mv to 10v
E.Q. Passive Bass, Middle, Treble.
PERFECT TEN COMBO
Output Power 40watts RMS into 8 ohms
Input Impedance 1 Meg ohm
Input Signal Range 100Mv to 10v
E.Q. Passive Bass, Middle, Treble.
SPECIFICATIONS
5
USER MANUAL
FIVE 15 / MINI STACK 100
Front Panel
INPUT
A single input jack socket is Provided for your instrument. This is a high impedance input designed to perfectly match the
impedance of the pick-ups on a passive bass. It also has sucient headroom available to allow active basses to be used. Use
the input gain control to adjust for the sensitivity of your instrument.
INPUT CONTROL
The INPUT control sets the signal level through the preamp in conjunction with the INPUT LEVEL VU Meter. This is adjusted to
give a reading of 0VU on the meter for average playing dynamics with occasional peaks into the red region. Please note that
the setting of this may have to be re-adjusted after modication of the E.Q. controls.
E.Q.
This consists of BASS, MIDDLE and TREBLE controls with two sliders placed between each control. This can be used in a number
of ways:
Firstly as a very simple Bass, Middle and Treble tone control section as found on older traditional ampliers. This is done by
leaving the two sets of sliders interposed between these controls set in their centre positions and using only the BASS, MIDDLE
and TREBLE controls to alter the overall tone.
Secondly, if more control is required then the sliders can also be used to tailor the E.Q. in the regions between the main tone
controls. This provides a very versatile Equalisation section, it is simple to understand and operate, yet provides a wide degree
of variation. It retains the simplicity of a three- control tone section but provides the exibility of a graphic equaliser.
LINE IN
This Jack input socket allows you to connect an external sound device (i.e Mp3 player, iPod etc.) using a cable (not supplied.)
HEADPHONES
A headphone jack socket is provided to allow stereo headphones to be plugged into the amplier for silent practice. This cuts
out the main speaker when a jack plug is inserted.
MIX LEVEL
The MIX control blends the overall level of the external sound source.
MASTER LEVEL
The MASTER control adjusts the overall level of the amplier. Adjust this for your preferred overall stage playing volume.
Ashdown Ampliers reserve the right to change specications without notice. E & O E. All contents © Ashdown 2011.
6
www.ashdownmusic.com www.ashdownmusic.com
INPUTS
High Input Impedance - 3.9M ohms Input range 150mv to 20v p - p
Low Input Impedance - 10k ohms Input range 300mv to 40v p - p
Eects Return Impedance - 22k ohms Input level 0dbu nominal
OUTPUTS
Tuner Output Impedance - 10k ohms Level 0dbu nominal
Eects Send Impedance - 22k ohms Level 0dbu nominal
D.I.Output 600 ohms balanced Level -20dbu nominal
Speaker Outputs Minimum Impedance - 4 ohms
Frequency Response -3db at 22hz and 25khz
EQUALISATION
Bass +/- 15db @ 100hz
Lo Mid +/- 15db @ 340hz
Middle +/- 15db @ 660hz
Hi Mid +/- 15db @ 1.6Khz
Treble +/- 15db @ 7khz shelving
Signal to Noise Better than 80db (E.Q. Flat)
Distortion Less than 0.5% THD
Output Power 100watts RMS into 4 ohms.
SPECIFICATIONS
7
USER MANUAL
EB LITE 220
INPUT OUTPUT
PASSIVE ACTIVE
INPUT
INPUT LEVEL
VU
BASS MIDDLE TREBLE
340Hz
BRIGHT
EQ
DEEP SUB-HARMONICSCOMPRESSION
1.6 KHz
D.I.
POST EQ
SEND
EFFECTS
RETURN TUNER/LINE
OUTPUT
Front Panel
INPUTS
There are two choices of instrument input, these are marked passive and active. The passive input is high sensitivity and high impedance to suit
passive bass instruments. The active input is much lower sensitivity and impedance to accurately match the signal from active bass instruments i.e.
Those with a built in battery powered pre-amp.
INPUT CONTROL
The input control sets the signal level through the preamp in conjunction with the input level vu meter. This is adjusted to give a reading of 0vu on the
meter for average playing dynamics with occasional peaks into the red region. Please note that the setting of this may have to be re-adjusted after
modication of the E.Q. controls.
DEEP
With this button in a xed E.Q. is superimposed on the pre-amp to give a bass boost to the sound. This gives +8db at 50hz.
BRIGHT
With this button in a xed E.Q. is superimposed on the pre-amp to give a treble boost to the sound. This gives +10db at 10khz.
E.Q.
This button switches the equalisation section in or out i.e. the Bass, Middle and Treble controls and the two rotary controls placed between these.
EQUALISATION
This consists of bass, middle and treble controls with two more rotary controls placed in-between. This can be used in a number of ways:
Firstly as a very simple bass, middle and treble tone control section as found on older traditional ampliers. This is done by leaving the 340hz and
1.6Khz controls set in their centre positions and using only the bass, middle and treble controls to alter the overall tone.
Secondly, if more control is required then the 340hz and 1.6Khz controls can also be used to tailor the E.Q. In the regions between the main tone
controls.
This provides a very versatile equalisation section, it is simple to understand and operate, yet provides a wide degree of variation. It retains the
simplicity of a three control tone section but provides the exibility of a graphic equaliser.
COMPRESSION
Adding a small amount of compression gives a fat bottom end to the sound and allows a greater volume of amplication to be used without the
playing peaks distorting the ampliers output stage.
You will also nd that this will add denition to your playing bringing out notes within a run more clearly as it evens out the dynamics of your
playing. A large amount of compression can be used as an eect but it will tend to reduce the dynamics in your playing to such an extent that the
volume of the note will be the same no matter how hard or soft you hit the string.
Compression also adds sustain to notes making them longer before they die away.
The compression level control adjusts the degree of compression applied to the bass signal. For this to function correctly the input level must be
correctly set as described in the input control section above.
When the input level is correctly set there will be hardly any dierence in volume between compression in and compression out. This is because the
MAG automatically compensates for the reduction in level that would be apparent when compression is added by increasing the overall gain to
restore the volume to its pre compression level, because of this you may notice an increase in background noise with high compression settings.
Compression is switched in/out with the push button adjacent to the compression level control.
SUB HARMONICS
This section produces sub harmonics an octave below the notes being played. The level of these sub harmonics relative to the straight bass sound
can be adjusted using the level control.
This is very eective in thickening the sound and you will nd in use that only a small degree of this lower octave is required to really ll out the
sound and provide a character that is not possible by any other means.
The degree of sub harmonics is also dependant on the setting of the bass control.
Sub harmonics are switched in/out with the push button below and to the left of the sub harmonics level control.
Ashdown Ampliers reserve the right to change specications without notice. E & O E. All contents © Ashdown 2011. Ashdown Ampliers reserve the right to change specications without notice. E & O E. All contents © Ashdown 2011.
8
www.ashdownmusic.com www.ashdownmusic.com
DIRECT INJECT D.I.
A balanced D.I. Is provided on the front panel XLR socket. This provides a post E.Q. Post eects signal.
The output signal from this XLR socket is set to a level and impedance suitable for connecting directly into a balanced microphone input of a mixing
desk for either direct injection into the pa system or for recording.
EFFECTS SEND/RETURN
A serial eects loop is provided at a level of 0db. The eects send and return sockets for this are on the front panel below the D.I . Socket.
The eects send socket can also be used as a line out socket if required. The signal path through the preamp is only broken when a jack plug is
inserted into the eects return socket. The eects send is situated after the E.Q.
TUNER/LINE OUT
This output socket provides a line level signal that can be used either for a permanent connection to a tuner or a line output for connection to other
power ampliers and speakers.
OUTPUT LEVEL
The output control adjusts the overall level of the amplier. Adjust this for your preferred overall stage playing volume.
Everything possible has been done to make these reliable, minimum service, high quality, long lasting powerful bass ampliers.
We know you will appreciate the eort that has been put into the design and manufacture of this unit and you will be rewarded in your choice of
bass amplier by long life and reliability.
INPUTS
High Input Impedance - 3.9M ohms Input range 150mv to 20v p - p
Low Input Impedance - 10k ohms Input range 300mv to 40v p - p
Eects Return Impedance - 22k ohms Input level 0dbu nominal
OUTPUTS
Tuner Output Impedance - 10k ohms Level 0dbu nominal
Eects Send Impedance - 22k ohms Level 0dbu nominal
D.I.Output 600 ohms balanced Level -20dbu nominal
Speaker Outputs Minimum Impedance - 4 ohms
Frequency Response -3db at 22hz and 25khz
EQUALISATION
Bass +/- 15db @ 100hz
Lo Mid +/- 15db @ 340hz
Middle +/- 15db @ 660hz
Hi Mid +/- 15db @ 1.6Khz
Treble +/- 15db @ 7khz shelving
Deep + 8db @ 50hz
Bright + 10db @ 10khz
Signal to Noise Better than 80db (E.Q. Flat)
Distortion Less than 0.5% THD
Output Power 220watts RMS into 4 ohms.
SPECIFICATIONS
9
USER MANUAL
MAG 300 / 600
INPUT OUTPUT
PASSIVE ACTIVE
INPUT
INPUT LEVEL
VU
BASS MIDDLE TREBLE
340Hz
BRIGHT
EQ
DEEP SUB-HARMONICSCOMPRESSION OVERDRIVE
1.6 KHz
D.I.
POST EQ
SEND
EFFECTS
RETURN TUNER/LINE
OUTPUT
Front Panel
INPUTS
There are two choices of instrument input, these are marked passive and active. The passive input is high sensitivity and high impedance to suit
passive bass instruments. The active input is much lower sensitivity and impedance to accurately match the signal from active bass instruments i.e.
Those with a built in battery powered pre-amp.
INPUT CONTROL
The input control sets the signal level through the preamp in conjunction with the input level vu meter. This is adjusted to give a reading of 0vu on the
meter for average playing dynamics with occasional peaks into the red region. Please note that the setting of this may have to be re-adjusted after
modication of the E.Q. controls.
DEEP
With this button in a xed E.Q. is superimposed on the pre-amp to give a bass boost to the sound. This gives +8db at 50hz.
BRIGHT
With this button in a xed E.Q. is superimposed on the pre-amp to give a treble boost to the sound. This gives +10db at 10khz.
E.Q.
This button switches the equalisation section in or out i.e. the Bass, Middle and Treble controls and the two rotary controls placed between these.
EQUALISATION
This consists of bass, middle and treble controls with two more rotary controls placed in-between. This can be used in a number of ways:
Firstly as a very simple bass, middle and treble tone control section as found on older traditional ampliers. This is done by leaving the 340hz and
1.6Khz controls set in their centre positions and using only the bass, middle and treble controls to alter the overall tone.
Secondly, if more control is required then the 340hz and 1.6Khz controls can also be used to tailor the E.Q. In the regions between the main tone
controls.
This provides a very versatile equalisation section, it is simple to understand and operate, yet provides a wide degree of variation. It retains the
simplicity of a three control tone section but provides the exibility of a graphic equaliser.
COMPRESSION
Adding a small amount of compression gives a fat bottom end to the sound and allows a greater volume of amplication to be used without the
playing peaks distorting the ampliers output stage.
You will also nd that this will add denition to your playing bringing out notes within a run more clearly as it evens out the dynamics of your
playing. A large amount of compression can be used as an eect but it will tend to reduce the dynamics in your playing to such an extent that the
volume of the note will be the same no matter how hard or soft you hit the string.
Compression also adds sustain to notes making them longer before they die away.
The compression level control adjusts the degree of compression applied to the bass signal. For this to function correctly the input level must be
correctly set as described in the input control section above.
When the input level is correctly set there will be hardly any dierence in volume between compression in and compression out. This is because the
MAG automatically compensates for the reduction in level that would be apparent when compression is added by increasing the overall gain to
restore the volume to its pre compression level, because of this you may notice an increase in background noise with high compression settings.
Compression is switched in/out with the push button adjacent to the compression level control.
OVERDRIVE
This is a valve/tube emulated overdrive that is variable from a slight ‘edge’ or ‘warmth’ through to a fairly aggressive overdrive/distortion eect.
The actual degree of overdrive applied to the bass signal is also dependent on the setting of the input level control. The higher this is set, the greater
level of overdrive can be applied using the overdrives own rotary control.
Overdrive can be switched in with the push button above and to the right of the overdrive rotary control. The amount of drive applied to the
overdrive circuit is adjusted using this rotary control.
The overdriven bass signal is applied in parallel with the dry bass signal to ensure you never lose the full bottom end from your bass. Overdrive is
situated after the compression allowing for a sustained overdriven bass signal to be produced by adding a degree of compression along with the
overdrive itself.
10
Ashdown Ampliers reserve the right to change specications without notice. E & O E. All contents © Ashdown 2011. Ashdown Ampliers reserve the right to change specications without notice. E & O E. All contents © Ashdown 2011.
www.ashdownmusic.com www.ashdownmusic.com
SUB HARMONICS
This section produces sub harmonics an octave below the notes being played. The level of these sub harmonics relative to the straight bass sound
can be adjusted using the level control.
This is very eective in thickening the sound and you will nd in use that only a small degree of this lower octave is required to really ll out the
sound and provide a character that is not possible by any other means.
The degree of sub harmonics is also dependant on the setting of the bass control.
Sub harmonics are switched in/out with the push button below and to the left of the sub harmonics level control.
DIRECT INJECT D.I.
A balanced D.I. Is provided on the front panel XLR socket. This provides a post E.Q. Post eects signal.
The output signal from this XLR socket is set to a level and impedance suitable for connecting directly into a balanced microphone input of a mixing
desk for either direct injection into the pa system or for recording.
EFFECTS SEND/RETURN
A serial eects loop is provided at a level of 0db. The eects send and return sockets for this are on the front panel below the D.I . Socket.
The eects send socket can also be used as a line out socket if required. The signal path through the preamp is only broken when a jack plug is
inserted into the eects return socket. The eects send is situated after the E.Q.
TUNER/LINE OUT
This output socket provides a line level signal that can be used either for a permanent connection to a tuner or a line output for connection to other
power ampliers and speakers.
OUTPUT LEVEL
The output control adjusts the overall level of the amplier. Adjust this for your preferred overall stage playing volume.
Everything possible has been done to make these reliable, minimum service, high quality, long lasting powerful bass ampliers.
We know you will appreciate the eort that has been put into the design and manufacture of this unit and you will be rewarded in your choice of
bass amplier by long life and reliability.
INPUTS
High Input Impedance - 3.9M ohms Input range 150mv to 20v p - p
Low Input Impedance - 10k ohms Input range 300mv to 40v p - p
Eects Return Impedance - 22k ohms Input level 0dbu nominal
OUTPUTS
Tuner Output Impedance - 10k ohms Level 0dbu nominal
Eects Send Impedance - 22k ohms Level 0dbu nominal
D.I.Output 600 ohms balanced Level -20dbu nominal
Speaker Outputs Minimum Impedance - 4 ohms
Frequency Response -3db at 22hz and 25khz
EQUALISATION
Bass +/- 15db @ 100hz
Lo Mid +/- 15db @ 340hz
Middle +/- 15db @ 660hz
Hi Mid +/- 15db @ 1.6Khz
Treble +/- 15db @ 7khz shelving
Deep + 8db @ 50hz
Bright + 10db @ 10khz
Signal to Noise Better than 80db (E.Q. Flat)
Distortion Less than 0.5% THD
Output Power 330watts RMS into 4 ohms. / 575watts RMS into 4 ohms.
SPECIFICATIONS
11
Loading...