Ashdown Engineering AFTER 8 Manuel Utilisateur page 10

INPUT
INPUT LEVEL
PASSIVE ACTIVE
INPUT
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
modification of the E.Q. controls.
DESIGNED IN THE UK AND MADE IN P.R.C.
dEEP
With this button in a fixed 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 fixed 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 amplifiers. 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 flexibility 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 amplification to be used without the
playing peaks distorting the amplifiers output stage.
You will also find that this will add definition 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 effect 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 difference 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 effect.
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.
Ashdown Amplifiers reserve the right to change specifications without notice. E & O E. All contents © Ashdown 2011.
10
BASS
VU
BRIGHT
DEEP EQ
OUTPUT POWER
300 WATTS RMS
500 WATTS PEAK
MAG LITE 300
www.ashdownmusic.com
MIDDLE TREBLE
1.6 KHz
340Hz
COMPRESSION OVERDRIVE
USER MANUAL
MAG 300 / 600
D.I.
POST EQ
SEND RETURN
SUB-HARMONICS
EFFECTS
OUTPUT
TUNER/LINE
OUTPUT