Eden Never Compromise WT405 Operation Manual page 7

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
(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)
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Fuse Requirements:
USA @ 120 Volts /60 HZ – 5 Amp, 5 x 20 mm GMC/T/slow blow
Europe @ 240 Volts/50 Hz – 2.5 Amp, 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.
REALLY IMPORTANT NOTE: In order to operate properly anywhere
other than North America, the voltage configuration may be easily
changed by moving one or two jumpers inside the amplifier, following
the instructions located on the inside of the top panel. These
modifications should be made by a QUALIFIED technician. Contact
your local distributor for further information.
Amp Outs – These consist of two 1/4-inch jacks and an NL-4 connector
(sometimes called a Speakon). The jacks are wired in parallel. The total
speaker load impedance should not go below 2 ohms. On NL-4 connectors,
we use +1, -1 connections.
Amplifier Power Rating:
250 watts @ 8 Ohms | 405 watts @ 4 Ohms | 650 watts @ 2 Ohms
All models have +3dB of headroom. This means that the maximum output is
twice the RMS rating.
Mono Pre-Tone Effects Send/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.
Recording Out – 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.
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