Related Manuals for Samson VX2510
Summary of Contents for Samson VX2510
- Page 1 VX2515 VX2510 HA2500 2 250 WATT 1 X 15” BASS COMBO 250 WATT 2 X 10” BASS COMBO HA2500 2...
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Page 3: Table Of Contents
Introduction Features Guided Tour Front Panel Rear Panel Setting Up and Using the VX2510 & VX2515 About Equalization About Compression Appendix A: Caster Installation Appendix B: Block Diagram Appendix C: Changing the VX2510 & VX2515 Voltage Specifications Copyright 2005 - 2008, Samson Technologies Corp. Printed June, 2008 v1.1 Samson Technologies Corp. 45 Gilpin Avenue Hauppauge, New York 11788-8816... -
Page 4: Introduction
Introduction Congratulations on purchasing the Hartke VX2510 & VX2515 Bass Amplifier! Although this unit is designed for easy operation, we suggest you first take some time to go through these pages so you can fully understand how we’ve implemented a number of unique features. The VX2510 & VX2515 combos feature tH HA2500 amplifer providing 250 watts of power to the built-in 2-way bass speaker system. With that kind of power and Hartke’s custom designed transducers, including 2 x 10-inch low frequency, working with a 1-inch high frequency compression driver in the VX2510 and a15-inch low frequency drive unit plus 1-inch high frequency compression driver in the VX2515, these bass combos are EXTREMELY loud and punchy. In addition, the VX2510 & VX2515 offer a number of additional advanced features, including front-panel compression and graphic equalizer LED indicators, effects send and return jacks, an effects send/return balance knob, and a direct output with ground lift and pre or post EQ selection. The VX2510 & VX2515 are optimized for use with electric bass instruments, and the front panel controls in both models are virtually identical. You’ll find either to be an excellent bass amplifier for live performance use in small and medium-size venues; in addition, the VX2510 & VX2515’s advanced pre-amp features makes it ideal for use in recording environments. In these pages, you’ll find a detailed description of the many features of the VX2510 & VX2515 bass amplifier, as well as a guided tour through their front and rear panels, step-by-step instructions for setting up and using each product, detailed discussions about equalization and compression, and full specifications. You’ll also find a warranty card enclosed—please don’t forget to fill it out and mail it so that you can receive online technical support and so we can send you updated information about these and other Hartke and Samson products in the future. SPECIAL NOTE: Should your unit ever require servicing, a Return Authorization num- ber (RA) is necessary. Without this number, the unit will not be accepted. Please call Samson Technologies at (516) 932-1062 for a Return Authorization number prior to shipping your unit. Please retain the original packing material and, if possible, return the unit in its original carton and packing materials. -
Page 5: Features
The Hartke VX2510 & VX2515 bass amplifier offers all the newest concepts in bass amplification. Here are some of its main features: • Power to spare — The VX2510 & VX2515, a full 250 watts delivered to its internal 4 ohm speaker system. • Internal, 2-way bass speaker system including two custom design 10-inch low frequency drivers, plus 1-inch high frequency compression driver in the VX2510 and custom design 15-inch low frequency drivers, plus 1-inch high frequency compression driver in the VX2515. • Our unique Transient Attack® circuitry which ensures that every nuance of your bass performance is reproduced faithfully. • Two Pre-Amp input knobs, allowing custom blending of tube emulation and solid state sounds. • Ten bands of high-quality graphic equalization, allowing you to create a broad range of tonal colors for your bass instrument. A dedicated in/out button allows you to preset an equalization curve. • Two fully adjustable contour knobs (high pass and low pass), which provide fur- ther control over shaping your bass sound. • A built-in compressor which not only adds real “punch” to your bass sound, but also allows you to smooth out volume differences between notes. • Two independent inputs that accommodate both passive and active bass gui- tars. • Protection relay circuitry that protects connected speakers from dangerous over- loading and also prevents “thumps” when powering on or off. • Effect loop send and return jacks that allow you to connect to professional out- board effects processors. • An effect Balance knob which enables you to adjust the relative amount of Send (“dry”) versus Return (“wet”) effect signal being routed to the speaker outputs. • Electronically balanced direct output that provides a means of routing signal to professional mixing consoles in both live performance and recording environ- ments. A ground loop switch helps prevent hum or buzz from entering the sig-... -
Page 6: Guided Tour
Guided Tour - VX2510 & VX2515 Front Panel HA2500 2 1. Passive Input jack - If your bass guitar has passive circuitry, connect it to the Model 2500 here. This standard, 1/4” unbalanced jack provides a high impedance (100 k Ohms) input sensitivity of 20 millivolts. 2. Active Input jack - If your bass guitar has active circuitry,* connect it to the Model 2500 here. This standard, 1/4” unbalanced jack provides a high impedance (100 k Ohms) input sensitivity of 60 millivolts. 3. Pre-Amp A (Tube Emulation) control - This determines the amount of preamplification being provided by special circuitry which delivers the sound of a classic tube amplifier. Note that when both Pre-Amp knobs are used at equal settings, the amplifier will be twice as loud as when only one is used. Avoid setting both Pre-Amp knobs on maximum (“10”), since the result will almost always be undesirable distortion. 4. Pre-Amp B (Solid State) control - This determines the amount of pream- plification being provided by special circuitry which delivers the sound of a solid state amplifier. Note that when both Pre-Amp knobs are used at equal... - Page 7 Guided Tour - VX2510 & VX2515 Front Panel 5. Compression control - This determines the amount of compression (peak signal reduction) by simultaneously adjusting both threshold and compres- sion ratio (which ranges from 2:1 to infinity [limiting]). At the fully coun- terclockwise “Off” position, the circuitry is bypassed and no compression is applied (the knob clicks when set to the “Off” position). As the knob is raised clockwise (at settings from “1” to “∞”) increasing amounts of compression are applied. For more information, see the “About Compression” section on page 12 of this manual. 6. Graphic Equalizer In/Out switch - When pressed in (the “In” position), the Model 2500’s graphic equalizer circuitry (as described in #7 below) is opera- tional. When pressed out (the “Out” position), it is bypassed. The provision of this switch allows you to set up a custom equalization curve (an equalization “preset”) with the graphic EQ sliders, which can then be activated with the press of a single button. 7. Graphic Equalizer - These sliders allow you to “draw” the tonal response of the system by adding 15 dB of boost or attenuation to ten different narrow- band frequency areas (30 Hz, 64 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 3 kHz, 5 kHz, and 8 kHz), affecting the main output signal of the Model 2500. When a slider is at its center detented (“0”) position, the selected frequency area is unaffected (it is said to be flat). When a slider is moved up (above the “0” position, towards the “+15” position), the selected frequency area is boosted, and when it is moved down (below the “0” position, towards the “-15” position), the selected frequency area is attenuated. For more informa- tion, see the “About Equalization” section on pages 10 - 11 of this manual.
- Page 8 Guided Tour - VX2510 & VX2515 Rear Panel 1. Fuse sled - This contains a fuse holder and shows the currently selected voltage rating for your Model 2500. Make sure the voltage rat- ing is correctly set before powering up the amplifier! Fuse ratings are 10 amp for 115 vac and 6.2 amp for 230 vac. For information on how to change the voltage rating, see Appendix B on page 14. 2. AC input - Connect the supplied standard 3-pin “IEC” plug here. 3. Fan - The fan provides vital cooling to your Model 2500. Make sure that it is kept free of all obstructions and that cool, fresh air is accessible at all times. Also, try to ensure that the Model 2500 is used in a dust- free environment. 4. Effect Return jack - Use this 1/4” unbalanced jack to return low impedance (600 ohm) signal to the Model 2500 from a professional outboard effects processor.*...
- Page 9 Volume control. You can also use the Effect Send jack to route signal to an external mixing console or amplifier with an input sensitivity of +4 6. Speaker outputs - The VX2510 & VX2515 internal speaker system is connected here. * In-line effects (such as footpedals) intended for low signal levels should be placed between the bass and the amplifier Input and not connected with the Effect Send and Return jacks.
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Page 10: Setting Up And Using The Vx2510 & Vx2515
Setting Up and Using the VX2510 & VX2515 INPUT PASSIVE ACTIVE POWER Setting up your Hartke Systems VX2515/VX2510 Bass Amplifier is a simple procedure which takes only a few minutes: 1. Remove all packing materials (save them in case of need for future service) and decide where the amplifier is to be physically placed. To avoid potential overheating problems, be sure that the rear panel is unobstructed and that there is good ventila- tion around the entire unit, particularly behind the rear-panel fan. 2. Locate the included casters, which are packed separately in the shipping carton, and follow the installation instructions outlined in Appendix A on page 13 of this manual. WARNING: Hartke amplifiers can deliver very high power levels. Driven to full power, they can damage connected loudspeakers, regardless of brand, size, or configuration. - Page 11 11. If you’re using an external signal processor, turn your Hartke amplifier off momentarily and then connect a standard audio cable between the Effect Send jack and your effects processor input and another standard audio cable between the Effect Return jack and your effects processor output (if required, multiple effects processors can be daisy-chained together, output to input). Then turn the amp back on and play your bass while adjusting the controls of your outboard effects processor(s). For best results, set both the input and output gain of all connected effects processor(s) to 0 dB (unity gain), so that there is no increase or decrease in level whether the effects are switched in or out. If you have followed all the steps above and are still experiencing difficulties, call Samson Technical Support (516-932-1062) between 9 AM and 5 PM EST. * For more information on the use of the Hartke 2500 effect Balance control, see page 10 in this manual. Setting Up and Using The VX2510 & VX2515 PRE AMP TUBE SOLID STATE CONTOUR GRAPHIC EQUALIZER 30Hz 64Hz 125Hz 250Hz 500Hz 1KHz 2KHz 3KHz 5KHz...
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Page 12: About Equalization
• L ow Pass and High Pass Contour controls provide 18 dB of cut or boost in two broad frequency bands. • A Graphic Equalizer provides 15 dB of cut or boost in ten narrow frequency bands. Normally, you will adjust the two Contour controls before “fine-tuning” your EQ with the Graphic Equalizer. The Low Pass Contour control affects a broad band of frequen- cies with 100 Hz as the center point; similarly, the High Pass Contour control affects a broad band of frequencies with 10 kHz as the center point. When either is in its cen- ter detented position (“0”), it is having no effect. When it is moved right of center, the particular frequency area is being boosted; when it is moved left of center, the fre- quency area is being cut (“attenuated”). Because there is very little bass guitar energy at 10 kHz, the High Pass Contour control should be thought of as your overall “noise” control—turning it down (to the left of the “0” position) will help to eradicate hiss and buzz while having very little effect on the bass guitar signal. Similarly, the Low Pass Contour control, when set left of 0, can be used to eliminate rumble and “woofiness. ” The ten-band graphic equalizer provides ten sliders, each corresponding to a single narrow frequency band (at 30 Hz, 64 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 3 kHz, 5 kHz, and 8 kHz). This allows you to “draw” the desired tonal response of your system. When a slider is in its center detented position (“0”), it is having no effect. When it is moved above center (towards “+15”), the particular frequency area is being boosted; when it is moved below center (towards “-15”), the frequency area is being attenu- ated. We carefully selected these frequency areas because they have maximum impact on bass signals. For example, the lowest slider (30 Hz) affects the very lowest audible frequencies (in fact, most humans cannot hear below 20 Hz), while the high- est four sliders (2, 3, 5, and 8 kHz) affects the “twang” of a bass string. WARNING: Use caution when raising the 30 Hz slider above 0 if you are operating at high volume levels (especially if Compression is not being used) since this can place undue stress on connected loudspeakers. - Page 13 To find out how each graphic equalizer slider affects the sound of your particular bass, start with all ten bands flat (that is, all ten sliders at their detented “0” center position). Then, one by one, raise and lower each slider, listening carefully to the effect of each. If you don’t specifically need to utilize the ten-band graphic equaliz- er, bypass it by setting the In/Out switch to its “Out” position. Alternatively, you can preset a custom graphic equalization curve (for example, for a feature solo) and acti- vate it simply by pressing the switch when needed. Note that turning all EQ con- trols up the same amount will have virtually the same effect as simply turning up the Master Volume; conversely, turning them all down the same amount will have virtually the same effect as turning down the Master Volume. Both approaches are pointless (after all, that’s why we gave you a Master Volume control!) In many instances, the best way to deal with equalization is to think in terms of which frequency areas you need to attenuate, as opposed to which ones you need to boost. Be aware that boosting a frequency area also has the effect of boosting the overall signal; specifically, too much low frequency EQ boost can actually cause overload distortion or even harm a connected speaker, though the Model 2500’s compression circuitry—if on—will act to some extent to prevent this from occur- ring. In general, if you’re going to apply a fair amount of low frequency EQ boost, it’s a good idea to keep Compression on, if only to protect your speakers from potential damage. The specific EQ you will apply to your bass signal is very much dependent upon your particular instrument and personal taste and playing style. However, here are a few general suggestions: • F or that super-deep reggae or Motown sound, boost low frequencies slightly while attenuating the highest ones (leave mid-range frequencies flat or slightly attenuated), as shown in the illustration on the right. • T o remove boxiness and make your instrument sound more “hi-fi, ” try attenuating mid-range frequencies while leaving low and high frequency settings flat, as shown in the illustration on the right. • F or a twangy, cutting sound, try boosting the high and high mid-range frequencies, as shown in the illustration on the right (putting new round- wound strings on your bass will help a lot also!) •...
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Page 14: About Compression
About Compression ∞ COMPRESSION VX2510 & VX2515 Compression control and The dynamic range of a sound is the difference between its loudest and softest points. For example, as you play your bass, you’ll probably find that some notes (for example, notes played on the upper frets of the lowest string) are considerably louder than others. The function of the Compression circuitry in the Model 2500 Bass Amplifier is to reduce overall dynamic range by automatically reducing the level of the loudest sounds you play so that they are closer in level to softer ones—the end result is that the sound “evens out” and all notes played have pretty much the same level. The front-panel Compression control determines the amount of compression (peak signal reduction) by simultaneously adjusting both threshold and compression ratio (which ranges from 2:1 to infinity [limiting]). At the fully counterclockwise “Off” posi- tion, the circuitry is bypassed and no compression is applied (the knob clicks when set to the “Off” position). As the knob is raised clockwise (at settings from “1” to “∞”) increasing amounts of compression is applied. At the highest settings, loud sounds will not just be compressed, but limited, where the output remains virtually constant regardless of input. The Model 2500 provides a front-panel Compression LED which acts as a useful visual indicator of the continuous activity of the compression circuitry. When lit steadily green (for example, when the Compression knob is set to “Off”), no compression is being applied. When unlit, compression is being applied to the incoming signal at a ratio of approximately 2:1. When flashing red, the compression ratio is approach- ing infinity (limiting is being applied). When lit steadily red, the signal is being limited. This LED “follows” the incoming signal, changing continuously as different amounts of compression and/or limiting are being applied. Compression has three main uses. First, as just described, it “evens” out the notes played by your bass so that they all appear at virtually equal level. Second, it adds “punch” to a sound; since all levels are nearly the same, you can play with greater force without worrying about the loudest notes distorting. Finally, it serves to protect your loudspeakers from damage as a result of brief (transient) high output levels, as might be caused by finger-popping or other performance techniques. Whether or not you need to use compression with your Model 2500 will be a matter of personal taste and playing style—experiment and see if you like the effect. If you usually play at low volume levels, you’ll find that, even with the Compression knob turned up, the compression circuitry may have no audible effect, so it might as well... -
Page 15: Appendix A: Caster Installation
Appendix A: CASTER INSTALLATION • L ocate one caster and four each of the supplied screws and lock washers. • H old the caster in place and hand start the screws. Be careful to ensure that the screws are on the proper thread chase. DO NOT PUSH TEE NUT INTO ENCLOSURE. • U se a screw driver to tighten the four screws. Be careful not to over tighten the screws. • R epeat the steps above for the remaining three casters. -
Page 16: Appendix B: Block Diagram
Appendix B: Block Diagram Model 2500... -
Page 17: Changing The Vx2510 & Vx2515 Voltage
Appendix C: Changing the VX2510 & VX2515 Voltage... -
Page 18: Specifications
Signal To Noise Ratio Equalizer Contour Low Pass Contour High Pass Ten-Band Graphic Compression Ratio Send Output Level Return Input Level VX2510 Speaker System Impedance (Ohms) Low Frequency Drivers High Frequency Driver VX2515 Speaker System Impedance (Ohms) Low Frequency Drivers High Frequency Driver VX2510 Weight Dimensions... - Page 20 Hartke 45 Gilpin Avenue Hauppauge, New York 11788-8816 Phone: 1-800-3-SAMSON (1-800-372-6766) Fax: 631-784-2201 www.hartke.com...