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Trace Elliot SMX Dual

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Comments to date: 6. Page 1 of 1. Average Rating:
Chucki 7:37pm on Sunday, October 17th, 2010 
Useful multi-purpose device: video and computer cam For the money provides a good HD motion picture with acceptable sound in average light conditions. Waste of money!!!!! I bought this thing for the price and the fact that it was HD.
jayne_cobb 12:11pm on Monday, October 11th, 2010 
There are only two things that I have to share that are negative. And...one might be my own fault! :) Oops... 1. I found the cd it came with useless.
janpalach 4:52am on Wednesday, August 4th, 2010 
Very easy to use overall,Good video easy to focus etc the ability to take stills while still taking Video is an advantage . Great little camcorder, excellent sharp filming outside, not too bad indoors None for the price
RaggieSoft 4:36pm on Monday, August 2nd, 2010 
You might find a camera with better recording. I wished this camera did not pushed the envelope in the 30x optical zoom.
mattypattyfp 11:10am on Sunday, May 9th, 2010 
Easy to set up and use Lens cover would benefit from being fixed Great little camcorder, excellent sharp filming outside, not too bad indoors None for the price
Ps002 3:27am on Friday, March 12th, 2010 
A somewhat disappointing camcorder at a very low price This camcorder has a lot going for it in terms of features and price.

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Documents

doc0

Battery replacement:

Remove the four screws on the bottom cover to access the battery compartment. If storing the unit for long periods of time the battery should be removed to prevent corrosion of the battery snap. Be sure to place the battery wires along the side of the battery in the battery pocket and use care while replacing the bottom cover.
DUAL BAND SMX OPTICAL COMPRESSOR

Warranty:

The FEA Dual Band SMX Optical Compressor is fully covered for a period of 5 (five) years and the foot switches are covered for 1 (one) year against defects in material and workmanship. Abuse and neglect are not covered under the warranty. The customer will be responsible for shipping cost to and from FEA Labs for repairs. Contact me before attempting to ship a unit for repair at: info@fealabs.com. All repairs made outside of the warranty period will be very reasonable (usually only the cost of the parts) your satisfaction is priority one.

Contact FEA Labs at:

www.fealabs.com info@fealabs.com

REV 3.0

www.fealabs.com

About the design:

This design is a direct result of many requests to model the very popular Trace Elliot SMX dual compressor pedal. This optical compressor is the original FEA Dual Band Optical Compressor with the variable Attack, Release and Crossover Frequency controls removed. This compressor does not have the limiter function that the full featured FEA Dual Band compressor has. The crossover frequency, attack and release times are set to the same values as the Trace Elliot SMX dual compressor pedal. The FEA and Trace Elliot compressors have vast differences of internal circuitry and functionality. Disclaimer: There are no claims that the FEA optical compressor sounds or performs like the Trace Elliot dual compressor. Optical compressors are still preferred over VCA (voltage controlled amplifier) compressors in most recording studios for some instruments. One of those instruments where optical is favored is on the bass guitar for its smooth attack and release characteristics. Optical compressors use a photocell (photo-resistive cell) and a light source projected onto the photocell to vary the value of resistance inversely proportional to the light intensity. Years ago these were made with a discrete photocell and light source. There are now devices that contain both the photocell and light source in a single package. They are referred to as Vactrols and AOIs (analog optical isolators). The drawbacks of these devices in the past have been with their reaction and recovery times. If the photocell were formulated for a quick reaction to light, the resistance would take a long time to settle back after the light has been removed. The opposite is also true; if the photocell were formulated for a quick recovery after the light has been removed then the reaction to light would be slow. The Silonex Company uses a combination formula for the photocell to overcome these limitations in the AOI that is used in the FEA Dual Band SMX Optical Compressor. This very same AOI is used in some high-end (i.e. Focusrite and Joemeek) studio compressors for its smooth attack and release qualities. This fast Silonex AOI allows the side-chains in the compressor to accurately control the Attack and Release times

Page 1

Technical Specifications:
Crossover Freq.: ATTACK: 350Hz HI 2mS LO 22mS HI 70mS LO 123mS 2:1 to 7:1 -37dBu to 0 to 20dB 7.5dBu 16dBu -66dBu from 10Hz-20kHz (un-weighted) with no compression and output gains set to maximum. **This is the absolute worst case noise scenario.** 10Hz 17KHz +0.5/-3dB (100Kohm output load) 1M ohm 1K ohm

RELEASE:

RATIO: THRESHOLD: Make-up GAIN: Maximum Input: Maximum Output: Residual Output Noise:

Frequency Response:

Input Impedance: Output Impedance: Power adapter noise rejection:
40dBu @ 60Hz >90dBu @ 2KHz Approx. 28mA Approx. 15 hours continuous use
Current Consumption: Battery Life:
Power adapter (optional): 9VDC 2.1mm negative center pin Page 6

Min and Max RATIO:

Threshold set at 25dB for both tests.
of the compression. The purely resistive element in the AOI exhibits less noise and distortion than most designs using a VCA. Most audiophiles preach that only good quality passive components should be in the audio signal path and this is one application that I would have to agree with them. Along with these fantastic Silonex AOIs, the FEA Dual Band SMX Optical Compressor uses 1% metal film resistors, multilayer metallized polyester film capacitors, hi-fi quality operational amplifiers in the signal path. The dual rail power supply in the FEA Dual Band SMX Optical Compressor is built on an isolated circuit board. The power supply can be powered with 9 to 25V DC and is over filtered two times to assure exceptionally clean power for the signal circuitry. This power supply provides 18Volts (+9V and -9V) to the compressor circuit board to provide plenty of headroom for the signal. The power supply was designed to provide separate power for all of the side-chain control circuitry. This assures that any natural electrical noise that the compressors side-chain control circuitry generates will not bleed into the signal circuitry. I have not seen this approach to power distribution in any of the other manufacturers guitar effects. Is it overkill? Maybebut I feel that it is absolutely crucial to eliminate every bit of noise where possible. The case is a standard Hammond aluminum enclosure. I have tried some of the copies with my prototypes but did not like their quality for a final product. After the Hammond case is machined and sanded it is treated with Aluminum Chromate for corrosion resistance. This is one of the same treatments that the United States military specify for their aluminum panels. The enclosure is then color powder coated, the aluminum faceplate is applied and then the entire case is clear epoxy powder coated for protection.

Frank E. Appleton (FEA)

Page 5

Page 2

Features:
Dual optical compressors for separate Low frequency (LO) and High frequency (HI) dynamics control. The frequencies above 5KHz are routed around the compressor circuits and are mixed back into the output amplifiers at unity gain to preserve clarity. Output GAIN controls for the HI and LO compressors. Both bands exhibit soft-knee compression at lower RATIO settings and hard-knee at maximum RATIO settings. The COMP LED indicates when the THRESHOLD has been reached. This LED does not indicate the RELEASE response. The compressor side-chains use precision full-wave rectification of the audio signals in the THRESHOLD circuits to improve tracking. This also reduces the possibility of pumping with very low frequencies. HI BYPASS foot switch. This allows the compressor to only control the Low frequencies (if desired) and to pass the High frequencies to the outputs unaffected. There is a red LED to indicate the HF BYPASS is on. NOTE: With HI BYPASS active the HI GAIN control is inactive. ACTIVATE foot switch places the compressor unit in the signal chain or in Direct Bypass mode. In Direct Bypass mode the signal at the input is directly connected to the outputs and does not pass through any electronics. The compressors have minimal components in the signal paths to maintain the utmost signal quality. The signal compression is accomplished with only resistive components (Light Dependent Resistors or Photocell). All resistors in the circuit are low noise 1% metal film type. The signal coupling capacitors are tight tolerance, quiet, multi-layer and metallized polyester film type. The amplifiers used in the signal path are JFET input, lownoise, low-distortion hi-fi quality devices. The power supplies onboard voltage charge pump allows the circuitry to operate at 18volts (+9 and 9 volt rails) Page 3
from a single 9-volt battery or AC power adapter of 9 volts or greater. This allows the signal plenty of headroom from active electronic guitars and aggressive playing techniques (i.e. pop and slap). The onboard power supply can accommodate power adapter voltages up to 25 volts DC with protection from reversed polarity. The switch on power supply current is less than 1A (micro amp) on the signal ground at the INPUT jack. This is approximately 45,000 times (-93dB) less than the commonly used method of connecting the batterys negative terminal to ground via the sleeve of the plug inserted into the INPUT jack. The switch on sensing method used in the FEA Dual-Band SMX Optical Compressor keeps nearly all of the circuits generated white noise and transient currents out of the INPUT stage signal ground. Extreme measures have been taken to keep the power and signal paths as clean as possible. NOTE: Unplug the cord from the INPUT jack when not in use to prolong battery life. The power and grounds for the signal path circuitry are separated from the side-chain power and grounds to protect the audio signal from spurious noise. The power for the signal amplifiers is exceptionally clean, filtered twice for each rail and all filter stages are oversized. HI and LO/FULL output jacks are configured so the outputs of the individual compressors may be routed to different amplifiers or effects. The HI output is useful if you wish to use effects made strictly for guitar and route a clean LO signal to another amplifier or mixer. If only the LO/FULL output jack is used, both the HI and LO signals are mixed together for a composite full range output signal.

doc1

This is something very new in concept, and something that you will not be familiar with from any amplifier. As such it requires a short description of its function (a full description is given in the SOUND MANAGEMENT section later in these instructions). Basically it is a very powerful new kind of tone control section on one knob. It can be thought of as a pivot point at the centre of the graphic about which the frequency response of the graphic may be swung. Turning to the right increases the top end and decreases the lower end of the graphic, whilst turning to the left has the reverse effect. You do not need to understand exactly how this is done to appreciate the power it gives you in instantly being able to transform your sound with one simple to operate knob.

Compression

TRACE ELLIOT have always avoided including compression in any of their previous amplifiers as the integrity of the bass signal has always been paramount in all designs. The reason for this is simply that any kind of FULL RANGE compression used on bass is always an unacceptable compromise. It cannot act fast enough to catch attack transients, and if it does then it distorts low frequency signals. If you have used any full range compression then you know what we mean. The compression used in this unit has therefore been split into two entirely separate compressors, one optimised for LOW frequencies and one optimised for HIGH frequencies, but both individually adjustable by the user. The LOW COMPRESSION and the HIGH COMPRESSION controls are located either side of the EQ BALANCE control. These three controls together we refer to as the SOUND MANAGEMENT section of the GP12SMX, as they work as a unit and provide such a vast variation to the bass sound. As a QUICK GUIDE we would advise that full compression on either LOW or HIGH is never necessary except purely as an effect. LOW compression used on its own and set up to about halfway will really tighten up the bottom end and give excellent definition to bass runs. LOW compression past halfway with the EQ BALANCE turned a quarter left is excellent for really low reggae type bass. A small amount of both HIGH and LOW is good for those middly pumping bass lines. The best way is to experiment bearing in mind that HIGH compression is very rarely needed as you will lose attack dynamics, and if your bass is active you will probably also emphasise the hiss coming from the instrument as well.
REAR PANEL FACILITIES Line outputs
FULL RANGE STEREO line outputs are provided as well as the crossover STEREO HIGH PASS and LOW PASS line outputs.

Crossover

A stereo crossover with variable crossover frequency is built into the GP12SMX to provide BI-AMPING facilities. The HIGH PASS section is in stereo whilst the LOW PASS section is in mono.

The LOW frequency compressor acts upon the low pass signal within the SOUND MANAGEMENT section. Applying the compression to the LOW PASS only gives a fat bottom end to the sound without losing the upper frequency attack characteristics of the note. It is somewhat of a less processed sounding effect than full range compression but works extremely well in smoothing out bass signal peaks allowing a far greater volume of amplification to be used without the risk of speakers flapping. You will also find that a degree of LOW compression will add definition to your playing, bringing out the notes within a run without loss of the upper dynamics. As the compression control is advanced and compression is applied to the signal the overall level of volume is compensated for, if this were not done then adding compression would have the effect of reducing the volume of the sound as the available dynamics are reduced. The compression within the GP12SMX has been added as a means of creatively modifying your bass sound and as such becomes part and parcel of the overall sound character that you create, and not merely as an effect. It is for this reason that no compression bypass switching facilities have been included within the unit. Also by turning either compression control to its fully anticlockwise position removes all compression from the sound without significantly altering the overall volume.

High compression

The HIGH frequency compressor acts upon the high pass signal within the SOUND MANAGEMENT section. The HIGH COMPRESSION should be used with care as it is directly affecting the attack portion of the bass sound, this can be used to good effect but moderation should always be exercised when applying the high compression. As the compression control is advanced and the compression applied to the signal the overall level of volume is compensated for, if this were not done then adding compression would have the effect of reducing the volume of the sound as the available dynamics are reduced. However in the case of the HIGH compression circuit this means that when no signal is present then additional gain is added at high frequencies. The more the compression control is advanced the more additional gain. This in itself presents no problem as the electronics within the GP12SMX produce very little noise. However if you are using an active bass you may well find that adding high compression adds significant levels of HISS to the sound, this HISS is coming from the active electronics within your bass, this can be proven by unplugging the instrument from the GP12SMX input socket, and the hiss goes away.
Using a passive bass with the GP12SMX will produce none of these problems unless excessive top boost is applied on the graphic. The two compression circuits can be set individually to produce some useful sounds, i.e. with LOW set to to about half to tighten up the bottom end of the sound, the HIGH can be varied in conjunction with the EQ BALANCE control to produce a variety of different attacks to the note to suit many different styles of playing.

-10 +4 PARALLEL - HIGH PASS

LEFT - POST EQ - RIGHT

PRE - E.Q.

Balanced D.I. outputs

Three balanced D.I. outputs have been provided on standard male XLR sockets, these are all available simultaneously. PRE EQ takes its signal from before the graphic equaliser but after the pre shape and POST EQ LEFT and RIGHT take their signal from after all equalisation, compression and effects loops but prior to the output level control. All three D.I.s are of a fixed level to suit the LOW IMPEDANCE MICROPHONE input on a mixing console, a ground lift switch has been provided for these sockets to prevent ground loops occurring with interconnected equipment, this can only be used for balanced connections.
3 PIN 1 - GND PIN 2 - SIGNAL+ PIN 3 - SIGNAL-

Full range line outputs

The FULL RANGE stereo output signal is available at the LEFT and RIGHT FULL RANGE LINE OUTPUT sockets. These are used for connection to a stereo power amplifier full range operation with the level of signal adjustable from the front panel OUTPUT LEVEL control.

Crossover line outputs

The GP12SMX has a built in variable, stereo crossover with individual outputs for the stereo HIGH PASS LEFT and HIGH PASS RIGHT signals, and a mono output for the LOW PASS signal. The LOW PASS output has been made MONO as all the stereo directional information is contained within the higher frequencies and consequently is only present in the HIGH PASS signal.
These outputs can be used to provide a STEREO BI AMPED system with the crossover frequency between HIGH PASS and LOW PASS variable between 250Hz and 1kHz with the FREQ control. For fully STEREO BI AMPED system you will require a two channel power amplifier to drive two high frequency cabinets for the stereo high pass signals and at least another single power amplifier of twice the power rating of the individual high pass amplifier. We would recommend that for the LOW PASS end you use another two channel power amplifier and drive two suitable low pass cabinets making a two dual channel amplifier and four cabinet setup. Remember when putting your system together that most of the power you will be using is in the LOW PASS end of the crossover. This is why we recommend that you use twice the power for driving the low frequencies and even better use two cabinets as well.

RA600 SWITCHED TO MONO

The EARTH LIFT SWITCH is provided to allow removal of the mains earth connection from the signal circuits of the GP12SMX to eliminate ground loops between connected equipment. The GP12SMX as with all TRACE ELLIOT equipment still maintains an earth connection to the chassis and all metal parts of the unit for safety even when the EARTH LIFT switch is used. NEVER lift the earth or ground to any equipment by removing the earth connection in the mains plug, this can be a potentially dangerous practice and in some instances prove lethal to both the equipment and the user.

AH300SMX REAR PANEL FACILITIES
N.B This section also applies to the rear panel facilities of the 1210HSMX, 122HSMX and 1215SMX models

Effects loop

The EFFECTS LOOP is a switchable full range/high pass, parallel, effects loop. When switched to FULL RANGE the signal is the full range bass signal taken from after the HIGH graphic equalisation but prior to the compression and EQ BALANCE control. When PASS switched to HIGH PASS the signal is the HIGH PASS signal prior to the EQ -10 +4 BALANCE control but after the HIGH COMPRESSION. This allows a small degree of compression to be added to the effects send signal keeping down peaks and allowing the effects unit to be driven harder without its input overloading on sharp peaks. The signal level for this effects loop is continuously variable between -10dB and +4dB with the rotary SEND LEVEL control, this allows you to optimise the level to suit any type of effects unit. Generally it is best to drive effects units as hard as you can without overloading the input this keeps the output noise from the unit to a minimum. As this loop is a parallel type then you need only return the effect signal and not the direct DRY signal from the effects unit. This means the DRY signal is not degraded by the path through the effects unit itself. The level of the stereo return signals is adjustable with the front panel EFFECTS 2 LEVEL control and this is used to mix in the amount of effects required i.e. set the SEND LEVEL control to suit the input to the input to the effects unit, leave this set at its optimum level and use only the EFFECTS 2 LEVEL front panel control to vary the return signal to produce the desired effect. If you wish to use this effects loop as a serial loop, this can be done by turning the EQ BALANCE control fully anticlockwise and then using the EFFECTS 2 LEVEL control to vary both the dry and effects signals together. The balance of dry to effects signals together. The balance of dry to effect signal will then have to be set up in the external unit.

FULL RANGE

POST E.Q. D.I.

D.I. output

This D.I. output is a dedicated POST EQ output only and takes its signal from after all equalisation, compression and the effects loop prior to the output level control. This output is at a fixed level to suit the LOW IMPEDANCE MICROPHONE input on a mixer.
PIN 1 - GND PIN 2 - SIGNAL+
This is a line out jack socket with signal at a suitable level for direct connection to a tuner. Connecting a tuner in this way means you do not have to plug your tuner in line with your instrument and risk any degradation of the bass signal. The tuner may be left permanently connected without affecting the signal in any way. The signal at this output is taken from after the pre shape and may be used as an additional full range effects send if required.

Speaker output fuses

Each channel has its own separate output fuse, this is a 5 amp fast blow type of fuse and should only ever be replaced with one of exactly the same type. In the event of having to replace this fuse, first check your speaker cables for short circuits ( the most likely and common cause of fuse failure) before using the amplifier again. Should this fuse blow a second time, immediately refer the unit to a TRACE ELLIOT approved service engineer for checking. Include your speaker cable so this may also be checked.
Line input and line output sockets
The LINE INPUT jack sockets are used for connection of signals into channels A and B of the PPA300. If a jack plug is inserted into one of these sockets only, then the signal will automatically be fed to both channels A and B. If jack plugs are inserted into both sockets then the channels will operate independently of each other. With either connection the level of both channel A and B is adjusted independently using the front panel A and B level controls. The LINE OUTPUT socket are connected in parallel with the LINE INPUT sockets and are for connection to further power amplifiers.
Using the PPA300 with a TRACE ELLIOT rack preamp
For a FULL RANGE system using a GP7SM preamplifier connect the LINE OUT from the GP7SM to channel A LINE INPUT on the PPA300, this will then drive both channels of the PPA300. Turn both channel A and B controls up full and use the OUTPUT LEVEL control on the GP7SM to set the playing volume. For a FULL RANGE STEREO system using a GP12SMX preamplifier connect the FULL RANGE RIGHT line output from the GP12SMX to channel A of the PPA300 and the FULL RANGE LEFT to channel B. Turn both channel A and B controls up full and use the OUTPUT LEVEL control on the GP7SM to set the playing volume. For a BI-AMP MONO system using a GP12SMX connect the HIGH PASS RIGHT crossover line output to channel A of the PPA300 and the LOW PASS crossover line output to channel B. Make sure your high pass speaker is connected to channel A of the PPA300 and the low pass speaker to channel B. Turn up channel B. Turn up channel B control fully and use channel A control to adjust the amount of TOP END. Use the OUTPUT LEVEL control on the GP12SMX to set the playing volume. For this set up use the effects in MONO otherwise half of your effects signal (the half going to the LEFT RETURN socket) will not be reproduced. For BI-AMP STEREO it is necessary to have two dual channel power amplifiers, one to reproduce the stereo top end (high pass) of the signal and the other to reproduce the bottom end (low pass) signal with both halves of the second power amplifier running in MONO to give sufficient bass in proportion to the top end.

PPA600

The PPA600 is a rack mounting 300 watts per channel stereo (dual channel) power amplifier. It is 2 U in height and uses intelligent D.C. fan cooling for its output stages. This is a fully professional power amplifier having balanced signal LINE INPUTS on both XLR and JACK sockets. Balanced LINE OUTPUTS are also provided on both XLR and JACK for the easy interconnection of further power amplifiers. Speaker outputs are provided on JACK, XLR and SPEAKON connectors and a switch on delay is built in to prevent any power up thump from occurring.

The PPA600 is internally wired for the voltage marked on the rear panel adjacent to the mains inlet socket, check that this is correct for the supply with which it is to be used prior to connecting the mains cord to the unit.
SPEAKER OUTPUTS MINIMUM LOAD 2 OHMS

SPEAKER FUSE T10A

LINE OUT LINE IN LINE OUT LINE IN
'A' MAINS FUSE T4A 'B' MAINS FUSE T4A

EARTH LIFT LINE OUT

LINE IN LINE OUT LINE IN

WARNING

TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT OPEN - NO USER SERVICABLE PARTS INSIDE - DANGER OF ELECTRICAL SHOCK REFER TO QUALIFIED ENGINEER FOR SERVICE.

MODEL:-

PPA1200

SERIAL NUMBER

THIS APPARATUS MUST BE EARTHED. FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE ONLY WITH SAME TYPE AND RATING OF FUSE.
PROFESSIONAL P.A.POWER AMPLIFICATION

V A.C.

50/60Hz - 2000 WATTS
MADE IN ENGLAND BY:- TRACE ELLIOT TIMITED
Rear PPA 300/600/1200 diagram Once correctly connected the PPA600 may have either of its channels turned on with the POWER switches on the front panel. To indicate that the channel is in its powered up condition the LED at the bottom of the front panel bargraph for that channel to light.
Both channel A and channel B of the PPA600 are individually fused as they are in fact entirely separate amplifiers with their own separate power supplies. In the event of having to replace a MAINS FUSE always use the same type and rating as marked on the units back panel.If the fuse should blow a second time then immediately refer the unit to a TRACE ELLIOT approved service engineer for checking.
A GROUND LIFT switch is fitted to the PPA600 to prevent a GROUND LOOP being formed when multiple units are connected together (causing hum through the speakers). This simultaneously lifts the ground from both internal power amplifiers. Use this to LIFT the ground from all but one of the interconnected units, the other units will still be grounded via the connecting signal cables so check these carefully. We provide GROUND LIFT switches on most of our equipment for the above reasons and also to make it unnecessary to remove the earth or ground connection from the mains plug (a common but potentially extremely dangerous practice). The GROUND LIFT switch on TRACE ELLIOT units disconnect the ground from the internal signal circuits only while still maintaining a permanent ground connection to all metal parts of the amplifier chassis and casing. In this way the casing of the unit can never become LIVE under any circumstances. This is one reason why you should never remove the earth from the mains plug.

Each channel of the PPA600 is provided with an XLR a JACK and a SPEAKON socket for speaker connection. It is recommended that the SPEAKON socket be used whenever possible as this has higher current carrying capacity than the XLR or JACK socket. If the SPEAKON cannot be used the XLR socket only for the main output power cable, the JACK is only there for ancillary connection of an additional horn or high frequency unit. Each channel can deliver up to 300 watts into a speaker of 4 Ohms and slightly less into an 8 Ohm impedance. A simple bargraph display is provided to indicate signal through the power amplifier with the top LED indicating clipping of the output signal regardless of the impedance of the load.
The balanced LINE INPUT XLR and JACK sockets are used for connection of signals into channels A and B of the PPA600. Both channels operate entirely independently and will have to be linked with an XLR or stereo jack cable for mono use. Channels A and B are adjusted independently using the front panel A and B level controls. The balanced LINE OUTPUT sockets are connected in parallel with the LINE INPUT socket and are for easy connection to further power amplifiers. As stated above both the XLR and the JACK inputs are BALANCED inputs, however the amplifier may still be used with an unbalanced connection merely by inserting a mono jack plug into the jack input socket. This automatically switches the input to an unbalanced connection suitable for use with a GP12SMX or GP7SM preamplifier. If the power amplifier is being used with a balanced input into the XLR sockets then do not use a mono jack cable for linking or this will short out half of the balanced input connection. It is however quite acceptable to use a stereo jack cable for linking if required.
Using the PPA600 with a TRACE ELLIOT rack preamp
For a FULL RANGE system using a GP7SM preamplifier connect the LINE OUT from the GP7SM to channel A LINE IN on the PPA600 with a jack to jack cable, link the channel A LINE OUT to channel B LINE IN with another jack to jack cable , this will then drive both channels of the PPA600. Turn both channel A and B controls up full and use the OUTPUT LEVEL control on the GP7SM to set the playing volume. For a FULL RANGE STEREO system using a GP12SMX preamplifier connect the FULL RANGE RIGHT line output from the GP12SMX to channel A of the PPA600 and the FULL RANGE LEFT to channel B. Turn both channel A and B controls up full and use the OUTPUT LEVEL control on the GP7SM to set the playing volume. For a BI-AMP MONO system using a GP12SMX connect the HIGH PASS RIGHT crossover line output to channel A of the PPA600 and the LOW PASS crossover line output to channel B. Make sure your high pass speaker is connected to channel A of the PPA600 and the low pass speaker to channel B. Turn up channel B control fully and use channel A control to adjust the amount of TOP END. Use the OUTPUT LEVEL control on the GP12SMX to set the playing volume. For this set up use the effects in MONO otherwise half of your effects signal (the half going to the LEFT RETURN socket) will not be reproduced. For BI-AMP STEREO it is necessary to have two dual channel power amplifiers, one to reproduce the stereo top end (high pass) of the signal and the other to reproduce the bottom end (low pass) signal with both halves of the second power amplifier running in MONO to give sufficient bass in proportion to the top end.

CHANNEL - A OFF ON

CHANNEL - B OFF ON
Front PPA 1200/600 Diagram The PPA1200 is a rack mounting 600 watts per channel stereo (dual channel) power amplifier. It is 2 U in height and uses intelligent D.C. fan cooling for its output stages. This is a fully professional power amplifier having balanced signal LINE INPUTS on both XLR and JACK sockets. Balanced LINE OUTPUTS are also provided on both XLR and JACK for the easy interconnection of further power amplifiers. Speaker outputs are provided on JACK, XLR and SPEAKON connector and a switch on delay is built in to prevent any power up thump from occurring.
The PPA1200 is internally wired for the voltage marked on the rear panel adjacent to the mains inlet socket, check that this is correct for the supply with which it is to be used prior to connecting the mains cord to the unit. Once correctly connected the PPA1200 may have either of its channels turned on with the POWER switches on the front panel. To indicate that the channel is in its powered up condition the LED at the bottom of the front panel bargraph for that channel to light.
A GROUND LIFT switch is fitted to the PPA1200 to prevent a GROUND LOOP being formed when multiple units are connected together (causing hum through the speakers). This simultaneously lifts the ground from both internal power amplifiers. Use this to LIFT the ground from all but one of the interconnected units, the other units will still be grounded via the connecting signal cables so check these carefully. We provide GROUND LIFT switches on all of our equipment for the above reasons and also to make it unnecessary to remove the earth or ground connection from the mains plug (a common but potentially extremely dangerous practice). The GROUND LIFT switch on TRACE ELLIOT units disconnect the ground from the internal signal circuits only while still maintaining a permanent ground connection to all metal parts of the amplifier chassis and casing. In this way the casing of the unit can never become LIVE under any circumstances. This is one reason why you should never remove the earth from the mains plug.
Each channel of the PPA600 is provided with an XLR a JACK and a SPEAKON socket for speaker connection. It is recommended that the SPEAKON socket be used whenever possible as this has higher current carrying capacity than the XLR or JACK socket. If the SPEAKON cannot be used the XLR socket only for the main output power cable, the JACK is only there for ancillary connection of an additional horn or high frequency unit. Each channel can deliver up to 600 watts into a speaker of 2 Ohms and 450 watts into a 4 Ohm impedance. A simple bargraph display is provided to indicate signal through the power amplifier with the top LED indicating clipping of the output signal regardless of the impedance of the load.

Each channel has its own separate output fuse, this is a 10 amp fast blow type of fuse and should only ever be replaced with one of exactly the same type. In the event of having to replace this fuse, first check your speaker cables for short circuits ( the most likely and common cause of fuse failure) before using the amplifier again. Should this fuse blow a second time, immediately refer the unit to a TRACE ELLIOT approved service engineer for checking. Include your speaker cable so this may also be checked.
The balanced LINE INPUT XLR and JACK sockets are used for connection of signals into channels A and B of the PPA1200. Both channels operate entirely independently and will have to be linked with an XLR or stereo jack cable for mono use. Channels A and B are adjusted independently using the front panel A and B level controls.
The balanced LINE OUTPUT sockets are connected in parallel with the LINE INPUT socket and are for easy connection to further power amplifiers. As stated above both the XLR and the JACK inputs are BALANCED inputs, however the amplifier may still be used with an unbalanced connection merely by inserting a mono jack plug into the jack input socket. This automatically switches the input to an unbalanced connection suitable for use with a GP12SMX or GP7SM preamplifier. If the power amplifier is being used with a balanced input into the XLR sockets then do not use a mono jack cable for linking or this will short out half of the balanced input connection. It is however quite acceptable to use a stereo jack cable for linking if required.
For a FULL RANGE system using a GP7SM preamplifier connect the LINE OUT from the GP7SM to channel A LINE IN on the PPA1200 with a jack to jack cable, link the channel A LINE OUT to channel B LINE IN with another jack to jack cable, this will then drive both channels of the PPA600. Turn both channel A and B controls up full and use the OUTPUT LEVEL control on the GP7SM to set the playing volume. For a FULL RANGE STEREO system using a GP12SMX preamplifier connect the FULL RANGE RIGHT line output from the GP12SMX to channel A of the PPA1200 and the FULL RANGE LEFT to channel B. Turn both channel A and B controls up full and use the OUTPUT LEVEL control on the GP7SM to set the playing volume. For a BI-AMP MONO system using a GP12SMX connect the HIGH PASS RIGHT crossover line output to channel A of the PPA1200 and the LOW PASS crossover line output to channel B. Make sure your high pass speaker is connected to channel A of the PPA1200 and the low pass speaker to channel B. Turn up channel B control fully and use channel A control to adjust the amount of TOP END. Use the OUTPUT LEVEL control on the GP12SMX to set the playing volume. For this set up use the effects in MONO otherwise half of your effects signal (the half going to the LEFT RETURN socket) will not be reproduced. For BI-AMP STEREO it is necessary to have two dual channel power amplifiers, one to reproduce the stereo top end (high pass) of the signal and the other to reproduce the bottom end (low pass) signal with both halves of the second power amplifier running in MONO to give sufficient bass in proportion to the top end.

1048 1518

4 x x 15

1524 1818

2 x x 18

1048H 1084 2103H

8 x 10 + HF horn 8 x x 10 + HF horn

1 x 15

HF horn box 4052H
1 x high frequency horn 4 x 5
Generally, a bigger cabinet will acheive better low frequency performance but careful attention to porting has brought better performance to all TRACE ELLIOTs bass speaker enclosures.
Where possible use XLR leads, as they provide a more reliable connection and less signal loss than jack to jack leads. Most TRACE ELLIOT cabinets have an 8 ohms impedance (the exceptions are the 1524, 1084H and 1084 models which have an impedance of 4 ohms). This means you can connect two cabinets to each output channel of a TRACE ELLIOT amplifier (In the case of the 4 ohm cabinets, only one can be connected per channel). Never connect two amplifier out put channels into one speaker connector panel.
Adding a high frequency horn unit or 4052H Bright Box
If you wish to improve the high end frequency response of your system, simply add one of either of these models and connect one of the jack sockets on your full range cabinet. You can ignore the impedance of the HF horn or the 4052H, which means you can use them in addition to two cabinets already connected to the output stage of any TRACE ELLIOT bass amplifier. You can also add one of these units to a combo amplifier by connecting it to the combo extension speaker output (N.B. except the 715, BLX80 and BLX150 models which have no extension speaker facility).

Speaker enclosure tuning

All TRACE ELLIOT speaker enclosures have the facility of variable tuning, allowing any system to be uniquely tailored by the user to their particular preference or to better suit a particular venue. A short description follows outlining the thinking behind this feature its principal and a few suggestions as to its practical use. Firstly each speaker enclosure has two reflex ports tuned to appropriate lengths depending on the internal volume of the particular enclosure. These are easily identifiable by the Through the Grill custom moulded surround that neatly finishes the outer face of the port. The tuning of the enclosure can be modified by plugging or unplugging either one or both of these ports, the resultant tuning is as follows:Both ports plugged = Infinite baffle enclosure One port plugged = Reflex enclosure tuned to 35Hz Both ports open = Reflex enclosure tuned to 45Hz The only exception to this are the 1518 and the 1818 enclosures that are tuned to 25Hz and 35Hz respectively.

How does the tuning affect the sound
An INFINITE BAFFLE (both ports plugged) type of enclosure means a cabinet that is completely sealed i.e. nowhere for air to enter or be exhausted from the cabinet. In terms of sound this gives an extended low frequency response that is very even across the lower frequency range i.e. it has no peaks or dips in the bass response. However although the low end bass is very even and it extends further down the frequency range (below both the other tuning options) there is generally less of it than with either of the ported options. A REFLEX enclosure has ports for the air from the rear of the speaker to be exhausted from the cabinet or be drawn back into the cabinet. The air in the port in fact oscillates back and forth through the port or ports and can either be in phase with the motion of the speaker and provide a boost to the level of sound or can be out of phase with the speaker in which case it in fact causes a cancellation in air movement and consequently a reduction in volume level. REFLEX enclosures are specially Tuned with the size and length of the port to a particular frequency that provides the correct rear loading to the speaker itself allowing it to work efficiently and safely and secondly to provide a bass boost at lower frequencies by using the air from the rear of the speaker through the port to add to the air from the front of the speaker, thus boosting the overall level of volume from the enclosure. This only happens when the air from the port is in phase with the air from the front of the speaker and this occurs at a frequency just above the tuning frequency of the enclosure.
However as with everything else in life you do not get something for nothing because at high frequency directly below the tuned frequency of the enclosure the air from the port is actually out of phase and consequently reduces the volume from the enclosure, this is usually at such a low frequency that in fact does not really matter when considering the range of frequencies to be amplified. Providing the variable tuning facility gives the user the opportunity to experiment with tunings at both 35Hz and 45Hz to find out which works best for them in a particular instrument. Remember that the bass boost is at a frequency just above the tuned frequency and that cancellation occurs at just below the tuned frequency.
How can this be used in a live situation
Bass sound changes a great deal from one venue to another, for instance if your speaker enclosure is situated in the corner of a room you will get a natural emphasis in low end from the walls of the room being at right angles. This can easily double the amount of bottom end in your sound just from the natural acoustics of the room. In this situation it would be best to plug both ports and use the infinite baffle response providing extended low end but less of it. If on the other hand your speaker is situated backed on to the flat wall and not near a corner then less bass will be apparent, it would now be better to use the 45Hz tuning (both ports unplugged) to provide a bottom end boost. I suggest the 45Hz rather than the 35Hz because the speaker is better able to handle frequencies from the 45Hz upwards than from 35Hz upwards and you will consequently be able to have your amplifier louder before the speaker complains than with the 35Hz option. If you are however playing at lower volumes or in a studio recording situation you may well find the 35Hz tuning useful as it will give natural boost to the bottom E string (42Hz) and above. Generally speaking, the loudness of your system will be in direct proportion to the number and size of the speaker cabinet you use. Here are a few simple rules, which apply to any bass amplification system, however designed:1. If you need more volume, buy more cabinets (An AH300-7SM with two cabs will be louder than an AH400-7SM with one, for example). 2. The bigger the cabinet, the better the low end response. 3. A small combo is designed for sound quality with portability. Do not expect it to compete with a stack for more volume, add an extension cabinet. 4. Bi-amping should increase the quality (fidelity) of your sound, but will probably not increase the volume. 5. Doubling amplifier power will not double the perceived loudness of a system. (A 200 watt amp does not sound twice as loud as a 100 watt amp). 6. Bass frequencies are hard to amplify and are punishing on loudspeakers. To compete with a 100 watt guitar stack adequately you should use an AH400-7SM or AH400SMX with 2 cabinets.

TRACE ELLIOT LTD. reserves the right to amend the specifications of its products without prior notice.

SAFETY INSTRUCTIONS

CONSIGNES DE SECURITE
Warning For continued protection against the risk of fire, replace fuses only with fuses of the same type and rating. To reduce the risk of fire or electric shock, do not expose this equipment to rain or moisture. In the event of a suspected malfunction, always refer this equipment to a qualified service engineer. This apparatus must be earthed. The wires in this mains are coloured in accordance with the following code:Green& Yellow - Earth Blue - Neutral Brown - Live
Attention Pour une protection continue contre les incendies, ne remplacez les fusibles que par des fusibles du mme type et du mme courant nominal. Pour rduire le risque dincendie ou de dcharge lectrique, nexposez jamais cet quipement la pluie ou lhumidit. Si vous souponnez une dfaiilance, faites toujours appel un ingnieur qualifi. Cet appareil doit tre mis la masse. Les fils de cette conduite damene de secteur sont colors selon le code suivant: Vert & Jaune - Masse Bleu - Neutre Marron - Tension
As the colours of the wires in the mains lead of this appliance may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:The wire which is coloured Green & Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol or coloured green or Green and Yellow. The wire which is coloured Blue must be connected to the terminal which is marked with the letter N or coloured Black. The wire which is coloured Brown must be connected to the terminal which is marked with the letter L or coloured Red. If A 13 amp (BS1363) plug is used a 13 amp fuse must be fitted, or if any other type of plug is used a 15 amp fuse must be fitted either in the plug or adaptor or at the distribution board.
Etant donn que les couleurs des fils de la conduite damene de secteur de cet appareil risquent parfois de ne pas correspondre aux couleurs identifiant les bornes de votre fiche, procdez comme suit: Le fil Vert & Jaune doit tre reli la borne de la fiche marque de la lettre E, du symbole de terre ou colore en Vert et Jaune. Le fil Bleu doit tre reli la borne marque de la lettre N ou colore en Noir. Le fil Marron doit tre reli la borne marque de la lettre L ou colore en Rouge. Si vous utilisez une fiche 13 amp (BS1363) vous devez utiliser un fusible 13 amp. Si vous utilisez un autre type de prise, installez un fusible 15 amp dans la prise, dans ladaptateur ou dans le tableau de distribution.

 

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