Ashdown 22 HEAD User manual

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Thank you for purchasing your Ashdown Engineering Amplier and welcome to
the family! We really think you’ve made the right choice and know that this
amplier 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.
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22-HEAD USER GUIDE

USER GUIDE
22-HEAD
INPUT - There is a single instrument input provided linked to a PASSIVE/
ACTIVE selector switch. The Passive input (switch out) is high sensitivity
and also high impedance to suit the output from PASSIVE basses. The
Active input (switch in) is low sensitivity and lower impedance to suit the
output from ACTIVE basses.
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 modication of the EQ controls.
PUSH FLAT / SHAPE - With this button in its OUT position a xed E.Q. Is
superimposed on the preamp to give a bright but punchy character to
the sound. Pushing this button IN returns the preamp to a Flat frequency
response.
This function may also be controlled from a footswitch. For the footswitch
to operate this button must be in its OUT position.
VALVE DRIVE PLUS - This routes the signal either through a clean
Solid State amplication section (control on zero) or through a Dual
Triode Tube amplication/overdrive section in order to add either tonal
character i.e. warmth with the control set at 9 o’clock, a slight edge in the
sound at 12 0’clock through to an increasing degree of Tube distortion/
overdrive as the control is advanced to maximum.

USER GUIDE
22-HEAD
A Mix of these two amplication sections can be achieved with this
control.
N.B. The degree of tube distortion provided by this control will also depend on the setting of the
INPUT control.
VALVE DRIVE IN/OUT - This push button switches the valve drive section
IN or OUT. This function may also be controlled from the Ashdown 4 way
footswitch. For the footswitch to operate this button must be in its OUT
position.
E.Q. IN / OUT - This push button switches the Equalisation section IN or
OUT i.e. the Bass, Middle and Treble controls plus the two sets of sliders
placed between each of these.
This function may also be controlled from the Ashdown 4 way footswitch.
For the footswitch to operate this button must be in its OUT position.
9 BAND EQUALISATION - This consists of BASS, MIDDLE and TREBLE
controls with three 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 ampliers. 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.

USER GUIDE
22-HEAD
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.
DYNAMIC COMPRESSION – Adding a small amount of compression
gives a fat bottom end to the sound and allows a greater volume of
amplication to be used without the playing peaks distorting the
ampliers output stage. You will also nd that this will add denition 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 (left).
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 amplier automatically compensates for the reduction in level that

USER GUIDE
22-HEAD
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 IN/OUT – This push button switches the Compression
IN or OUT. This function may also be controlled from the Ashdown 4 way
footswitch. For the footswitch to operate this button must be in its OUT
position.
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 effective 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.
DIRECT INJECT (D.I.) - A balanced D.I. Is provided on a latching XLR
socket. This has a push button placed below it that allows the user to
choose either a Pre E.Q. Signal (button pushed IN) or a Post E.Q. Post Sub
and effects signal (button OUT).
The output signal from this XLR socket is set to a level and impedance
suitable for connecting directly into the Microphone input of a mixing

desk for either Direct Injection into the PA system or for recording. This
must ONLY be used into a Balanced Microphone input, it is not intended
for any other type of connection.
This has a oating ground that is referenced to the mixing console it is
plugged into and should not need ground lifting. It is also unaffected by
Phantom Powering on the Microphone input.
Make sure your XLR plug does not have the shell of the plug internally
connected to signal ground or this will connect the system to chassis
ground of the 22-HEAD and may cause problems with hum.
PUSH TO MUTE - When pushed IN this button mutes the output from
the preamp to the power amp, mutes the output from the D.I. Socket and
mutes the output from the LINE Out socket as well. This leaves the output
from the TUNER socket still available to allow muted tuning.
A blue LED is provided next to this switch to indicate when the amplier
is muted. This function operates only from the front panel MUTE push
switch. i.e. pressing this button mutes all sound from the amplier and
allows a tuner connected to the TUNER socket to operate for silent
tuning. Release the button and you are back in action again.
TUNER OUT - This output socket provides a line level signal that can be
used for a permanent connection to a tuner.
USER GUIDE
22-HEAD

The signal from this socket remains when all other outputs from the
amplier are Muted allowing all sound from the amplier to be silenced
while tuning is in progress.
LINE OUT -This output socket provides a line level/post Output Level
control signal for connection to an external power amplier driving
additional speaker cabinets.
OUTPUT LEVEL - The OUTPUT control adjusts the overall level of the
amplier. Adjust this for your preferred overall stage playing volume. On
the 22-HEAD we have implemented a second VU meter to register the
output level as a visual reference.
LINE INPUT - The rear panel has a Line Input socket for connection of
other signal sources into the system. This can be used for plugging a CD,
Tape or MP3 player into the amplier for practising, rehearsing or for
connection of a second pre-amp into the system.
EFFECTS SEND / RETURN - A serial effects loop is provided at a level of
0dB. The EFFECTS SEND socket can also be used as a Line Out socket
if required as the signal path through the preamp is only broken when a
jack plug is inserted into the EFFECTS RETURN socket.
The EFFECTS SEND is situated after the EQ, the Valve section the
Compression and the Sub Bass Processor.
USER GUIDE
22-HEAD

4-WAY FOOTSWITCH SOCKET - For the 4 way footswitch to operate it is
essential that the corresponding front panel push buttons be in the OUT
position.
This is a mono jack socket for connection of the Ashdown 4 way
footswitch (sold separately) only. Always connect this prior to turning
on the power to the amplier as the footswitch derives its power from
the amplier and sends a serial data stream to the amplier in order to
operate the various functions.
Each of the 4 facilities available for selection is indicated by an LED that
will light when that facility is selected from the footswitch.
SPEAKER OUTPUT - The Speaker Output sockets are also situated on the
rear panel of the unit. The 22-HEAD has one power section rated at 600
Watts RMS with two Neutrik combi speakon out-puts. You can either use
Speakons or Jack Speaker cables to connect to your cabinet. Each Power
section has a minimum load of 4 ohms.
USER GUIDE
22-HEAD