Ashdown Fallen Angel 40 DSP Combo User manual

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1 YEAR WARRANTY
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IMPORTANT - REGISTRATION CARD
#16598 - Manual 2005_FA 18/4/05 12:16 pm Page 1

www.ashdownmusic.com
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OPERATING INSTRUCTIONS
OPERATING INSTRUCTIONS
Fallen Angel 40 DSP Combo
Fallen Angel 60 DSP Combo & Head
Fallen Angel 180 Head
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BASIC PRECAUTIONS
WARNING - When using electrical products,
basic precautions should be followed,
including the following:
1. Read all the instructions before using the
product.
2. Do not use this product near water – for
example, near a bathtub, washbowl,
kitchen sink, in a wet basement or near a
swimming pool.
3. This product may cause permanent
hearing loss. Do not operate for long
periods of time at a high volume level or
at any level that is uncomfortable. If you
experience any hearing loss or ringing in
the ears, you should consult an
audiologist.
4. Make sure nothing interferes with the
ventilation of the product when in use.
5. The product should be located away
from heat sources such as radiators, heat
registers, or other products that produce
heat.
6. The product should be connected to a
power supply of the type described in
the operating instructions or as marked
on the product.
7. The power supply cord of the product
should be unplugged from the outlet
when left unused for a long period of
time.
8. Care should be taken so that objects do
not fall and liquids are not spilled into
the enclosure through openings.
9. The product should be serviced by
qualified personnel when:
a. The power supply cord or the plug
has been damaged; or
b. Objects have fallen, or liquid has been
spilled into the
product: or
c. The product has been exposed to rain
or moisture: or
d. The product does not appear to
operate normally or exhibits marked
change in performance: or
e. The product has been dropped, or the
enclosure damaged.
10. Do not attempt to service the product.
All servicing should be referred to
qualified service personnel.
11. For continued protection against the risk
of fire, replace fuses only with those of
the same type and rating as indicated on
the back of the product.
WARNINGS USED ON THE EQUIPMENT
The lightning flash with the
arrow head symbol within an
equilateral triangle is intended
to alert the user to the presence
of uninsulated ‘dangerous voltage’ within this
product’s enclosure that may be of sufficient
magnitude to constitute a risk of electric
shock.
The exclamation point within an
equilateral triangle is intended
to alert the user to the presence
of important operating and
maintenance (servicing) instructions in the
literature accompanying this product.
GROUNDING INSTRUCTIONS
This product must be grounded (earthed). If
it should malfunction or break down,
grounding provides a path of least resistance
for electric current to reduce the risk of
electric shock. This product is equipped with
a supply cord having an equipment
grounding conductor and a grounding plug.
The plug must be plugged into an
appropriate outlet that is properly installed
and grounded in accordance with the local
codes and ordinances.
DANGER - Improper connection of the
equipment grounding conductor can result
in a risk of electric shock. Check with a
qualified electrician or serviceman if you are
in doubt as to whether the product is
properly grounded. Do not modify the plug
provided with the product – if it will not fit
the outlet, have a suitable outlet fitted.
The wires in this mains cord are coloured in
accordance with the following code:
Green & Yellow - Earth
Blue - Neutral
Brown - Live
CE MARK FOR EUROPEAN
HARMONISED STANDARDS
The CE mark which is attached to these
products means it conforms to EMC
Directive (89/69/EEC), CE mark Directive
(93/68/EEC) and Low Voltage Directive
(72/23/EEC).
Important Safety Instructions
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Fallen Angel 180 All Tube Head:
This amplifier helps the professional live
gigging guitarist get a saturated and singing
soloing voice that still retains the big bottom
end punch required by so many of today’s
music styles. A fat bottom end requires a lot
of power from the output stage to deliver the
punch needed for muted notes and chords.
The Fallen Angel, with 180 Watts of raw
power derived from 6 x EL34 output tubes,
does the business.
180 Watts may at first sound excessive for a
guitar amplifier but music styles have
changed and amplifiers need to adapt
accordingly. This is even more relevant when
you consider how many players now use 7
string guitars. Most amplifiers wimp out
when presented with 7 strings of chugging
power chords because their output stage
can’t deliver.
With many tube amplifiers you only get the
best solo voice when the output stage is
close to working flat out.Then it’s often too
loud - so some kind of power soak device is
used to get this sound at lower volumes and
you lose the power you require for chords.
With the Fallen Angel 180, the solo voice
character comes from the carefully designed
all tube pre-amp so you don’t have run it flat
out for the best tone. However, if you do
crank it up to the max, our 6 tube output
stage will saturate with the best of them so
be warned, it will be deafening!
Fat bottom end tone also comes from the
pre-amp and with the Fallen Angel 180, a
huge 180 RMS Watts of output power is
delivered to the speaker stack. You’ll get an
idea of the power required for different styles
if you watch the VU meter while playing - it
monitors the output power being used and
you will notice on muted chords with a fat
chunky bottom end whack that it will be
peaking quite high showing that massive
amounts of power are required for this
sound. With the same settings try a
screaming solo line and you will see the
power drop right back. This demonstrates
exactly what we are saying - that old style
amps are great for screaming solo lines but
give up on modern 7 string fat chords.
The CLEAN channel allows you to switch
instantly from huge body crunching chords
and screaming solo leads to crisp and
sparkling arpeggio chords that ring out with
unbelievable clarity. The dual effects loops
also help here, allowing you to set up
separate effects for each channel. So you can
(for instance) have a beautiful clean sound
with a swirling chorus on Channel 1, and a
soaring solo voice with lashings of delay on
Channel 2 - then instantly switch between
the two. Either or both effects loops can be
assigned to either or both channels.
Also supplied with the Head is a dedicated 4-
way footswitch on a single jack lead (no
more fiddling with multi-way connectors).
LED indication on the footswitch itself is
provided so you always know the current
status without having to look at the amplifier.
Footswitch provides control for Channel
1/Channel 2, Channel 2 Boost, Master
1/Master 2 and Loop In/Out.
Fallen Angel 40 DSP and 60 DSP Combos,
and 60 DSP Head:
The Fallen Angel 40 DSP and 60 DSP combos
(and 60 DSP head) amplifiers are built on the
same principles as the 180 Watt head and
suit the same heavier guitar playing styles.
They have been designed to produce the
maximum bottom end possible from an
open back cabinet. For extended low end
and maximum ‘Punch’ it is recommended
that they be used with a 4 x 12 closed back
cabinet.
Fallen Angel Design Philosophy
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Front Panel Facilities
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VU
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VU
VU
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Fallen Angel 40 DSP Combo
Fallen Angel 60 DSP Combo
Fallen Angel 60 DSP Head
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Fallen Angel 180 Head
FALLEN ANGEL 40 DSP, 60 DSP, 180
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Front Panel Facilities
INPUT - The single jack input socket perfectly
matches passive guitars with its very high
impedance but still retains sufficient
headroom to cope with the output from
modern active instruments.
CHANNEL 1
Channel 1 is intended to be used mainly as a
CLEAN channel.
GAIN - The setting of the GAIN control will
depend very much on the output level of the
guitar being used. For single coil pickups the
sound will be clean for most of the range of
the control with a slight edge only on the
maximum setting. For humbucking pickups
the sound will be clean up to about 12
O’clock with a slight edge being added
beyond this and a definite crunch on
maximum.
TREBLE, MIDDLE, BASS - The Treble, Middle
and Bass controls are a traditional passive
guitar tone network and as such are
interactive in their function. This type of tone
network provides the best overall character
for the guitar, giving a classic, vintage, full-
bodied guitar tone. The values of
components used in the Channel 1 tone
control network have been chosen to best
suit a Clean and Sparkling guitar tone.
VOLUME - Channel 1 has its own Volume
control to allow Channel 1 and Channel 2 to
be easily balanced in level against each other.
It is best in terms of background noise and
overall tone to set this control as high as
possible and the Master control as low as
possible for the required playing volume.
CHANNEL SELECT AND CHANNEL 2 BOOST
(180 Head) - Between Channel 1 and
Channel 2 there are 2 push buttons used for
selecting ‘Channel 1/Channel 2’ and ‘Channel
2 Boost’ from the front panel. If the
footswitch is to be used these push buttons
must be in their OUT position for the
footswitch to operate. Channel 1 or Channel
2 activity is indicated by LEDs above this
push button. An LED above and to the right
of the Channel 2 Gain control indicates
Channel 2 Boost.
CHANNEL SELECT AND CHANNEL 2 BOOST
(40 DSP & 60 DSP Combos, 60 DSP Head) -
Between Channel 1 and Channel 2 there is a
single push button used for selecting
‘Channel 1/Channel 2’ from the front panel. If
the footswitch is to be used this push button
must be in its OUT position for the footswitch
to operate. Channel 1 or Channel 2 activity is
indicated by LEDs either side of this push
button. Channel 2 Boost can only be selected
from the footswitch and an LED to the right
of the Channel 2 Gain control indicates
Channel 2 Boost.
CHANNEL 2
Channel 2 is a very versatile channel and can
be used for styles including fluent solo
playing, power chords, big fat bottom end
muted notes and chords, and screaming
over-the-top lead lines. Due to the dynamics
available on this channel, the guitars’ own
volume control can open up a whole range of
other uses. For instance by winding the
guitar volume back and playing lightly it can
be clean. Hit the string a bit harder and it has
and edge to it. Crank it up to wind into a
singing soloing voice. Muted notes and
chords retain a solid fat bottom end whilst
solo lines can be full and singing with a
saturated, smooth distortion that still retains
a degree of dynamics.
GAIN/CHANNEL 2 BOOST - Channel 2 Gain
control has a vast range available (especially
when used with the Channel 2 Boost facility).
At its lowest setting Channel 2 can be clean.
At its maximum setting it provides a fully
saturated, very high gain, over-the-top lead
tone. We have been very careful to ensure
that the fat bottom end is retained
throughout the entire range of this Gain
control. Channel 2 has been designed to
allow you to set the GAIN control somewhere
in the middle of its range for chords and
general playing. Then you can use the BOOST
to add that extra gain for soloing, over-the-
top fat muted chords or muted note lines.
Adding the BOOST also makes this channel
ideal for tapping styles. If you want balls out,
over-the-top guitar then Channel 2 can be
used with maximum GAIN and BOOST. Be
warned - you will have such a massive degree
of gain that it may be somewhat
uncontrollable.
TREBLE, MIDDLE, BASS - The Treble, Middle
and Bass controls are based on a traditional
passive guitar tone network and as such are
interactive in their function. This type of tone
network provides the best overall character
for the guitar, giving a classic, full-bodied
guitar tone. The values of components used
in the Channel 2 tone control network have
been chosen to best suit a modern, high
gain, saturated guitar sound (with big
bottom end).
It is recommended to use the Treble and
Middle controls set between minimum and
12 O’clock. The bass control can be used set
on maximum if desired.
180 Watt Head Only - Because the 6-tube
output stage of this amplifier reacts so well
with the speakers used, the tonal character
can change drastically from one model of
speaker to another. We recommend the
speakers in Ashdown 4 x 12 cabinets to best
suit this amplifier.
VOLUME - Channel 2 has its own Volume
control to allow Channel 1 and Channel 2 to
be easily balanced in level against each other.
It is best in terms of background noise and
overall tone to set this control as high as
possible and the Master control as low as
possible for the required playing volume.
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MASTER SECTION
EFFECTS LOOP PUSH BUTTONS (180 Head)
- There are 4 push buttons for assigning the 2
effects loops to either Channel 1, Channel 2
or both. The first 2 push buttons are for
Channel 1. The top button assigns Loop 1 to
Channel 1. The lower button assigns Loop 2
to Channel 1. With both buttons IN, both
Loop1 and Loop 2 are assigned to Channel 1.
The next set of 2 push buttons perform the
same operation for Channel 2. This effects
scheme provides a supremely flexible effects
facility. Switching is also provided on the
back panel for selecting either Serial or
Parallel effects loops.
EFFECTS IN/OUT (180 Head) - To the right of
the Effects assignment section are two more
push buttons. The top one activates the
effects loops from the front panel. The LED
above the 4 effects assignment buttons
indicates Loops active. If you are using the
footswitch then leave this front panel push
button in its OUT position.
INTERNAL DSP EFFECTS (40 DSP & 60 DSP
Combos, 60 DSP Head) - The 40 and 60 DSP
combo amplifiers and 60 DSP head have 16
built in Digital Signal Processor (DSP) effects.
These can be selected from the 16 way rotary
switch. The 16 Effects available are: 4 x
Chorus, 4 x Flanger & 8 x Delay, all have been
specially created specifically for guitar use.
The DSP Effects can be switched IN/OUT with
the front panel push switch. Effects IN is
indicated with the LED next to this push
button switch. If you are using the foot
switch then leave this front panel push
button in its OUT position.
INTERNAL DSP REVERB (40 DSP & 60 DSP
Combos, 60 DSP Head) - The level of the
DSP reverb is set using the Reverb Level
control next to the 16 way rotary switch. The
actual type of REVERB has been specially
created for guitar use and to be a big
improvement over traditional Spring Reverb.
MASTER 1/MASTER 2 - Two selectable
Master Level controls are provided for further
flexibility. The push button to the side of
these can be used to switch between Master
1 and Master 2. If you are using the
footswitch then leave this front panel push
button in its OUT position. This is a very
useful facility which allows instant switching
between two pre-set volume levels on either
channel. LEDs at the top right of each control
indicate which is active.
VU METER - The VU meter indicates output
power level.
STANDBY AND POWER SWITCH - Always
make sure the Standby switch is in its OFF
position before activating the main Power
switch. Allow the amplifier to warm up for at
least 1 minute before setting the Standby to
ON. Following this procedure every time you
use the amplifier will prolong the life of the
tubes. Always allow the tubes to cool down
well before transporting the amplifier
otherwise damage to the tubes can easily
result.
Front Panel Facilities
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Rear Panel Facilities
FALLEN ANGEL 40 DSP, 60 DSP, 180
Fallen Angel 40 DSP Combo
Fallen Angel 60 DSP Combo
Fallen Angel 60 DSP Head
Fallen Angel 180 Head
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Rear Panel Facilities
FUSED MAINS INLET SOCKET - This is for
connection to the mains supply using
supplied cable. Always use a mains outlet
that has an earth/ground connection for
safety. Never remove or replace the plug on
the supplied cable. Always replace the fuse
with the same type and rating as stipulated
on the rear panel adjacent to the mains inlet
socket.
FOOTSWITCH SOCKETS - There are 3
footswitch sockets provided on the amplifier.
For any of these footswitch sockets to
operate, it is essential that the corresponding
front panel push buttons are in the OUT
position. The first of these sockets is a mono
jack for connection of the supplied 4-way
footswitch. Always connect this prior to
turning on the power to the amplifier as
footswitch power is derived from the
amplifier. The next 2 footswitch sockets are
both stereo sockets and use a standard 2-
way, push on/push off type footswitches for
their operation. These may be used as an
alternative to the dedicated 4-way footswitch
supplied.
EFFECTS LOOPS (180 Head) - There are 2
Effects Loops provided on this amplifier. Each
has two jack sockets for Effects Send & Effects
Return signals; the Effects return socket also
has an Effects Return Level control associated
with it for adjusting the level of the returned
signal. There is a single push button for
dedicating these Effects Loops as either Serial
(where the signal path through the amplifier
is broken by the effects loop) or Parallel
(where the effects return signal is in parallel
with the signal through the amplifier). Use
the 4 front panel push buttons for assigning
either of the 2 Effects Loops to Channel 1,
Channel 2 or both.
N.B. Switching the effects loop IN (in Serial
mode) when there are no effects connected
will MUTE the amplifier as there will be no
signal returned to either Effects Return
socket.
EFFECTS LOOP (40 DSP & 60 DSP Combos,
60 DSP Head) - The Effects Loop on these
amplifiers is a Serial loop. This has two jack
sockets for Effects Send & Effects Return
signals; the Effects return socket also has an
Effects Return Level control associated with it
for adjusting the level of the returned signal.
SPEAKER EMULATED LINE OUTPUT (40
DSP & 60 DSP Combos, 60 DSP Head) - The
40 & 60 DSP combos and 60 DSP head have a
special Speaker Emulated Line Output jack
socket that can be used for direct recording
the guitar sound. This has a special
Equalisation circuit that Emulates the
characteristics of the loudspeaker/Output
stage combination.
SPEAKER OUTPUT SOCKETS & IMPEDANCE
SELECTOR (180 Head)
There are 3 speaker output sockets provided.
The one on the far right is fixed at 16 Ohms
should be used if you are driving just one 4 x
12 cabinet (16 Ohms). The other two sockets
are connected in parallel with the
IMPEDANCE SELECT switch controlling their
combined impedance. Follow the scheme
printed on the back panel (and reproduced
here) adjacent to these sockets for the
correct impedance to use for various speaker
combinations.
WARNING – Do not use open back cabinets
with this amplifier as the low-end power that
the amplifier produces will cause the cones
of the speakers to be damaged. Never run
the amplifier without a speaker connected as
this will damage the output transformer.
SPEAKER OUTPUT SOCKETS & IMPEDANCE
SELECTOR (40 DSP & 60 DSP Combos, 60
DSP Head) - There are 3 speaker output
sockets provided. The one on the far right is
fixed at 16 Ohms and should be used if you
are driving just one 4 x 12 cabinet (16 Ohms).
The other two sockets are connected in
parallel with the IMPEDANCE SELECT switch
controlling their combined impedance.
INTERNAL SPEAKER 8 OHMS - This is the
socket for connection to the internal 8 Ohm
speaker. The impedance select switch should
be set to 8 Ohms for use with the internal
speaker only (as indicated by the graphics).
EXTERNAL SPEAKER 8 OHMS - This is an
external speaker socket for connecting to an
8 Ohms speaker such as a 2 x 12 cabinet
(normally 8 Ohms). This socket is in parallel
with the internal speaker socket, so if an
external 8 Ohms speaker is used with the
internal speaker still connected then the
impedance select switch will need to be set
to 4 Ohms (as indicated by the graphics).
WARNING - Never run the amplifier without a
speaker connected as this will damage the
output transformer.
#16598 - Manual 2005_FA 18/4/05 12:16 pm Page 10

180 WATT HEAD
INPUTS
Instrument Input Impedance 1M Ohm Level 100mV to 1V
Effects Return 1 Impedance 50k Ohms Level 0dBu adjustable
Effects Return 2 Impedance 50k Ohms Level 0dBu adjustable
OUTPUTS
Effects Send 1 Impedance 4.7k Ohms Level Nominal 0dBu
Effects Send 2 Impedance 4.7k Ohms Level Nominal 0dBu
EQUALISATION
Treble, Middle, Bass Traditional passive, interactive tone control network providing classic guitar tonal adjustment
TUBES
Pre-Amp 4 x 12AX7 with DC heaters for low noise
Output 6 x EL34 fixed bias
Output power 200 Watts RMS into 4, 8 or 16 Ohms
POWER REQUIREMENT
320 Watts at rated supply voltage
40 DSP & 60 DSP COMBOS, 60 DSP HEAD
INPUTS
Instrument Input Impedance 1M Ohm Level 100mV to 1V
Effects Return Impedance 50k Ohms Level 0dBu adjustable
OUTPUTS
Effects Send Impedance 4.7k Ohms Level Nominal 0dBu
Speaker Emulated Line Output Impedance 4.7k Ohms Level Nominal 0dBu
EQUALISATION
Treble, Middle, Bass Traditional passive, interactive tone control network providing classic guitar tonal adjustment
TUBES
Pre-Amp 4 x 12AX7 with DC heaters for low noise
Output 40 4 x EL84 fixed bias
Output power 40 Watts RMS into 4, 8 or 16 Ohms
Output 60 2 x EL34 fixed bias
Output power 60 Watts RMS into 4, 8 or 16 Ohms
POWER REQUIREMENT
Fallen Angel 40 = 80 Watts at rated supply voltage
Fallen Angel 60 = 120 Watts at rated supply voltage
Specifications
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