Hayden PETITE 2 User manual

HAND WIRED
GUITAR AMPLIFIERS
USER MANUAL
PETITE 2 •PETITE 5 •COTTON CLUB 7/15 •COTTON CLUB 15/30 •SPEAKEASY •CLASSIC LEAD

WELCOME TO HAYDEN HAND-BUILT
GUITAR AMPLIFICATION
USER MANUAL PETITE 2 •PETITE 5 •COTTON CLUB 7/15 •COTTON CLUB 15/30 •SPEAKEASY •CLASSIC LEAD
Thank you for choosing a Hayden hand-wired guitar
amplifier. To ensure that you receive the full benefits of
the Hayden warranty, please register your amplifier at
www.haydenamps.com
WARRANTY
Your amplifier is covered by a a one year warranty, against
defects in materials and workmanship, for the original
purchaser. ayden will, at their discretion, replace or repair
any product or part thereof, which is found by ayden to be
defective. This warranty shall not apply to the damage of
covering, fittings or finishes when affected by carelessness,
accident or extreme climate changes. Nor does it apply to
normal wear and tear of parts such as valves, fuses, light
bulbs, speakers, controls etc.
In the unlikely event of any defect, please contact an
authorised ayden dealer. All transport charges are to be
pre-paid by the Owner. Unless your purchase is registered
on-line, normal country warranty laws apply.
DESIGN AND BUILD PHILOSOPHY
In ayden’s UK hand-wired guitar amps, we have set out to
capture what it was that made the now so desirable
vintage amps so great in the first place.
The ayden amplifiers are hand-built in the UK using
appropriate construction methods to create guitar amps of
distinctive, yet familiar tone, at affordable prices.
ayden amps are designed to meet the modern guitarist’s
need for an amplifier that is reliable, easy to set up, and
consistently delivers a good core tone from which to work.
The gain ranges are kept with sensible parameters,
allowing the player to integrate a wide range of pedals into
the set-up. On multi-channel amplifiers, the switching and
controls are kept simple, while still retaining flexibility.
Where fitted, effects loops will accommodate the input and
output levels of a wide variety of pedals and external
processors, while larger ayden amps feature valve-driven
and recovered, footswitchable sends and returns for
maximum signal integrity. And because all footswitchable
functions are accessed by a single footswitch, they always
remain accessible, even in the event of a footswitch failure.
ayden hand-wired guitar amps feature valve circuitry from
start to finish – indeed semi-conductors are only used in
the power supply and footswitching circuits.
Transformers are comfortably over-specified and thermally
protected for long-term reliability, and chassis are
constructed from non-magnetic and corrosion-resistant
stainless steel.
Where appropriate, printed circuit boards are used, with a
variety of techniques employed to maximise the advantages
of each construction method as follows:
Tag Board
Gold plated tags are inserted into the printed circuit board
and the components soldered to the tags, ensuring all the
benefits of this traditional construction system without the
tiny interconnecting wires which can be prone to breaking.
Tag Board NT
As above but without the tags, components are soldered
into eyelets within the board, allowing replacement without
removing the board.
Full PCB
Used on the larger, more complex amplifiers, only small
signals and currents pass through the tracks, with heaters,
anodes, etc. hard-wired off the board. This approach
provides the consistency and repeatability of PCBs, without
the arcing risks normally associated with this type of
construction. Once again, components that are prone to
damage can be easily accessed without removing the
boards.

HAND WIRED
GUITAR AMPLIFIERS
IMPORTANT SAFETY
INSTRUCTIONS
This Hayden amplifier has been designed to provide
you with many years of faithful service – on the road,
in a studio or in a domestic environment. By following
the rules set out below, you will ensure that the unit
functions safely.
Valve (tube) instrument amplifiers contain very high
voltages and fragile glass tubes and should therefore be
handled with care. A number of important precautions
which must be observed are set out below.
Before using the amplifier, run through the check list below.
If you are in any doubt about any aspect of the amplifier’s
operation, stop using it immediately and do not resume
operation until the amplifier has been thoroughly inspected
by a qualified technician.
1) torage and moving
When your amplifier is not in use make sure that the
power cord is unplugged from the mains outlet, and that all
leads are removed from the amplifier, including jack leads
and footswitch leads. Jack socket connectors are self-
cleaning, so the process of plugging in and unplugging the
leads when not in use will ensure that the internal contacts
will be cleaned when you plug in again.
Store your amplifier in a warm, dry place away from
moisture and condensation. A motor vehicle or cellar may
look dry but condensation can form inside the unit causing
short circuits and possible electric shock. If you suspect the
amplifier may have become exposed to moisture, move it to
a warm dry place and leave it to dry out for at least 48
hours before attempting to use it.
Condensation can also occur when you move the amplifier
from a hot humid place (such as a nightclub) to a cold
place (like a motor vehicle). In such instances, always move
the amplifier into a warm dry room to prevent damage.
When moving the amplifier, handle it as carefully as you
would your instruments. Although solidly built, an amplifier
is easily damaged by shock, so be careful not to drop it or
allow it to fall over. Use a protective cover to protect the
finish and, if you are transporting it with other equipment,
make sure that the amplifier is on a solid floor at the
bottom of the pile.
Amplifiers are heavy. Take care when lifting, always use the
handles fitted to the amplifier to move it, and get help if
you have to lift the amplifier to a greater height than you
feel comfortable with.
Never attempt to operate the amplifier after it has been
dropped. Take it to a qualified technician and have it
checked before using it again.
2) Leads and plugs
Your amplifier contains possibly lethal voltages and must
therefore be connected to the mains using the correct power
cord, which is a three terminal type with a ground connection.
The power cord supplied with the unit should be of the
correct type. If it does not fit your mains outlet consult your
dealer or a qualified electrician for advice before attempting
to use the amplifier.
Never modify the power cord or attempt to use it with a two
pin outlet. Store all your leads in a dry case and take care
when packing them away. All leads, including guitar leads,
are easily damaged with careless handling, so it is a good
idea to carry a spare lead of every type you use. Flexible
power cords get damaged very easily. At the first sign of
damage, discard it and purchase a new one. Always
replace the power cord with one of the same type. Moulded
cords are the best choice with both plugs permanently
fitted to the cord.
When using your amplifier and other equipment it is a good
idea to connect to the supply using a unit known as an
R.C.D. These units are not expensive and offer the user
additional protection against electric shock. An electrical
shop should be able to supply you with a suitable unit.

USER MANUAL PETITE 2 •PETITE 5 •COTTON CLUB 7/15 •COTTON CLUB 15/30 •SPEAKEASY •CLASSIC LEAD
IMPORTANT SAFETY INSTRUCTIONS - CONTINUED
3) Before Use
Inspect your amplifier for damage before use. Check each
lead for damage before you plug them in to the amplifier,
and ensure that the loudspeaker is connected before you
switch the amplifier on.
Never try to operate the amplifier without the speaker
connected. If you do, serious damage to the amplifier will
result which will be very expensive to repair.
Double check the connections you have made to your
amplifier and make sure you have connected the speaker
to the correct outlet socket that matches the cabinet you
are using. The impedance of the speaker is important and
is usually shown on a plate affixed to the back of the
cabinet, so if the cabinet is 16R (Ohms) then you plug into
the 16R outlet on the amplifier. (See additional notes on
this subject later in the manual).
4) Using the amplifier
When you set the amplifier up for use, it is important that
you adhere to the following rules:
Place the amplifier away from sources of heat, including
radiators, etc. The amplifier itself will get hot in normal use.
Make sure that all the grilles on the amplifier are not
obstructed in any way so that cooling air can circulate
through the amplifier. Do not place anything on or behind
the amplifier that might restrict the flow of air. This includes
items of clothing, or other equipment.
Do not place the amplifier in such a position where it may
get splashed with liquid or water, e.g. near tables of drinks
or near equipment that contains water, e.g. smoke and
bubble machines
Never stand bottles or containers of liquid on the amplifier.
If any liquid is accidentally spilled into the amplifier, unplug
it from the mains supply immediately and take the amplifier
to a qualified technician for inspection.
Do not place objects on the amplifier that could fall inside
and cause a malfunction, e.g. coins, tools, etc.
5) ound level
The level of sound or ‘volume’ you choose to use will
mainly be dependant on the size of the room you are
playing in and you should use the volume level that gives
you the desired results. Always operate the amplifier at the
lowest level you can in any given situation. Each room will
have a sweet spot. Play at too low a level and the
instrument will not react with the amplifier, too high and the
instrument will be unplayable. In all cases you should use a
level that you feel comfortable with.
The uman ear is a very sensitive instrument and can
easily be permanently damaged by exposure to the high
sound pressure levels that can be produced by this type of
amplifier. Do not operate for prolonged periods of time at
high volume without suitable ear protection, or at a level
that causes you discomfort in any way.
If you experience any hearing loss or ringing in the ears you
should consult a doctor or audiologist.
6) Fuses and ratings
Your amplifier is fitted with several fuses to protect yourself
and the expensive electronics inside from damage in the
event of a malfunction within the amplifier. The size and
rating of the fuses bas been calculated to offer the most
protection from damage possible.
Various circumstances can lead to fuse failure. It is
recommended that you familiarise yourself with the type
and rating of the individual fuses fitted to your amplifier and
carry spare fuses clearly marked with you as replacements.
Occasionally a fuse will fail as a result of a power surge in
the supply or as a result of incorrect connection of the
loudspeaker. It is permissible to replace the damaged fuse
with one of the same type and rating as stated on the rear
panel of the amplifier, having first unplugged the amplifier
from the mains supply and allowed it to cool down. If the
fuse keeps blowing this indicates that there is a more
serious fault within the amplifier such as a damaged tube.
In this event you must take the amplifier to a qualified
technician for repair.
Never fit a fuse larger than the recommended rating.
The fuses fitted to you amplifier are ‘Anti Surge’ or ‘Slow
Blow’ or ‘Time delay’ type fuses, and have the the prefix T
or in the part number. So, for example, a 5 Amp fuse
would be T 5A . The exact rating for each particular fuse
can be found next to the holder in which that fuse fits. If
you are not sure what to buy when purchasing
replacements, take the amplifier with you and show the
rear panel to the retailer.

HAND WIRED
GUITAR AMPLIFIERS
7) Warnings used on this equipment
The exclamation mark contained within a triangle is
intended to alert the user to important operating and
servicing instructions contained in the literature
accompanying this product.
The lightning flash within a triangle is intended to alert the
user to the presence of un-insulated dangerous voltage
within the product enclosure that may be of sufficient
magnitude to constitute a risk of electric shock.
This highlights the presence of dangerous voltages within
the equipment enclosure. Never try to operate the unit out
of the enclosure.
8) Grounding Instructions
This product must be grounded (earthed). If it should
malfunction or break down the grounding provides the path
of east resistance for the electric current, to reduce the risk
of electric shock.
This product is equipped with a power cord which contains
a grounding conductor and a grounding plug. The plug
must be plugged into a compatible mains outlet that is
properly installed and grounded in accordance with the
local electrical safety codes applicable to your country.
DANGER!! Improper connection of the grounding conductor
can result in the possibility of an electric shock. If you are in
any doubt about the ground connection check with a
qualified electrician before using this product. NEVER modify
the mains power cord. ave a suitable mains outlet fitted!
The wires contained within the supplied power cord are
colour coded as follows:
GREEN & YELLOW – GROUND OR EART CONDUCTOR
BROWN – LlVE CONDUCTOR
BLUE – NEUTRAL CONDUCTOR
9) Other markings
Other markings appear on the rear panel of the amplifiers
as follows: back of the amplifier has some other markings
on it as follows;
Directs you to recycle this product by taking it to a disposal
area for electronic waste when you have finished with it,
and not dispose of it in the normal household waste.
Indicates that the product contains only the permitted levels
of substances known to be hazardous to your health.
Indicates that the product has been constructed to
European armonised Standards and is intended to show
that the product is safe to use. At present, the
manufacturer can self-certify.
Relates to an independent safety testing laboratory and
shows that the product has been subjected to, and passed,
a series of safety and quality tests and indicates that the
product meets all the criteria for sale in Canada and the
USA.
Note:
The CE mark attached to these products means it conforms
to EMC(89/69/EEC) ,(93/68/EEC) and LDV(72/23/EEC).

PETITE 2 - Front Panel
PETITE 5 - Front Panel
COTTON CLUB 7/15 - Front Panel
COTTON CLUB 15/30 - Front Panel
SPEAKEASY - Front Panel
CLASSIC LEAD - Front Panel
USER MANUAL PETITE 2 •PETITE 5 •COTTON CLUB 7/15 •COTTON CLUB 15/30 •SPEAKEASY •CLASSIC LEAD

HAND WIRED
GUITAR AMPLIFIERS
CONTROLS AND
CONNECTIONS
Depending upon which Hayden amplifier you own, you’ll
find a variety of controls and connecting sockets on the
front and, in some cases, back panels (described
below). We encourage you to spend time experimenting
with the controls to discover the tones available.
Input
This is where you plug in your instrument, or the output
from your pedal board if appropriate. The input is very
sensitive and can be easily overloaded. If you find you
cannot clean tone, reduce the level by turning down the
instrument or the output from the last pedal in the chain
connected.
Gain
Gain is another name for a volume control that’s usually
found at the front end of a preamplifier. The Gain control is
used to vary the amount of signal passing through the
preamp. With the control set low you will be able to get clean
tones (used in conjunction with the Master as described
later). Increasing the gain allows more signal to pass through
the preamp, causing the preamp to overdrive and distort. The
exact degree of distortion depends on the model of amplifier
you have, the level of the signal from the instrument and
whether you have any pedals in front of the amplifier.
Volume
Where fitted at the front of the preamp, Volume usually
controls the overall loudness of the whole amplifier and
applies to channels that are intended to be used to give a
clean tone. Volume or Pre or Chan Vol controls the amount
of output from the particular preamp that they are fitted to
and therefore allows you to balance the outputs of
individual preamps in multi channel units.
Pickup, hade, Voice
These controls allow you to vary the tone of the preamp
before the sound arrives at the equalisation circuit and very
useful for varying the overall balance of the sound. On
clean tones it is possible to thin the sound out to a bright
jangle, or fill the sound out for a rich full bodied feel. When
you have a lot of gain dialled in on the pre amp, you can
use the control to get rid of mush and unwanted pick
thump, adding the bass back in with the EQ later. On multi
channel units these controls can be used to get one
channel bright so that it cuts through, and another fat for a
mean rhythm sound for example.
Bass, Middle, Treble, Presence
This is the equalisation part of the amplifier, and these
controls shape the overall response of the amplifier.
Balancing these controls can provide you with a large range
of tones from which to work. All the controls are interactive
(moving one will alter the way the others’ functions) and
you should spend some time experimenting to find out
what’s available.
On all ayden amplifiers the EQ circuit is fitted between the
preamp and the power amp. This means that at all volume
levels the EQ will remain fully operational right up to the
point where the power amp starts to distort. When this
happens the EQ will be less effective as the power amp
stamps its own mark on the overall tone.
Master
Where fitted, the Master Volume controls the final amount
of signal that is fed to the power amp and therefore the
overall volume of the amplifier. On multichannel units, dual
masters allow the overall volume of each channel to be
varied – set one for a rhythm level and one for a solo level
for example.
On single channel units the Master works in conjunction
with the Gain control, and on multi channel units each
Master works in conjunction with the gain control
associated with it (Gain l + Master I). In any event the
following applies:
For clean tones the Master needs to be fully up, controlling
the overall volume with the Gain control. On lower power
amplifiers you can do this to get power tube distortion by
overdriving the power amp whilst the pre amp remains clean.
For distortion tones at controllable levels on higher power
units, turn the Master down and the Gain up. Varying the
Gain will control the amount of distortion and the Master
will control the overall level of the sound.

USER MANUAL PETITE 2 •PETITE 5 •COTTON CLUB 7/15 •COTTON CLUB 15/30 •SPEAKEASY •CLASSIC LEAD
CONTROLS AND CONNECTIONS CONTINUED
Effects loop
Where fitted, the FX loop is positioned between the preamp
and the Master, and is designed to work with both pedals
and rack mount units. Careful thought should be given to
the type of effects you plug into the loop. As a general
guide, place effects in the loop that you want to work on
the whole of the sound such as flange, chorus and reverb
for example.
Swell pedals can be used in the loop for dynamic control of
the overall volume level, in addition to any footswitching
you may have fitted.
Boost
Where fitted, a Boost control will do just that – boost the
signal running through the preamp. At low gain settings,
the Boost control will increase the volume of the amplifier
as well as any distortion you may have from the preamp. At
high gain settings, the effect will be less, contributing only
to the overall amount of distortion. Again you need to
experiment to find the settings that suit your playing style.
Reverb
Where fitted, this controls the amount of reverb and has
the effect of putting some ‘space’ around the sound, and to
add a little sparkle and life to the tone. Reverb is typically
used for clean and light crunch tones. The ayden reverb is
all valve with a traditional spring reverb tank. Avoid using
too much, or acoustic feedback may result.. there is more
than enough under normal use.
Note that the reverb is not available on the drive channel on
two channel amplifiers.
SPECIAL FEATURES FITTED TO SOME HAYDEN AMPS
2V - Mute - 4V and 6L6 - EL34 witch
These switches enable the player to switch between a pair
of EL34 or 6L6 output tubes (in the 2V position), each of
which have their own distinctive sound. The difference is
quite subtle on clean tones, but more pronounced when the
tubes are overdriven. In 2V mode, the power output is
around 35 Watts.
Switching to 4V drives all four power tubes for a maximum
output of around 50 Watts. Moving the selector switch to
the central Mute position silences the amplifier (useful
when changing strings, instruments, etc.)
30W - 15W and 15W - 7W
Where fitted, these switches perform the dual task of
reducing the final output by approximately 50%, while at
the same time turning the amplifier into a single-ended
amplifier (by turning off the drive to one half of the
amplifier).
Mute
This switch silences the amplifier for tuning or instrument
changing, or when the band takes a break but you want to
keep the amp ‘cooking’. It is not the same as Standby
switch and the amplifier should not be kept in this mode for
hours on end.
Loop level
Where fitted, these controls allow you to alter the level of
signal coming from the FX loop, and returning to the
amplifier from the FX loop.
Damping
Damping controls the way in which the amplifier reacts to
the speaker cabinet by altering the amount of sound
returned to the power amp by the cabinet. This mainly
influences the bass content of the sound. At low settings,
the bass is loose and prominent, and the overall tone
responsive and natural. At higher settings, the bass is
tighter and more controlled, while the amplifier is more
precise and seemingly less responsive.
FX insert (single jack)
This is a stereo jack connector which carries both the FX
send and return signals. A stereo jack to 2 x mono jack
cable should be used to connect the input and output of
the FX to the amplifier via this single socket.

REAR PANEL
The panel illustrated (Petite 5) can be used as a guide to the facilities of all ayden hand-wired amplifiers.
RECORD YOUR INFORMATION
You should us this space to record all the important information off the rear panel of your amplifier for future reference.
HAND WIRED
GUITAR AMPLIFIERS
Speaker output jacks. Note
that the impedance is
shown under the socket.
The functions of other jack
sockets are marked above
and below of the panel.
This shows the mains
supply voltage at which the
amplifier is set to operate.
Mains power switch.
Position 0 = Off.
Mains inlet socket with integral
fuse drawer. Fuse type and rating
is shown next to socket.
T fuse type and rating of fuse
shown next to the fuse holder
MODEL:
HTFUSE:
MAINS FUSE:
SUPPLY VOLTAGE:
DATE OF PURCHASE:
SERIAL NO:

USER MANUAL PETITE 2 •PETITE 5 •COTTON CLUB 7/15 •COTTON CLUB 15/30 •SPEAKEASY •CLASSIC LEAD
SPEAKER IMPEDANCE
The importance of speaker impedance has been mentioned
elsewhere in this manual, so you should refer to the diagram
below before plugging any speaker cabinets into your
amplifier. eads may be used with one or more cabinets.
When using external cabinets with combos, the internal
speaker should be unplugged from the amplifier panel, and
alternative cabinets should be plugged in as shown.
Single Cabinet 16 Ohms
Single Cabinets 8 Ohms
Dual Cabinets 8 Ohms
Quad Cabinets 16 Ohms
Note that the combined impedance of two 16 Ohm
cabinets is 8 Ohms, so there are two 8 Ohm jacks on the
rear of the heads.
Combos are designed to run either with the internal
speaker or an alternative, external cabinet rated at either 8
Ohms or 16 Ohms. When using an external cabinet, the
internal speaker should be unplugged.
Never switch on an amplifier without a speaker connected.
Unique to the Petite 5 is a Record Out facility. With a jack
connected to this socket, it is permissible to unplug the
internal speaker for silent recording as a load is
automatically connected when this facility is in use.
16 Ohms
8 Ohms
16 Ohms 16 Ohms
16 Ohms
16 Ohms
16 Ohms
16 Ohms

HINTS AND
TIPS
Okay, so you’ve read the manual and you’re ready to
get started. Here are some further ideas to help you
realise the full potential of your Hayden guitar amp.
During a live performance or recording, you’ll often need to
go from a clean to a crunch tone, and then on to a more
saturated solo sound. Traditionally this is done by setting up
one channel for the rhythm tone and then turning the guitar
down to get the clean tone, and boosting the rhythm tone
to go to the solo sound. This worked fairly well but the
clean tone was always a little lacking in volume. A neat
trick to get round this limitation is to turn the Master up full
and set the Gain up for the best clean tone, then use a
drive pedal to set up a rhythm tone, using the output
level on the pedal as the second master volume to balance
both the clean and crunch tones. Solo is then obtained
either by a channel change or by boosting the rhythm tone.
This little dodge will work on single or twin channel
amplifiers.
Another little trick you might find useful that works with
either the Speakeasy or the Classic Lead 80 is to place a
simple boost pedal in the FX loop and set it up so that you
have a clean boost. You then have a third master volume
which can be used to give a volume boost to either channel
by simply activating the loop on the footswitch. The pedal is
positioned near the amp and once set is left in the boost
position. You can also use a simple volume control pedal
for the same effect. If you have a few preset effects that
you would normally use in the loop you can site these near
to the amplifier and not have all those wires crossing from
the amp to your pedal board and back again.
Most players like a touch of reverb on a clean tone for that
little extra sparkle but, when it comes to drive sounds,
opinions are divided. The Speakeasy does not have reverb
on the drive channel but here is a work-around if you are
one of the players that likes reverb on your solo sound. Set
up channel 1 clean and loud with the desired amount of
reverb and set channel 2 for the rhythm sound. Then, using
a drive pedal, set the solo sound to run through channel 1
... simple!
Processor pedals work well with any of the ayden range
but you have to be aware that the input is very sensitive.
You will get the best tone from this type of pedal by setting
the master up full and running the preamp low so that it
does not distort, so you may have to adjust the output level
from the pedal so that it does not overdrive the preamp.
Both the Speakeasy and Classic Lead 80 can be set up for
silent recording. To do this, run a jack lead from the FX
send to the desk with the FX loop turned on. The power
amp will now be disconnected from the preamp and may
be switched into the mute position. The sound level coming
from the amp to the desk can be controlled by the master
volumes on the amp and monitoring takes place through
the desk.
um/noise can result from bad positioning of the amplifier,
so avoid computers, flouresent lights dimmers, and low
voltage halogen lights, all of which radiate hum. Mobile
phones, home hubs and wireless local networks all create
interference and central heating boilers and refrigerators
can create pops and bangs when they turn on and off. If
you find you are suffering from any of these noises, try
turning things off to find the culprit, but don’t forget to turn
them on again when you have finished playing.

www.haydenamps.com
Hayden is a division of Ashdown Design and Marketing Ltd.