Zed audio Draconia Parts list manual

Instruction and Installation Manual

Megalith

Gladius

The Deuce

Draconia

Minilith

elcome to the world of Zed Audio amplifiers. Designed for mobile use, these

amplifiers are the cumulation of more than 25 years of cutting edge design. This

Wis not to say that these new products took 25 years to design, but rather that

they have the “experience” of 25 years of manufacturing and design. Car stereo has come

a long way since the early days in the late seventies and early eighties. Cassettes have

disappeared from the high end and CD rules in this department. Loudspeaker technology

has advanced with new materials and designs. The rigors of the car environment have

forced speaker designers and manufacturers to reinvent the proverbial wheel. Today’s

speakers are a quantum leap ahead of those we used 20 years ago.

imilar leaps have been made in power amplifier technology. Early amplifiers were

plagued by unreliable power supplies and shoddy mechanicals. The audio

Samplifiers were also not a model of reliability and sonic delight. High power

amplifiers was the name given to 50 watt per channel designs (If in fact they delivered 50

watts per channel). Power ratings were done at 14.4v battery levels so that inflated

figures could be quoted. Most amplifiers of 20+ years ago contained only a full range pre-

amplifier which allowed the unit to accept the very low output voltages of head units from

that era. (Typically 100mV was a norm) Built in processing was almost unheard of and if

one required crossovers and equalizers they had to be outboard units, again of dubious

design and audio quality.

oday’s amplifiers normally contain crossovers and equalizers with variable controls

which allow the installer to match the electronics to the speakers and car interior. A

T50 watt per channel amplifier today is probably on the lowest rung of the food chain.

This kind of power is entry level and large amplifiers are now in the Kilowatt range. Mono

blocks, two channel and multi channel amps each fill a particular need for the installer and

of course the end consumer. Zed Audio has experience designing and building all of

these amplifiers.

fter some research we designed products which we wanted to present to the

world. The power points, audio quality, features and of course the cosmetics each

Ahas a role to play. Power is not everything but today’s inefficient speakers demand

higher powered amplifiers. Of course all speakers are not power hungry and so we have

smaller amplifiers in the line up. Audio quality was of prime consideration and the

designs we have used reflect our philosophy on sound quality. The amplifiers all have

outstanding feature sets without going overboard with superfluous buttons and knobs.

Last but not least the amplifiers have to look good. Who would buy a picture that was not

attractive to the eye. We hope that our designs please all who see them.

Please read this manual in it’s entirety before installing and operating your new amplifier.

Thank you for purchasing our product and we at Zed Audio shall do our best to ensure

that you enjoy this product for many years.

Index

Introduction Inside Cover

About Zed Audio Page 1

Installation Procedures Pages 2 and 3

Technical talk Pages 4 to 8

Specifications Page 9 and 10

Mono Block Installations Pages 11 to 16

Two channel Installations Pages 17 to 21

Four channel Installations Pages 22 to 27

Fault finding Pages 28

Warranty Pages 29 and 30

Our design philosophies have been influenced by both the professional and home audio markets. Traditionally the

professional market has been driven by reliability with sound quality as second. The home market was the reverse. Today

however both reliability and sound quality carry equal weight in both sectors. Cosmetics for obvious reasons are important in

any sector. My experience in designing and building professional amplifiers has helped me in taking a similar approach in the

design of mobile audio amplifiers. No matter how pretty or good sounding an amplifier may be, if it fails then it is a bad

amplifier. The lesson learned many years ago was “silicon”, and use lots of it. All things being equal, if an amplifier drive

circuit is stable, then adding an output stage (itself stable as well) with enough power devices will make the amplifier reliable.

This assumes of course that mechanical issues are taken care of. Zed has always been a proponent of using a generous

amount of power transistors in the output stages of our amplifiers. In addition we design at temperatures of 80 degrees

Celsius. All semiconductors must be derated at these elevated temperatures and we use enough power devices for safe

operation into the lowest load impedance the particular amplifier has been designed to drive.

Our personal opinion about “fancy” cables and exotic passive components may shock some of you. I have never been able to

hear the difference between a cheap or an expensive RCA patch cord. My listening has been done using double blind A-B

comparisons. Electrons are not very clever things and they have no knowledge of the type of material through which they are

flowing at the speed of light (312,000 Km/second). The ONLY reason we recommend high quality double shielded RCA patch

cords in mobile installations is to reject noise. My opinion about speaker cables is the same. As long as the wire is thick

enough, it’s construction makes no difference. As long as the amplifier is stable into reactive loads with phase angles of up to

60 degrees, the amplifier is none the wiser what type of speaker cable is used.

The use of teflon, polypropylene, tantalum or other capacitors does not make a good sounding amplifier. There are too many

other variables in the audio chain that one capacitor can make a difference. The use of metal film resistors is only of use in

low noise circuits and where tolerance is of an issue. Never forget what the music signal had to go through to get onto your

CD or vinyl.. The signal began as a micro volt specimen at the microphone, sent through a high gain pre-amplifier, passed

through equalization circuits, possible compressors, limiters or other processing gear and then mixed with all the other tracks.

In analog days and today still, this signal was sent to a 24 track tape recorder again through a multitude of transformers, pre-

amplifiers, equalizers and yikes the tape heads themselves. Then the signals were passed back through the tape deck’s

playback circuits including the equalizer for playback, then back into the mixing console for mix-down to two track and then

this was repeated again onto a two track tape recorder, then sent to the cutting head amplifier where the masters were then

cut. A torturous journey one could say for this fragile audio signal. Semiconductors have more tolerance in their specifications

than any capacitor or resistor. A well known fact is that different types of capacitors work better at certain jobs than others.

Example, disc ceramic capacitors are better in high frequency compensation circuits than film types. Film types work better in

audio frequency selective circuits than ceramics. So we at Zed choose our components to suit the application.

Our quality control (QC) program and testing procedures work well for us. Over the years we have refined these processes to

what we have today. Our philosophy is to design around potential or real problems. If we feel that a particular item could

cause a problem now or in the future, we either change the design or improve upon it. The goal is ZERO defects.

QC begins with the initial design. The electronic design goes through as many prototype iterations as is necessary to make

sure it is working the way we want. These prototypes are bench tested, put in to vehicles, listened to both in the vehicle and at

home then retested on the bench. We bake them in ovens and retest again. Heat is the enemy and we want to make sure that

it will not hurt our products. Mechanicals of course do not have to be put in an oven (we do anyway). Fit and finish must be to

our standard. Samples are minutely inspected for fit and finish. Once we approve them only then can the hard tooling be

done.

Each and every product manufactured at Zed is tested using Audio Precision test equipment. Software is written for each type

of amplifier and then on final test the amplifier must pass these rigorous tests. If not it is rejected and returned the production

line for repair. Samples are pulled from the line for further testing.

Mechanical inspection is done throughout the manufacturing process. Before each amplifier is packed it is fully inspected

again for any cosmetic flaws. Any damaged or any part which is out of specification is replaced.

Zed takes pride in what we design and manufacture and we trust that this shows in the final product.

Stephen Mantz

Page 1

Installation Instructions

Location:

Choose a suitable location in the vehicle which will allow sufficient airflow over the

amplifier. The preferred mounting direction is with the heatsink fins in a vertical direction.

However we do recognize that this is not always possible. DO NOT mount the amplifier

upside down as this reduces the ability of the heatsink to dissipate heat effectively.

Mounting the amplifier(s)-Fig 1

These amplifiers have a unique method of mounting which allows the installation to look

attractive. At each corner of the amplifier is a pillar and the bottom plate at each pillar has

been punched with a 5mm hole. You will also notice that the top covers are packaged

separately and these are only bolted on once the amplifier has been screwed down.

Using the supplied washer set bolt the amplifier into position. DO NOT MOUNT

WITHOUT USING THE WASHERS as the bottom plates may be damaged. This damage

is NOT covered under warranty. Once the amplifier has been bolted down, place and bolt

each corner top panel using the supplied hardware (M4x6 SHC machine screws) and hex

tool. Please keep this tool in a safe place for future use. The size of this hex tool is 3mm

and these are available from any hardware store. Note that each pair of top corner panels

can ONLY fit in their unique positions. Please be careful when bolting these top panels

so as not to cross thread the tapped bosses.

POWER

PROTECT

PROTECTGladius

Gladius

Fig 1

Page 2

Connecting the Amplifier

Once the amplifier has been correctly mounted the electrical connections can now be

made. The first step is to connect the loudspeakers. Using the appropriate size of wire

(we recommend a min of #14) connect the speakers as shown in later diagrams,

depending on which amplifier(s) are being installed. The next step is to connect the line

inputs using high quality RCA-RCA cables. The source to which the line inputs are

connected depends on the amplifier type and the particular installation. Again refer to

later diagrams.

The next step is to connect the power inputs. The first is the ground wire. This wire is

connected to the (-) connection on the 3 terminal power connector. Using #8 wire or

larger(#4 max) insert one end into the connector’s (-) terminal after stripping off about

19mm (0.75”) of insulation. Trim the wire to a maximum length of 1 metre (39”) this

ground wire (normally BLACK in colour) is then crimped (and preferably soldered) into an

appropriate size ring lug. This lug is then bolted to the chassis of the car (normally in the

trunk). The hole to which the lug shall be bolted must be rust and paint free. It is also a

good idea to use a star washer between the lug and the chassis of the vehicle. We prefer

the use of a machine bolt and nut rather than a self tapper. The torque that the machine

bolt can exert is greater than that of a self tapper and due to the large currents flowing

through this ground connection the contact resistance shall be lower with the machine

screw.

Next is the remote turn on wire. This is normally connected to the remote output of the

head unit. Using #14 wire, stripping one end to 19mm (0.75”), insert one end into the

smaller centre hole of the power connector. Run this cable to the head unit’s location and

connect to the “remote out” terminal of the head. Please be sure to use a 0.25A fuse at

the head. This fuse will blow if any portion of the remote wire is accidentally shorted to

chassis ground.

Last is the +12volt connection. Using #8 (#4 max)or larger, strip the wire to 19mm (0.75”)

and insert in to the hole marked (+) on the power connector. Run the cable (away from all

audio cables) to the location of the vehicle’s battery. At the battery location install the

supplied fuse holder no further away from the battery (+) terminal than 300mm (12”).

Insert this end of the +12volt power cable into the fuse holder. Making sure that the fuse

is removed, connect the other end of the fuse holder to the battery’s (+) terminal using

appropriate high quality battery connectors. Insert the supplied fuse. DO NOT

OVERFUSE as this can be a fire hazard.

The power connector on our amplifiers can accommodate wire with a copper diameter of

up to 9mm (0.35”).

Page 3

Zed does not recommend the use of power distribution blocks for the purpose of

distributing the +12volt voltage to several amplifiers. The reason is that the vehicle’s

battery is the lowest AC impedance point in the power grid of the vehicle. We want each

amplifier to draw it’s current from this low impedance point. Thus any modulation on any

+12v power cable (which is inevitable) is then shunted to ground by the massive

capacitance of the battery. This is the reason that “star” grounding is used in grounding

circuits/equipment so that ground current is drawn from a common point and thus no

ground loop can occur. Fortunately for us, the body of a vehicle made of steel is so large,

and is thus a very low impedance path for ground currents, that it is not necessary to

ground all equipment at one point. In fact we do not advocate it at all as this would then

necessitate the head unit’s ground running all the way to the battery location and the

amplifier’s ground(s) also running all the way to the battery.

If multiple amplifiers are being used we highly recommend the use of separate ground

points at the amplifiers’ location. This spreads out the amount of current being drawn

through one bolt connection.

tiffening capacitors - These are of NO use with our amplifiers due to the fact that the

Samplifiers have fully regulated power supplies. The power supplies will compensate

for small volt drops which exist on the +12v power cable. The amount of current drawn by

a particular amplifier would drain a fully charged 1 Farad capacitor almost instantly.

Consider the theory. Energy(Joules) = Power(Watts) x Time(Seconds). The energy in a 1

Farad capacitor = 0.5CV.V= 0.5x1x12x12= 72 Joules. Let us assume a medium size

amplifier such as Draconia. Let us assume that we are playing it such that all four

channels(into 4 ohms each) are just clipping on the loudest musical peaks. This means

that we are delivering 300 watts on peaks. The amplifier’s average efficiency is about

45%. The peak to average power ratio is about 20% so average power is 20% of 300 = 60

watts. The input power is therefore 133 watts. If the 1 Farad capacitor was charged to 12

volt and we remove the main source of power -- the battery, the amp would remain

playing for 0.54 seconds! (Put the numbers in the formula (E=PxT above and solve for

time T). Now compare this to the battery. The amplifier will play for some hours (depends

on actual battery of course) as compared to 0.54 seconds! So what good is a 1 Farad

capacitor? Assign the above example to a Megalith playing into a 1 ohm load. Going

through the mathematics the 1 Farad capacitor would keep the amplifier playing for 0.14

seconds. So if the voltage at the amplifier’s power terminal dropped by say 1volt the

amplifier’s power supply will correct for this on a continuous basis. The stiffening

capacitor however has nowhere close to the energy reserve to compensate for a 1 volt

drop.The main internal power supply capacitors hold 100 Joules of energy and these are

more effective than any stiffening capacitor since they do not have to contend with the in-

efficiencies of the amplifier’s power supply.

Page 4

Setting the controls on amplifiers

evel control - This control is the most misunderstood control on any amplifier. It’s sole

Lpurpose in life is to level match the head unit’s output voltage to the gain structure of

the amplifier so that the user can use the head unit’s volume control in the “best

physiological position”. To best understand this let us look at a simple example. Assume

that the head unit is rated at 1 volt output. Now what this means is rather ambiguous.

Does the head deliver 1volt with the volume control at maximum, at 75% or where?

Unfortunately no head manufacturers supply this information. Also it depends on the

modulation level of the program material. Be it a CD/Mini Disc or FM we have no control

of this specification. Most consumers never want the volume control to be turned past 3

o’clock (We use a traditional rotary control for reference since all digital controls do not

have the same amount of digits or “little blocks” on their LCD displays to show relative

volume level). On head units which we have tested the results are all over the page so we

shall assume the 3 o’clock position as the maximum we want the control to be turned to.

So far you can see that the need for level matching is critical indeed as there are no

standards from head manufacturers. So we now have this 1 volt level. What this means is

that the output voltage from the head will approach 1 volt on musical peaks. Let assume

we have an amplifier of 100 watts. This implies that we can deliver 20 volts across a 4

ohm load. Let us assume that the amplifier needs 1 volt in for the 20 volt out - a gain

structure of 20x. So in this case with the head delivering 1 volt on peaks, the amplifier will

deliver 100 watts into 4 ohms on the same musical peaks. Well this sounds all well and

good but we have a small problem and it is that all heads are not rated at 1 volt, and all

amplifiers have variable level controls. This actually means we can change the gain

structure of the amplifiers from “x” to “y”. With no standard levels we have to set the level

control on the amplifier to “match” to that of the head. We have tested no head units

whose output level corresponds with that of the printed specifications. Typically the output

level is substantially lower than the specification. Here is our recommendation. With your

favorite music playing set the amplifier’s level control to minimum (CCW) and set the

head unit’s volume control to 3 o’clock. Assuming all crossover controls have been set,

advance the level control on the amplifier until the music is as loud as desired. This is the

only way to do this without the use of an oscilloscope.

rossover and equalizer controls - The crossover controls must be set to suit the

Cspeakers being used.

The equalizer controls can be set by ear or with instruments. This is a personal

preference. Most users only have ears and not instruments so ears must suffice!

Page 5

amping Factor - This amplifier specification has been blown out of all proportion.

DWhat it means is the ability of the amplifier to resist a change in it’s output voltage.

The formula is DF= Speaker Z / Amplifier output Z (where Z is impedance). So many

manufacturers have claimed ridiculous, and often false damping factors. A damping factor

of 1000 implies that the output impedance of the amplifier is 0.004 ohms (4 ohm load).

The only way to attain this figure is to apply masses of negative feedback (or use positive

feedback) and too much feedback makes amplifiers sound harsh and clinical. Also

damping factor changes with frequency. The lower the frequency the higher the DF

number. Typically the DF can be ten times larger at higher frequencies.

Let us take this amplifier whose output impedance is 0.004 ohms (Zout). The speaker

circuit is a series circuit and the following impedances(resistances) are in series with this

0.004 ohms. Let us assume that this DF measurement was made at the amplifier’s

speaker terminal. The first extra contact resistance is the speaker wire to the speaker

terminal (WT ohms). Then there is that of the wire itself for two conductors (W). Next is

the contact resistance of the wire to the speaker terminal (WS). Next there is the contact

resistance of the wire from the speaker terminal to the voice coil (WV) and lastly there is

the DC resistance of the voice coil itself (DCR). So what we have is a series circuit with

the following resistances in series and adding up. WT+W+WS+WV+DCR+Zout.

WT,W,WS,WV and Zout are very small indeed. Certainly less than 0.1 ohms. Whoa, look

what has happened the EFFECTIVE DAMPING FACTOR has been reduced from 1000 to

40 by just taking into account those pesky unavoidable contact resistances. Now for the

cruncher, remember that the DCR is also in series and is typically 3.2 ohms for a nominal

4 ohm speaker. So we must add 0.1+3.2 = 3.3 ohms and now EFFECTIVE DAMPING

FACTOR is now a magnificent 1.212! (4 divided by 3.3)This is the real world. We see that

the DCR of the speaker swamps all other resistances in the speaker circuit and the 0.004

ohms amplifier output impedance is almost meaningless. It has been found that a DF of

about 20 is quite sufficient to dampen the voltage spikes from the speaker. An eye opener

this one is it not? Good tube amps sound marvelous - low damping factors!!

utput Power of Amplifiers - This spec has been so badly abused it is not even funny.

OPeak power, Maximum power, Transient power, RMS power these are titles that

have been given to the power spec of amplifiers. The above all mean nothing. Peak

power needs to be associated with a time period, Maximum power is just nonsense,

Transient power is even more nonsense and RMS power is just not a specification. The

ONLY meaningful way to specify an amplifier’s output power in watts is CONTINUOUS

POWER. The formula for power is: (RMS volts x RMS amps) or (RMS volts x RMS

volts/Impedance) or (RMS amps x RMS amps x Impedance). In each of these formulae

there is an RMS number multiplied by another RMS number (or by itself) and RMS x RMS

cannot = RMS. So THERE IS SIMPLY NO SUCH THING AS RMS POWER. RMS means

root mean square and it is the same as saying 4 x 4 = 4 Which we know is not true.

The answer is just 4 with no root sign attached.

Page 6

ridging two channels of an amplifier is not a magical thing. Most are mystified by the

Bpower figures quoted under the “bridge” column. It is actually very simple. When two

channels are driving a common load, one channel is out of phase with the other by 180

degrees. So when one channel swings positive the other swings negative. There is a

catch however. Each channel “sees” fifty percent of the common load and that means that

each channel of the bridged pair must be capable of delivering current to this lower load

impedance. Thus a 4 ohm bridged load presents a 2 ohm load to each of the bridged

channels. The power into a 4 ohm load in bridged mode is twice the rated 2 ohm power.

otal Harmonic Distortion - This specification has for years been a benchmark with

Twhich to compare one amplifier to another. This is all fine on the test bench where

pure resistive loads are used and sinewaves are amplified. Unfortunately it tells us very

little about the audible performance of an amplifier. Today it is relatively easy to build an

amplifier with THD figures in the “triple oh” region, but what do they sound like. Normally

not very good. To obtain these low THD numbers all we do is design an amplifier with

high open loop gain. That is before negative feedback is applied. Once we apply a lot of

global feedback, we improve all measured parameters such as THD, Noise, Frequency

response, Damping factor. Our amplifiers are designed a little differently. We use very

little global feedback but rather optimize each stage with local feedback. This allows us to

design an amplifier with lower open loop gain and thus we only have to apply about 8dB

of global feedback. Ultra low THD was not our goal but rather an amplifier which sounds

the way we want it to. Other factors affect THD such as PCB layout, grounding and power

distribution to the amplifier channels. Our class A/B amplifier do however achieve very

low distortion due to the fact that we follow the “rules” and their circuit design is

conduscive to low distortion.

ecibel is a unit of measurement. A 100w amplifier has 3dB more power than a 50

Dwatt amplifier. This difference is just discernable. A 100 watt amplifier has 1.54dB

more power than a 70watt amplifier. This is not audible. I has been determined that to

hear a difference in “loudness” between to like designed amplifier, one must double the

power. To hear a doubling in loudness one must have TEN TIMES the power (10dB).

eadroom - This term does not refer to how much room there is above your head!

HRather it is a specification that signifies how good or bad the power supply is. Zed

Audio has NEVER quoted a headroom specification. Why you may ask? Simple our

amplifiers have no headroom, zero dB, zip dB, nada dB however you look at it. A

regulated power supply does not allow the amplifier to have any headroom. A quote from

a well respected designer who said that amplifiers with many dB of headroom simply

have poorly designed power supplies, either through ignorance or to save costs. When

one sees a specification of an amplifier quoting a headroom figure of 3dB this means that

the droop of the power supply is such that when unloaded it is capable of twice the power

as compared to it’s loaded condition.

Page 7

o a 100w/ch amplifier running into 4 ohms must develop 20 volts across the speaker

Sterminal. This requires a net (under load) rail voltage of about +/- 33 volts. Now for it

to have 3dB of headroom it must be capable of delivering 28.28 volts across the speaker

terminal. This requires a rail voltage of +/- 43 volts. So the above power supply will droop

a total of +/- 10 volts (a 23% droop!). This puts additional stress on the output devices

(Mosfets or Bipolars) because they still have to deal with this higher rail voltage . To us

this kind of power supply sounds like the amplifier is “breathing” and not the kind of

amplifier we want to listen to. Regulated power supplies are more expensive to

manufacture, are less efficient but we feel those are tradeoffs we can live with!

f one examines the specification of an amplifier, it is relatively easy to tell apart those

Iwith well regulated power supplies and those with sloppy unregulated power supplies.

The ratio of 4 ohm as to 2 ohm power will readily inform us of the quality of that power

supply. Typically if the amplifier can double or almost double it’s continuous power rating

from 4 ohm to 2 ohm at ALL battery voltages this is indicative of a well regulated power

supply. There are a few manufacturers who manipulate the rail voltages at lower speaker

impedances so that the 4,2 and 1 ohm power specs are the same. We believe that this is

a cop out to save putting in a beefy power supply which is capable of the higher currents

needed for these low impedance loads.

ubsonic filters and CLIPPING. The former are simply steep slope high pass filters

Swith a frequency range between 10 to 50Hz. Their only function is to filter out those

frequencies which lie below audibility. The woofer’s cone will not “flop” around as it does

without the use of the filter and because all the low frequency energy that we cannot hear

is filtered out, the amplifier runs more efficiently since it does not have to amplify all those

inaudible low frequencies. Remember one fact, ALL amplifiers are pretty dumb. They will

amplify anything you put into them (assuming the amplifier’s frequency response is wide

enough) and whether we can hear a particular frequency range is not the amplifier’s

concern. Put in an inaudible frequency and the amplifier dutifully does it’s thing. It does

not care about the load. This is why tweeters are easily burnt when amplifiers are

clipping. The amplifier generates high frequency harmonics and this energy is thrown to

the unsuspecting tweeter. When an amplifier is driven into clipping it basically generates

a square wave. This contains a large amount of energy but also due to the fact that the

square wave sits at a positive (or negative) state for a “long” period of time, the natural

cooling effect of a continuously moving cone/voice coil is inhibited and can lead to failure

of a speaker. Typically woofers are more tolerant of clipped power than mids and

tweeters due to the fact that they are more robust and that they do not respond to those

high frequency harmonics very well (but do not be fooled, woofers can be hurt by these

harmonics even if we cannot hear them). The inductive reactance is (2 x 3.14 x freq x

inductance) and so the higher the frequency the higher the inductive reactance of the

speaker becomes. However it’s DCR does not change with frequency.

Page 8

Specifications

Specification Draconia

The Deuce

Gladius

Output Voltage (volts into 2 ohm) per channel 17.32 28.28 16.73

Output Voltage (volts into 4 ohms) per channel 17.32 28.28 16.73

Output Current (amps into 2 ohm) per channel 8.66 14.14 8.36

Output Current (amps into 4 ohms) per channel 4.33 7.07 4.18

Continuous Output Power into 2 ohm per channel 150wx2 400wx2 140wx4

Continuous Output Power into 4 ohm per channel 75wx2 200wx2 70wx4

Typical Output Power into 4 ohm per channel (0.8% THD) 95wx2 250wx2 85wx4

Continuous Output Power 2 channels bridged into 4 ohm 300wx1 800wx1 280wx2

Continuous Output Power 2 channels bridged into 8 ohm 150wx1 400wx1 140wx2

Minimum Speaker Impedance per channel 2 ohm 2 ohm 2 ohm

Minimum Speaker Impedance in Bridge Mode 4 ohm 4 ohm 4 ohm

Power Response at any power into 4 ohms/channel 10-100KHz -3dB 10-100KHz -3dB 10-100KHz -3dB

Frequency Response at rated power into 4 ohms/channel 10Hz-25KHz -0.1dB 10-25KHz -0.1dB 10-25KHz -0.1dB

Input Voltage range for rated power into 4 ohms 0.26-8 volt 0.26-8 volt 0.26-8 volt

Input Impedance 47K ohm 47K ohm 47K ohm

Noise below rated output (30KHz limited) -98dB -101dB -98dB

Channel separation at 2KHz >80dB >80dB >80dB

Damping Factor at 20Hz with 4 ohms >180 >200 >180

Total Harmonic Distortion with 4 ohm 20Hz-20KHz

From 1 watt to rated power. Typically less than 0.05% <0.08% <0.08% <0.08%

Intermodulation Distortion <0.08% <0.08% <0.08%

Phase response at 20KHz Lagging 10 deg Lagging 10 deg Lagging 10 deg

Slew rate (volts per micro second)-In”Flat” mode 15 15 15

Low Pass Crossover (all are 24dB/octave) 46Hz-3.5KHz 46Hz-3.5KHz 46Hz-3.5KHz

High Pass Crossover (all are 24dB/octave) 46Hz-3.5KHz 46Hz-3.5KHz 46Hz-3.5KHz

Equalization (Zero to +18dB variable control) Bass Boost @44Hz Bass Boost @44Hz Bass Boost @44Hz

Remote Level Port with control N/A N/A N/A

Line Output Yes Yes Yes

Protection - Short Circuit, DC, Thermal Yes Yes Yes

Power Source ----------------------10-14.5v DC Negative Ground ----------------------

Current Consumption with Sinewave at 4 ohms 20A 54A 40A

Current Consumption with Music at 4 ohms 6A 17A 12A

Idling Current <1.5A <2A <2A

Fuse rating with 4 ohm load/channel 25A 60A 50A

Fuse rating with 2 ohm load/channel **** 35A 80A 70A

Size W x H (302.22mmx74mm/11.9”x2.91”) x L 314.4mm/12.4” 444mm/17.48” 444mm/17.48”

Shipping Weight (Kg/Lbs) 7.3/16 11.8/26 11.8/26

**** Under normal operating conditions the fuse rating for 4 ohm loads will suffice for 2 ohm loads. If the amplifier is driven for long periods of time into

2 ohm loads per channel the fuse rating may be increased as shown. DO NOT OVER FUSE ANY AMPLIFIER.

Page 9

Specifications

Specification Megalith

Output Voltage (volts into 1 ohm) 45 24.5

Output Voltage (volts into 2 ohm) 52 28.3

Output Voltage (volts into 4 ohms) 54 28.3

Output Current (amps into 1 ohm) 45 24.5

Output Current (amps into 2 ohm) 26 14.15

Output Current (amps into 4 ohms) 13.5 7.075

Continuous Output Power into 1 ohm 2,000wx1 600wx1

Continuous Output Power into 2 ohm 1,350wx1 400wx1

Continuous Output Power into 4 ohm 730wx1 200wx1

Typical Continuous Output power into 1 ohm 2,200wx1 650wx1

Typical Continuous Output Power into 2 ohm 1,560wx1 480wx1

Typical Continuous Output Power into 4 ohm 750wx1 260wx1

Continuous Output Power 2 channels bridged into 2 ohm 4,000w x 1 * 1,200w x 1 *

Continuous Output Power 2 channels bridged into 4 ohm 2,700w x1 * 800w x 1 *

Continuous Output Power 2 channels bridged into 8 ohm 1,400w x 1 * 400w x 1 *

* With TWO Miniliths or Megaliths bridged

Minimum Speaker Impedance 1 ohm 1 ohm

Minimum Speaker Impedance in Bridge Mode 2 ohm 2 ohm

Frequency Response at 1 watt into 4 ohms/channel 11-150Hz -3dB 11-150Hz -3dB

Frequency Response at rated power into 4 ohms/channel 11-150Hz-3dB 11-150Hz -3dB15

Input Voltage range for rated power into 4 ohms 0.22-7.4 volt 0.22-7.4 volt

Input Impedance (10K ohm on “mono-bridge” input) 39K ohm 39K ohm

Noise below rated output (30KHz limited) -95dB -89dB

Channel separation at 2KHz Infinite Infinite

Damping Factor at 20Hz with 4 ohms >150 >100

Total Harmonic Distortion with 4 ohm 20Hz-150Hz

From 1 watt to 2dB below rated power <0.5% ** <0.5% **

** Frequency range 20-150Hz only

Low Pass Crossover (24dB/octave) 40-235Hz 40-235Hz

High Pass Crossover (24dB/octave) 11-48Hz 11-48Hz

Equalization Parametric 26-160Hz Parametric 26-160Hz

Remote Level Port with control Yes Yes

Line Output Yes Yes

Protection - Short Circuit, DC, Thermal Yes Yes

Power Source ----10-14.5v DC Negative Ground ----

Current Consumption with Sinewave at 4 ohms 70A 20A

Current Consumption with Music at 4 ohms 15A 6A

Idling Current <5A <3A

Size W x H (302.22mmx74mm/11.9”x2.91”) x L 494mm/19.45” 314.4mm/12.4”

Shipping Weight (Kg/Lbs) 13.6/30 7.3/16

Fuse rating *** 150A 35A

*** May have to be increased by 40% when driving high power into 1ohm loads

Minilith

Page 10

Megalith

For those of you acquainted with ancient history we know that the Egyptians amongst

others built massive temples and monoliths. These monoliths were single massive stone

structures, wider at the base and tapering at the top and exuded a feeling of power and

mass. We wanted our new mono block to do the same and we believe that we have

succeeded. With an output capability of 2Kw into a 1 ohm load, Megalith takes it’s place

as one of the most powerful amplifiers available today.

Megalith is the culmination of more than 2 years of development. We asked ourselves

what consumers want in a subwoofer amplifier. Requirements are for sharp cut off low

pass and high pass filters, good quality equalization, the ability to bridge two amps

together, a remote level control and multiple inputs. We incorporated ALL of these

features into this amplifier.

The heart of any great amplifier is the power supply. After all this is where all the energy is

derived from. A well regulated power supply with low noise is essential for good audio

performance. We at Zed have been building regulated power supplies for over 25 years

and feel that they sound superior to unregulated or “sloppy” power supplies. A small

lesson here. The audio section of an amplifier is only a variable valve from the power

supply to the speaker. How the valve is varied depends on the class of amplifier. In this

case we use a Pulse Width Modulated system (Class D). Any voltage fluctuations on the

power supply rails will manifest themselves as a form of distortion. So if the source of

energy is poor, sound quality will be poor no matter how well the audio amplifier (valve) is

designed. It is synonymous with adding a poor quality fuel to your automobile. It will

perform poorly if the source of energy is poor. The same argument applies to amplifiers.

The PWM amplifier utilizes a high frequency carrier which is modulated by the incoming

audio signal. The resultant series of variable width pulse trains are switched by the main

high current switching amplifier. This section uses ultra high speed precision integrated

circuits to precisely control the on and off times of the output Mosfets. A total of 10 high

current, high voltage Mosfets are used. Each has a current capability of 50 amps in a

circuit limited to less than 50 amps. With an output stage having a current capability of

500 amps there is a substantial safety factor built in. The output filter utilizes low loss iron

cores and high quality film capacitors.

A servo control amplifier monitors the DC conditions at the speaker terminals and keeps

the DC offset at less than 3mV (0.003v).

The turn on/off function of the audio section is done with opto-isolators which allows us to

keep the control circuits fully isolated from the audio circuits.

Page 11

Our power supplies use massive amounts of capacitance on the 12 volt side and this

capacitance is spread over 19 capacitors in parallel. A total of 41,800mfd is used.

Fourteen (14) high current low Rds on Mosfets are used as the main switching elements.

Each is rated at 110 amps but we derate them to 50 amps for safety and each has an “on”

resistance of 0.01 ohms at 80 deg C. With seven Mosfets in parallel on each half of the

supply the total on resistance is 0.0014 Ohm (One point four thousandths of an ohm!)

We further temperature derate this for a final on resistance of 0.002 ohms. With 14

Mosfets each rated at a theoretical 110 amps we have a reserve of 1,540 amps. Well this

number is wishful thinking and the figure we work with is 50 amps per Mosfet for a total

current capability of 700 amps in a circuit limited to about 240 amps. So we have a large

safety factor built in. This does not tell the whole story about how the switching Mosfets

behave. We must turn them on and off quickly, minimize the overshoot and make sure

their junction temperature remains in the safety zone. We achieve some of these

parameters by using the Mosfets as source followers, which means that they operate

without any voltage gain and only current gain. Pretty much all car amplifiers use their

Mosfets with voltage gain which causes various ills. Our Mosfets operate with maximum

bandwidth and due to the circuit design the main power transformer (of which there are

two in Megalith) has it’s design greatly simplified. Less turns are required, which means

lower copper losses and we can minimize leakage inductance in the transformer(s) by

better winding methods.

The above describes what happens on the primary side of the power supply. The

secondary side has some equally impressive specs. Two pairs of high current fast

recovery diodes are used to rectify each transformer’s secondary voltages to the required

rails used by the output stages of the amplifier. A total of 22,400 mfd of capacitance is

used for the main rails and this stores 71 Joules of energy. A pair of fully regulated +/- 14

volt supplies feeds all the small signal stages of the PWM amplifier.

A separate transformer supplies the isolated supplies for the pre-amplifiers. These are

again fully regulated. The grounding system for the pre-amplifiers is 100% floating from

the rest of the circuits. This ensures that no ground loops can be formed which in turn will

reject alternator whine. A fully balanced differential drive circuit is used to couple the pre-

amplifier’s outputs to the inputs of the PWM amplifier section.

The protection circuits are extensive and incorporate DC sensors on the speaker

terminals, a thermal shut down should the heatsink reach 80 deg C, a muting circuit which

ensures quiet turn on/off of the PWM amplifier. The PWM section incorporates the short

circuit protection. Lastly a battery level monitor shuts down the amplifier if the battery

voltage exceeds 15 volts.

Page 12

The pre-amplifier has 5 inputs, four of them allow the front and rear outputs from a head

unit to mixed to mono. The fifth input does double duty. When the MODE switch is in the

“normal” position the fifth input (mono) accepts a mono input, such as the mono sub outs

from some head units. The sensitivity is 4 times that of each of the individual inputs 1-4 so

that the level range remains the same. When this input is used the user may choose to

use either the low pass crossover in the head unit, in which case turn Megalith’s low pass

crossover to 240Hz or if Megalith’s crossover is used, turn the low pass crossover on the

head unit to the highest frequency (This keeps the unused crossover out of the usable

passband - typically up to 100Hz). When the mode switch is in the “Bridge” position, the

fifth input receives signal from the MASTER amplifier when two amps are run in the

bridged configuration. (See Fig 5 on bridging two of our mono blocks)

The high pass crossover functions as a variable subsonic filter with a Butterworth curve at

24dB/octave. Setting this control at the appropriate frequency for the woofer prevents

unwanted cone excursions at frequencies which we cannot hear.

A one band parametric equalizer was incorporated because we feel that it gives the

installer more control than a simple bass control.

The remote port allows the signal level to be varied from the dash area of the vehicle.

Two Megaliths may be bridged for super high power of up to 4Kw into 2 ohms. (Turn the

level control on the amplifier more sensitive and then use the remote control)

Page 14

Fuse

POWER

PROTECTGladius

0 +

+++

-- REM

POWER CONNECTIONS

SPEAKER CONNECTIONS

DESIGNED AND ASSEMBLED

IN THE USA by ZED AUDIO 11-14.4 volts DC

1 ohm load min

Battery

Head Unit

LEFT RIGHT

BRIDGE

-REM

POWER CONNECTIONS

SPEAKER CONNECTIONS

DESIGNED AND ASSEMBLED

IN THE USA by ZED AUDIO

11-14.4 volts DC

Min load 2 ohms Stereo

Min load 4 ohms Bridge

3K53K5

1K21K2

670670

190190

8585

6363

4646

HIGHHIGH

PASSPASS

LEVELLEVEL

BASSBASS

EQEQ

3+4 HP3+4 HP

3+4 LP3+4 LP

0.26v0.26v8v8v 00+18+18

LINELINE

OUTOUT

LINELINE

LINE INPUTSLINE INPUTS

3.5K3.5K

1.2K1.2K

670670

190190

8585

6363

4646

LOWLOW

PASSPASS LEVELLEVEL

0.26v0.26v8v8v

3K53K5

1K21K2

670670

190190

8585

6363

4646

HIGHHIGH

PASSPASS

FLATFLATHPHPLP/BP/MIXLP/BP/MIX

SELECTSELECT

MIXMIX BPBP LPLP 3+4 LP3+4 LP HPHP FLATFLAT

SELECTSELECTMODEMODE

CHANNEL 1+2CHANNEL 1+2

CHANNEL 3+4CHANNEL 3+4

++++++

----REMREM

POWER CONNECTIONSPOWER CONNECTIONS

----

SPEAKER CONNECTIONSSPEAKER CONNECTIONS

DESIGNED & ASSEMBLED

IN THE USA

by ZED AUDIO

DESIGNED & ASSEMBLED

IN THE USA

by ZED AUDIO

++++

----

Ch1Ch1 Ch2Ch2 Ch3Ch3 Ch4Ch4

BRIDGEBRIDGE

++--

11-14.4 volts DC11-14.4 volts DC

Min load 2 ohms StereoMin load 2 ohms Stereo

Min load 4 ohms BridgeMin load 4 ohms Bridge

BRIDGEBRIDGE

++--

Min load 2 ohms StereoMin load 2 ohms Stereo

Min load 4 ohms BridgeMin load 4 ohms Bridge

Minilith

This amplifier has a little humour attached to it’s name. It is a sort of “Lith” but of course

much smaller, so what better than to name it as the mini version of Megalith. With an

output capability of 600w into a 1 ohm load, Minilith takes it’s place beside it’s larger

sibling.

All the same good technical goodies apply to this small Lith. It would be pointless to repeat

it all here so just read the technical stuff under Megalith. Of course this amplifier has less

parts and so the input capacitance totals only 11,000mfd. The circuit accommodates

various types of power supply mosfets. We typically use twelve 17 amp mosfets or six 35

amp versions. In either case we have a large current reserve for total reliability.

The class D amplifier uses six power mosfets each rated at 33 amps (for a total of 99

amps) in a circuit with a maximum current requirement of 24.5 amps.

Minilith uses the identical front end as Megalith so this mini-mite has no disadvantage in

terms of it’s versatility.

Two Miniliths may be bridged for up to 1.2Kw into a 2 ohm load

Typical Systems

System 1: This shows a Megalith connected to a subwoofer (1 or more speakers) and

driven from a head unit with front and rear outputs(Fig 3) OR a head with a MONO output

(Fig 4).

Head Unit

Fuse

Battery

Left Front

Left Rear

Right Front

Right Rear

Remote Output

4 x Y-adaptors to split signal for routing

to the high frequency amplifier(s)

Audio signals routed to the Mid-High frequency

amplifiers - refer to diagrams for Stereo and

4 channel amplifiers in this manual

1) Set “MODE” switch to “NORMAL” position.

2) Set Parametric Eq to suit.

3) Set Low Pass crossover to suit.

4) Set High Pass crossover to suit

5) Set level control to suit.

6) Do NOT plug an RCA into “MONO/BRIDGE”

input.

7) Optional remote control

Woofer of 1-4 ohms

Head Unit

Left Front

Left Rear

Right Front

Right Rear

Remote Output

Audio signals routed to the Mid-High frequency

amplifiers - refer to diagrams for Stereo and

4 channel amplifiers in this manual

Mono Output

1) Set “MODE” switch to “NORMAL” position

2) Set Parametric Eq to suit

3) Set Low Pass crossover to 240Hz if the head’s

internal Low Pass crossover is used OR set as

required and set the head’s Low Pass crossover

to it’s highest frequency >200Hz.

4) Set High Pass crossover to suit

5) Set level control to suit

6) DO NOT use RCA inputs 1-4

Rear panel not shown for clarity - same as Fig 3.

Fig 3

Fig 4

Page 15

INPUTSINPUTS

LINELINE

OUTOUT

MONOMONO

BRIDGEBRIDGE

LEVELLEVEL

HIGHHIGH

PASSPASS

LOWLOW

PASSPASS

BOOSTBOOST

CUTCUT

MODEMODE

0.22v7.4v48

11235

180

110

125

140

160

BRIDGE

NORMAL

REMREM

PARAMETRIC EQPARAMETRIC EQ

FREQFREQ

INPUTSINPUTS

LINELINE

OUTOUT

MONOMONO

BRIDGEBRIDGE

LEVELLEVEL

HIGHHIGH

PASSPASS

LOWLOW

PASSPASS

BOOSTBOOST

CUTCUT

MODEMODE

0.22v7.4v48

11235

180

110

125

140

160

BRIDGE

NORMAL

REMREM

PARAMETRIC EQPARAMETRIC EQ

FREQFREQ

+++

-- REM

POWER CONNECTIONS

SPEAKER CONNECTIONS

DESIGNED AND ASSEMBLED

IN THE USA by ZED AUDIO 11-14.4 volts DC

1 ohm load min

Head Unit

Fuse

Battery

Left Front

Left Rear

Right Front

Right Rear

Remote Output

1) Set “MODE” switch to “NORMAL” position.

2) Set Parametric Eq to suit.

3) Set Low Pass crossover to suit.

4) Set High Pass crossover to suit

5) Set level control to suit.

6) Do NOT plug an RCA into “MONO/BRIDGE”

input.

7) Optional remote control

Fig 5

System 2: This shows the connections on how to bridge two Megaliths to form one super

high power amplifier capable of 4Kw into 2 ohms. Fig 5

Master amplifier

Fuse

1) Set “MODE” switch to “BRIDGE” position.

2) Parametric Eq is INOPERATIVE

3) Low Pass crossover is INOPERATIVE

4) High Pass crossover is INOPERATIVE

5) Level control is INOPERATIVE

6) RCA inputs 1-4 are INOPERATIVE

7) Connect LINE OUT from master to BRIDGE input

of slave.

8) Connect a #8 or larger GROUND cable from the “-”

speaker terminal of the MASTER to the “-” speaker

terminal of the SLAVE.

Slave amplifier

RCA-RCA cable

Remote out to both REMOTE In’s

of the amplifiers

Woofer(s) of 2-8 ohms

Interconnect GROUND

Page 16

Remote in Remote in

Important Notes:

Make sure Interconnect GROUND is from spk -

to spk - ONLY

Do NOT use less than a 2 ohm load in BRIDGE

mode.

Fuse each amplifier separately.

Alternative input connections may be

made as per Figure 4

Note

To Battery +

+++

-- REM

POWER CONNECTIONS

SPEAKER CONNECTIONS

DESIGNED AND ASSEMBLED

IN THE USA by ZED AUDIO 11-14.4 volts DC

1 ohm load min

INPUTSINPUTS

LINELINE

OUTOUT

MONOMONO

BRIDGEBRIDGE

LEVELLEVEL

HIGHHIGH

PASSPASS

LOWLOW

PASSPASS

BOOSTBOOST

CUTCUT

MODEMODE

0.22v7.4v48

11235

180

110

125

140

160

BRIDGE

NORMAL

REMREM

PARAMETRIC EQPARAMETRIC EQ

FREQFREQ

INPUTSINPUTS

LINELINE

OUTOUT

MONOMONO

BRIDGEBRIDGE

LEVELLEVEL

HIGHHIGH

PASSPASS

LOWLOW

PASSPASS

BOOSTBOOST

CUTCUT

MODEMODE

0.22v7.4v48

11235

180

110

125

140

160

BRIDGE

NORMAL

REMREM

PARAMETRIC EQPARAMETRIC EQ

FREQFREQ

+++

-- REM

POWER CONNECTIONS

SPEAKER CONNECTIONS

DESIGNED AND ASSEMBLED

IN THE USA by ZED AUDIO 11-14.4 volts DC

1 ohm load min

NEVER EVER RUN A FULL RANGE SIGNAL

INTO THE “MONO-BRIDGE” INPUT

WITH THE BRIDGE SWITCH IN THE

“BRIDGE” MODE. THIS WILL DAMAGE

THE AMPLIFIER.

Note

Make NO other connections

to this #8 wire

Gladius and The Deuce

hat a combination these two are. Gladius,(which is Latin for sword) was the famous

WRoman short sword used by the Romans. Between 18 and 27 inches (455 to

685mm) in length and made from hardened steel attached to a wooden handle it was a

deadly weapon in the hands of a soldier. The design of the short sword was copied from

the Iberian Celts. Roman gladiators were also specialists in the use of this weapon. Our

version of the Gladius is equally as deadly in the hands of a good installer. Somewhat

shorter than the sword but of course a lot heavier. At 75w/ch it packs a punch which

belies it’s modest power rating.

he deck of cards originally came from China and entered the Western world in the

T13th century. Many forms of cards exist but all have the same number in each suit

and all have a deuce. Thirteen cards in each suit, the second being the 2 or deuce. The

Deuce from Zed signifies our second amplifier in the line up which is a two channel

amplifier of powerful proportions. Whilst not a monster power house, at 400w/ch @ 2

ohms it will certainly do justice to any system in which it is installed.

As in Megalith, these two amplifiers have all the same power supply technology but of

course on a smaller scale. Gladius employs 6 high current Mosfets in the power supply

together with 8,800 mfd of capacitance whilst The Deuce has 8 ultra high current Mosfets

with 22,000 mfd. Each Mosfet in Gladius is limited to a maximum current of 9 amps and

in The Deuce to 18 amps. The same extensive protection system as used in Megalith is

used in these two babies. The secondary side of Gladius has fast recovery diodes

delivering the rectified AC to a bank of capacitors totaling 8,800 mfd. The Deuce has

18,800 mfd worth of capacitance.

Both Gladius and The Deuce use the same topology in their amplifier circuits. Fully

complementary from input to output, they use temperature compensated constant current

sources to drive the differential input transistors. This ensures that with varying

temperature the DC conditions within the amplifier are kept constant. The inputs are fully

balanced, using our Differential Drive circuit, which allows us to float the pre-amplifier

100% from ground. Noise is thus a thing of the past. The circuits employ substantial

amounts of local feedback which allows us to use very little global feedback. Low THD

was not our goal, rather sound quality. The output stages use high frequency Bipolar

output transistors. These have an Ft of 20MHz and are very linear with respect to gain.

Gladius has four, 100 watt devices per channel whilst The Deuce has ten,100 watt

devices per channel. Zed has always been a strong proponent of having output stages

vastly over rated. The reliability of the amplifier is improved when output devices are run

at fractions of their capability.

Page 17

re-amplification is such an important part of any mobile amplifier. We incorporate a

Ppair of high and low pass crossovers both with 24dB/octave slopes. The frequency

range covered is sufficient to allow these crossovers to be used in tri-amplified systems.

The amplifiers may of course be run full range. A variable bass boost control allows for up

to 18dB of boost to be applied at 44Hz. The level control has a range from 0.26 to 8 volts.

When the MODE switch is in the “direct” position, all pre-amplifier features are bypassed

except the gain control and this is the purest signal path.. A selector switch allows for flat,

low or high pass functions to both the amplifiers and the line output.

Typical Systems

System 1 - One amplifier to a speaker system

Head Unit

Fuse

Battery

Remote out

Notes

1) Set the Routing switch to suit the speakers being used

2) Set the Low or High pass crossovers to suit the speakers being used

3) If the ROUTING switch is set to “flat” then the low and high pass crossovers do not

function but the Bass control is operative.

4) Set the Bass boost control to suit.

5) Set the level control to the specific head unit.

6) Set the MODE switch to the desired position, “Direct” will bypass ALL controls

except the Level control. This is the purest signal path.

Page 18

Minimum speaker impedance per channel is 2 ohm

Fig 6

LEFT RIGHT

BRIDGE

-REM

POWER CONNECTIONS

SPEAKER CONNECTIONS

DESIGNED AND ASSEMBLED

IN THE USA by ZED AUDIO

11-14.4 volts DC

Min load 2 ohms Stereo

Min load 4 ohms Bridge

3.5K

1.2K

670

190

463.5K

1.2K

670

190

LOWLOW

PASSPASS

HIGHHIGH

PASSPASS

LEVELLEVEL BASSBASS

EQEQ

DIRECT

NORMAL

0.26v8v 0 +18dB

LINELINE

OUTOUT

MODEMODE

LINELINE

INPUTINPUT

HP LP FLAT

LP FLAT

ROUTINGROUTING

AMPLIFIERAMPLIFIER

LINE OUTLINE OUT

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