Fragmenty instrukcji obsługi Cal Amp Viper ScPlus 900 Series

Fragmenty instrukcji obsługi Cal Amp Viper SC Plus 900 Series są dostępne na stronie internetowej producenta i zawierają wszystkie niezbędne informacje dotyczące instalacji, konfiguracji i użytkowania urządzenia. Instrukcja zawiera szczegółowe informacje na temat łączenia urządzenia z systemem, wybierania opcji konfiguracji i używania wszystkich funkcji urządzenia. Instrukcja jest również dostępna w formacie PDF, który można pobrać i wydrukować. Fragmenty instrukcji obsługi Cal Amp Viper SC Plus 900 Series są bardzo przydatne w wyjaśnianiu funkcji urządzenia i wskazówek dotyczących użytkowania.

Ostatnia aktualizacja: Fragmenty instrukcji obsługi Cal Amp Viper ScPlus 900 Series

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d600. 1
model
d1200. 1

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2 © 2002 Directed Electronics, Inc

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CONGRATULATIONS Congratulations for choosing a Viper delight the mobile sound enthusiast with Audio power amplifier from Directed years of high-quality audio reproduction. Electronics, the industry leader in high Viper Audio power amplifiers come with quality automotive security and audio a two-year limited warranty if installed equipment since 1990. by an authorized Viper dealer. If not With the introduction of Viper Audio installed by an authorized dealer, Viper power amplifiers, Directed Elec

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LIMITED TWO-YEAR CONSUMER WARRANTY Directed Electronics, Inc. promises to the WARRANTY OF NON-INFRINGEMENT OF original purchaser, to replace this product INTELLECTUAL PROPERTY ARE EXPRESSLY should it prove to be defective in workman- EXCLUDED TO THE MAXIMUM EXTENT ship or material under normal use, for a ALLOWED BY LAW, AND DIRECTED period of two years from the date of NEITHER ASSUMES NOR AUTHORIZES purchase by the dealer as indicated by the ANY PERSON TO ASSUME FOR IT ANY date code marking of t

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FEATURES Super-efficient Class D PWM design Continuously variable 24 dB/ runs much cooler than conventional octave low-pass crossover. amps. Variable 20-50 Hz, 24 dB/octave High-speed MOSFET switching subsonic filter. power supply. Variable 12 dB bass EQ function. High-current complimentary MOSFET Variable phase adjustment. outputs stable into 1 ohm loads. Remote subwoofer level control Thermal, DC offset, reverse polarity, supplied. and short circuit protection with status LED. Variab

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INSTALLATION GUIDELINES 1. Please read this owner’s manual terminal. Use a fuse or circuit carefully before installing this ampli- breaker rated slightly more than the fier. on-board fuse(s) of the amplifier(s). The gauge of power 2. Disconnect the battery ground wire used should take into account terminal prior to making any elec- the total current draw of the trical connections. system, and the length of wire used. IASCA and other auto sound 3. Check for any hazards or obstruc- tions such as

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speaker load, the more heat is 10. Due to the high-frequency MOSFET generated. For low-impedance switching power supply, filtering the speaker applications or restricted power cable is not generally ventilation installations, an external required (remember that the amp cooling fan may be advisable. can’t deliver full output if the power supply is restricted). Proper 9. Battery and ground connections to grounding of the signal source is the vehicle should be made with mandatory for the amplifier

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FRONT PANEL CONNECTIONS 1. R RC CA A IIn np pu ut t J Ja ac ck ks s - Accepts line level 3. R RC CA A B Brriid dg ge e O Ou ut tp pu ut t J Ja ac ck k - This output outputs from head units or signal sends an out-of-phase signal to a processors at voltages between slave amplifier when connected in 150mV and 8 volts. the External Synced Bridged combi- nation. (Refer to the Combined R RC CA A S Sy yn nc c O Ou ut t/ / S Slla av ve e IIn n J Ja ac ck k 2. Amplifiers section of this guide. ) Sync Out

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REAR PANEL CONNECTIONS 1. R Re em mo ot te e T Tu urrn n O On n - This terminal turns BREAKER to the positive terminal of on the amplifier when (+) 12 volt is the vehicle battery or the positive applied to it. Connect it to the remote terminal of an isolated audio turn on lead of the head unit or signal system battery. source. If a (+) 12 volt remote turn W WA AR RN NIIN NG G:: Always protect this power wire by installing a fuse on lead is not available, a Remote or circuit breaker of the approp

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FIGURE 2—AMPLIFIER CONNECTIONS d600. 1 REAR 15 3 4 6 2 FIGURE 3—AMPLIFIER CONNECTIONS d1200. 1 REAR 15 3 4 6 2 10 © 2002 Directed Electronics, Inc

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TOP PANEL FEATURES Control Panel Cover 2. Apply two of the precut pieces of adhesive tape to the corners of the The amplifier’s gain and filter controls window that don't have tape. Make are mounted under the elliptical control sure to apply the tape to the side panel cover. Magnets hold the cover that makes contact with the cover. snugly and allow easy access. Save the other two precut pieces of T To o iin ns st ta allll t th he e c co ov ve err - Place the tape for future use. straight end of

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SPEAKER WIRING DIAGRAMS Single subwoofer connection (bottom view) Two subwoofer connection (bottom view) N NO OT TE E:: The dual + and -- subout terminals of the d600. 1/d1200. 1 are paralleled internally and the combined load impedance should be taken into consideration when connecting multiple subwoofers. 13 © 2002 Directed Electronics, Inc

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COMBINING AMPLIFIERS amplifiers in this combination. Multiple identical The Viper d600. 1 subwoofer master/slave combinations can be added to any amplifiers have the capability of given system. connecting two or more amplifiers of the External Synced Bridged same power rating together in a In this master/slave combination the master/slave combination for increased master amplifier pre-amp controls remain power with accurate level matching. They active and the slave amplifier pre-amp is ar

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PARALLEL SYNCED GAIN CONNECTIONS/SETTINGS 1. IIn np pu ut t S Siig gn na all - Connect these RCA 4. S Siig gn na all C Co on nn ne ec ct tiio on n - Connect an RCA jacks as described in the Front Panel cable between the SYNC OUT RCA Connection section of this guide. jack of the master amplifier and the SLAVE IN RCA jack of the slave 2. S Slla av ve e/ /M Ma as st te err S Sw wiit tc ch h amplifier as shown in the Figure 5. Set the slave/master switch 5. S Su ub bw wo oo offe err S Sp pe ea ak k

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FIGURE 5—PARALLEL SYNC GAINED d600. 1 Master 2 1

      
    
 3 Do Not Use 4


 Slave

      
    
 Do Not Use Do Not Use 2 Subwoofer Wiring (bottom view) 5 N NO OT TE E:: The dual + and -- subout terminals of the d600. 1 are paralleled internally and the combined load imped- ance should be taken into consideration when connecting multiple subwoofers. 16 © 2002 Directed Elect

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EXTERNAL SYNCED BRIDGED CONNECTIONS/SETTINGS 1. S Siig gn na all C Co on nn ne ec ct tiio on n - Connect an RCA jacks as described in the Front cable between the BRIDGE OUT RCA Panel Connection section of this jack of the master amplifier and the guide. SLAVE IN RCA jack of the slave amplifier as shown in Figure 6. 2. S Slla av ve e/ /M Ma as st te err S Sw wiit tc ch h 5. S Su ub bw wo oo offe err S Sp pe ea ak ke err C Co on nn ne ec ct ti

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FIGURE 6—EXTERNAL SYNC BRIDGED d600. 1 Master 2 1 Do Not Use

      
    
 3 4


 Slave

      
    
 Do Not Use Do Not Use 2 Subwoofer Wiring (bottom view) N NO OT TE E:: The dual + and -- subout terminals of the d600. 1 are paralleled inter- 5 nally and the combined load impedance should be taken into consideration when connecting multiple subwoofers. The audio signal to the

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MULTIPLE AMPLIFIER COMBINATIONS The Viper d600. 1/1200. 1 subwoofer more Directed Remote Sub Level cable splitters. Standard single-to- amplifiers can also be used in multiples double phone line splitters and of the master/slave combinations accessories from a local electronics allowing for unlimited expansion to a store can also be used. systems subwoofer section. To use multiples of amplifier combinations the For systems with more than two following directions must be adhered to master/slave co

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CROSSOVER SETTINGS AND GAIN ADJUSTMENT Your Viper Audio power amplifier needs to be adjusted carefully to achieve maximum performance. These are some guidelines to follow when fine-tuning the amplifier. Because this amplifier is only designed for subwoofer applications, the low-pass crossover is active at all times. The crossover point is adjustable to allow more precise system operation. Try and keep the setting low enough to prevent image smearing (you should not be able to hear male voices

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550. 2
models
650. 2

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2 © 2002 Directed Electronics, Inc

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CONGRATULATIONS Congratulations for choosing Viper Audio pressed fiberglass woofer cones and neodymium two-way component high-grade neodymium motors, the speakers from Directed Electronics. Viper Audio line of automotive loud- speakers will excite and delight the auto Directed Electronics has been the sound enthusiast with years of high industry leader in high-quality automo- quality audio reproduction. tive security and audio equipment since 1990, and with the introduction of the Viper Audio lo

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LIMITED TWO-YEAR CONSUMER WARRANTY Directed Electronics, Inc. (DEI) promises to WARRANTY OF MERCHANTABILITY, FITNESS the original purchaser, to replace this FOR PARTICULAR PURPOSE, AND WARRANTY product should it prove to be defective in OF NON-INFRINGEMENT OF INTELLECTUAL workmanship or material under normal use, PROPERTY ARE EXPRESSLY EXCLUDED TO for a period of two years from the date of THE MAXIMUM EXTENT ALLOWED BY LAW, purchase from the dealer as indicated by the AND DEI NEITHER ASSUMES NOR

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FEATURES Woofer Crossover Pressed-fiberglass cone for stiffness LEAP-optimized third order high- and low mass. pass, first order low-pass design to achieve symmetrical third order Four-layer inductance-optimized Butterworth acoustic response. voice coil. Mylar capacitors in all series pass Proprietary die-cast aluminum positions. basket. Zobel-stabilized woofer impedance. High-grade neodymium motor structure. DC and current-limit tweeter protection. Tweeter Four position tweeter level a

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SOUND QUALITY Obtaining the highest quality sound designing and installing an auto sound reproduction in the mobile environment system. requires installation techniques and To achieve the best sound quality knowledge of vehicle interiors that go possible from your Viper Audio loud- far beyond simple replacement of stock speakers, Directed recommends the speakers. Speaker location, orientation, installation be performed by an MECP phasing, and the vehicles interior mate- certified technician. ria

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WOOFER INSTALLATION Review the Installation Precautions 5. Route the supplied wires through the speaker location to the section of this guide before proceeding. crossover. 1. Place the cutout template against the mounting surface in the desired 6. Install the screw speed clips if not location for the woofer. installing into a metal panel. 2. Draw the speaker hole and 7. Connect the speaker wire to the mounting screw locations on the woofer taking care to observe panel with a marker. proper spea

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TWEETER INSTALLATION Review the Installation Precautions ring as a template to mark the proper size hole. Cut out the hole. section of this guide before proceeding. 5. With the tweeter assembled, route Flush Mounting into the wires through the hole and the Removed Panels pressure ring and slip the pressure 1. Determine the tweeter mounting ring over the tweeter assembly. location, then route the wires from the crossover to the tweeter location. 6. Align the tweeter so the Viper logo faces the d

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Flush Mounting into proper length machine bolt through Mounted Panels the center hole of the housing and 1. Determine the tweeter mounting connect to the spring steel X- location, then route the wires from bracket. (See Figure 3. ) the crossover to the tweeter loca- 6. Connect the speaker wires tion. observing the correct polarity. Mark the center point of the 7. Press the X-bracket portion of the tweeter location. assembly through the hole until its 3. If using a hole saw, first drill a pil

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Tweeter Surface Mounting 5. After removing the surface mount tweeter assembly trim ring, route 1. Determine the tweeter mounting the tweeter wires through the larger location, then route the wires from hole in the housing and connect to the crossover to the tweeter loca- the speaker wires from the tion. (See Figure 4. ) 2. Place the surface mount housing 6. Insert the excess speaker wire into against the panel and mark the two the hole and position the housing so holes at the rear of

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Removing Trim Rings housing with the Viper logo at the bottom and turn in a counter clock- Hold the tweeter housing while gently wise direction until the trim ring turning the trim ring in a clockwise direc- clicks into place. tion until it releases. The trim ring can then be easily lifted away from the S Su urrffa ac ce e M Mo ou un nt t A As ss se em mb blly y - Insert the tweeter housing. trim ring into the housing and turn in a counter clockwise direction until Installing Trim Rings the tri

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Connection/Adjustment 2. Connect the tweeter and woofer Single Amplifier wires to the output connector as shown, carefully observing speaker 1. Connect the amplifier channel polarity. output to the crossover input connector as shown, carefully 3. Set the amplifier input switch to the observing amplifier output polarity. single channel input setting as shown. FIGURE 5—SINGLE AMPLIFIER 12 © 2002 Directed Electronics, Inc

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Connection/Adjustment 2. Connect the tweeter and woofer Dual Amplifier wires to the output connector as 1. Connect the amplifier tweeter and shown, carefully observing speaker woofer channel outputs to the polarity. crossover input connector as shown, 3. Set the amplifier input switch to the carefully observing amplifier output dual amplifier setting as shown. polarity. FIGURE 6—DUAL AMPLIFIER 13 © 2002 Directed Electronics, Inc

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SPECIFICATIONS Viper model 550. 2 650. 2 Tweeter Fs (Hz) 71. 1 51. 7 1534. 54 Vas (cu. ft. ) 0. 19 0. 63 n/a Vas (L)5. 5 17. 9 n/a Qms 7. 19 5. 91 1. 16 Qes 0. 50 0. 45 2. 76 Qts 0. 47 0. 42 0. 82 Re (ohms) 3. 8 3. 36 Z (ohms) 4 4 4 Le (mh) 0. 49 0. 483 0. 01 SPL (dB 1w@1m) 87. 86 89. 29 91 XMAX (inches) 0. 2 0. 02 XMAX (mm) 4. 8 4. 8 0. 5 Pe (watts) RMS 100 125 100 Pmax (peak / music power) 150 175 160 Mmd (grams) 8. 35 10. 52 0. 21 Mms (grams) 8. 77 11. 30 0. 22 Cms (mm/N) 571 839 49 Bl (Tesla-M) 5. 46 5. 565 1. 6 EBP 142 11

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The company behind this system is Directed Electronics, Inc. Since its inception, Directed has had one purpose, to provide customers with the finest vehicle security, car stereo products, rear seat entertainment, and accessories available. The recipient of more than 20 patents in the field of advanced electronic Directed Electronics, Inc. technology, Directed is ISO 9001 registered. Vista, California 92083 Directed® is committed to delivering world-class quality products and services that excit

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Understanding and Using
®
Your Moogerfooger
MF-105B
®
Bass MuRF
TABLE OF CONTENTS
Getting Started............................................ 3
Frequencies and Filters............................... 5
The Bass MuRF’s Filters............................ 7
Envelope Generators................................. 10
Sequencers and Pattern Generation.......... 11
The Bass MuRF’s Animation................... 11
The Bass MuRF’s Tap/Step Input............ 13
Audio Level Controls and Mixing......

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® Welcome to the world of Moogerfooger Analog Effects ® Modules! Your model MF-105B Bass MuRF is a rugged, profes- sional-quality instrument, designed to be equally at home on stage or in the studio. Its great sound and jaw-dropping effects come from state-of-the-art analog circuitry and quality engineering that ® you have come to expect from Moog Music Inc. Your Bass MuRF is a direct descendent of the original Moog modular synthesizers and professional rack effects. It c

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GETTING STARTED Here are some simple instructions on how to quickly plug in and try out your MF-105B. 1. Unpack your MF-105B. Place it on a table while you become familiar with its features. 2. Check that the power adaptor has a nominal rating of +9 volts, providing at least 300 mA (milliamperes) of current and is also rated at your country’s standard power voltage (120 volts A. C. for the United States and Canada; 100 volts A. for Japan; and 220 volts A. for most other countries). P

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4. Connect an instrument cable from the LEFT/MONO jack to a line-level input on your amp or mixer. Turn the volume control on your amp down but not off. 5. Connect an instrument cable from your signal source to the AUDIO IN jack. You can feed virtually any instrument-level or line-level signal through your MF-105B. Examples are bass, keyboard, theremin, drum machine, or effects send output on your mixer. Play your instrument (or turn on the signal source). Adjust the volume control on

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instrument’s tone. You will hear the level of each of the 8 filters being turned up and down automatically in sequence by the Animation at a tempo determined by the RATE control. Note that changing the ENVELOPE control affects the shape that turns the filters up and down. The PATTERN rotary switch selects different patterns that dictate the sequence that turns the filters up and down automatically. The MIX control is used to blend the direct sound of your instrument with the effected soun

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sound. Some types of filters (like the bass and treble controls on your sound system) have subtle, gentle effects on a sound’s timbre. Other types of filters have stronger and more dramatic effects, and are frequently used as vital elements in the music-making process. Strong filters include phasers, flangers, and wah-type resonant filters. A graph showing what a filter does is called the filter’s frequency response. The horizontal axis is frequency. The vertical axis is the filter’s g

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The Bass MuRF’s FILTERS The Bass MuRF’s seven resonant filters have fixed center frequencies and a shelving(lowpass) filter that has a fixed cutoff frequency. These frequencies are shown on the legend underneath the filters’ sliders. Their frequencies are: 110 Hz(shelving filter), 160 Hz, 240 Hz, 350 Hz, 525 Hz, 775 Hz, 1. 2K and 1. 8K. Each filter has a slider that adjusts the gain of that filter. In this respect, the Bass MuRF resembles a graphic equalizer. When a filter’s slider

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3) Make sure the effect is on, and MIX is at 10. 4) Connect just the “left/mono” output to your amplification You may want to experiment with the panel controls and switches as we discuss each of the parameters. 5) Now, play a bright, sustained sound, preferably of low pitch into the Bass MuRF. Figure 6 shows the MF-105B’s basic frequency response, the response that you hear when the panel controls are set up as in the basic setup. For a moment press the bypass switch and turn the effect o

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done two ways, depending on the position of the BANK slider switch. The switch, located below the PATTERN selector switch is labeled BANK A or B/LFO. When the slider is in the “A” position, the filters’ center frequencies can be shifted by an expression pedal (such as the Moog EP-1) or CV plugged into the LFO/SWEEP Jack. To hear how this works, return to the basic setup described in Figure 5. Plug a Moog EP-1 into the LFO/SWEEP control input. Then, as you play into the Bass MuRF,

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ENVELOPE GENERATORS Now that we have explained the Bass MuRF’s filters, let’s proceed with some more definitions to explain the Animation function of the Bass MuRF. The term “Envelope” is used to describe the changes that occur to a musical sound, from its start to its end. A musical sound can have a rapid onset, like the plucking of a string or the striking of a drum. It can also have a gradual onset, like a slowly bowed violin. With the term “Envelope”, the shape of the start

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SEQUENCERS and PATTERN GENERATION A Sequencer is used to generate reoccurring rhythmic patterns, often by triggering sequences of notes in synthesizers or drum machines. However sequencers can be used for purposes other than triggering notes - they can be set up to create reoccurring changes of timbre as well. Vintage sequencers were typically designed so there were a certain number of “steps”. The term “step” refers to the individual components of a pattern. For instance in a bar o

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arranged in two banks of 12. An easy way to understand the Animation is to look at a simple pattern displayed on a grid. Figure 10 shows a graphic representation of pattern 2 in Bank A. The columns going left to right Figure 10 - Diagram of Pattern 2, Bank A are the steps of the pattern. The rows going from bottom to top are the individual filters. Illustrations of all the Patterns are in Appendix A, page 22. Return to the basic setting shown in figure 2, which features pa

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and the transitions from filter to filter blurred, as the Attack and Decay become so long that the effect is crossfading from one filter to the next. 5) Finally, turn the ENVELOPE control up to 8. The effect now sounds “backwards” as the attack time is now smooth but fast, and the decay is abrupt. What happens as you change the ENVELOPE control is that the shape of the Envelopes controlling the gain of the filters morphs. Figure 11 shows the changes to the envelope times at diff

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THE AUDIO LEVEL CONTROLS AND MIXING The DRIVE control adjusts the signal level at the Bass MuRF’s circuit input. With this control you can set the right input level for virtually any instrument or line-level signal source. Turn this control counterclockwise for strong input signals, and clockwise for weaker sound sources. The DRIVE light tells how strong the input signal is after being adjusted by the DRIVE control. As the signal level increases, the light goes from off, to green,

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Note that the odd-numbered filters are sent to the left channel, and the even-numbered filters are sent to the right channel. This allows for spreading a sound’s frequencies between two speakers, which adds a “spacious” feel. EXPRESSION PEDALS AND VOLTAGE CONTROL You now know what each of the rotary controls does to the sound of the MF-105B. The ENVELOPE, MIX, and RATE controls have expression pedal/control inputs that duplicate their effects. In addition, the MF-105B has a LFO/SWEEP i

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MF-105B with external control signal sources in the Technical Information section on Pages 17 and 18. SOME TYPICAL SETUPS UPWARD STAIRCASE WITH RHYTHMIC VARIATION Here is a variation on the basic setting of figure 2 that shows off the abil- ity of the Bass MuRF to create rhythmic variations within the patterns. This is really nice with sus- tained sounds or slowly arpeggiated playing. BREAKBEAT This setup produces a beat by the rhythmic filtering of the input. The sound of the bea

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X-FACTOR This setup shows off how long envelope times, in relation to the pattern’s rate, creates a morphing timbre. Try increasing the rate on this setup to make for a more tremu- lous effect. TECHNICAL INFORMATION NOTE: The following information is intended for use by people who understand analog electronic circuitry and have enough practical experience to interconnect sophisticated electronic equipment correctly. POWER: The MF-105B works on +9 volts DC and uses a max of about

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An expression pedal for use with the MF-105B should contain a 50KW or 100KW potentiometer which is connected from the sleeve to the ring terminals. Figure 14 – Correct wiring for an expression The potentiometer wiper is pedal connected to the tip terminal. The pedal cable should be shielded, with the shield connected to the sleeve terminal. See Figure 14. When connecting one or more pedal control input jacks to a source of external control voltage such as an analog synth or a M

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AUDIO PATH: The bypassed signal goes to the LEFT/ MONO output jack. Thus, when the Bass MuRF is bypassed, the signal at the LEFT/MONO output jack is the same as what your instrument is producing, and there is no signal at the right output jack. The MF-105B will not pass an audio signal unless power is applied to it. LIMITED WARRANTY Moog Music warrants that its products will be free from defects in materials or workmanship, and shall conform to specifications current at the time of

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MF-105B SPECIFICATIONS DESCRIPTION: Analog effects module incorporating two functions: 7 – band Resonant Filters and 1 - band Shelving (Lowpass) Filter and a 24- Pattern Sequencer triggering Volume Envelopes for 8 Filters. FRONT PANEL FEATURES: DRIVE rotary control - adjusts the gain of the audio input to the effect. OUTPUT rotary control - balances the level of Bass MuRF’s signal when the effect is on with the bypassed signal when the effect is off. MIX rotary control - adjusts the ratio o