Euphonic Audio, EA - Classic, 1200W, Electric, Acoustic, Double Bass, EUB :: Lightweight, compact, class D amplifiers :: Bassdirect Bass Amplification:: Warwick, Birmingham, Manchester, London, USA

 

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Doubler 2 | >Classic


  1. EA iAmp Classic - £1199 Free UK shipping

  2. Add, single momentary switch for channel switching £18

  3. Add, Amp Gig bag £29

  4. EU mainland shipping (orders outside UK) + £15


  1. Please contact the shop to pay by  Bank Transfer or finance

EA makes micro heads for bassists who like to hear their instruments without amp colourations.


The beast is back! The new iAMP Classic starts with the time-tested, wonderfully flexible iAMP front end - and updates it with a truly formidable power section. The intuitive, flexible EQ section has been a key ingredient in the personal sound of many players over the years.. The Preamp Circuitry The iAMP Pro preamplifier circuitry consists of specially selected low noise, high bandwidth integrated circuits and support components. The original iAmp800 was highly praised for its transparent, yet easily modifiable sound; it was capable of a "girth" that not many amps could replicate. The Class D followup to the iAmp800, the iAmp Pro, was criticised by some players, who said that it didn't quite capture that same full-bodied goodness of the original power section. Well, worry not; the power section in the new iAmp Classic is a proven module that presents a clean and uncoloured sound — with the same amazing power and thickness that the original iAmp800 had... just not all the weight!





  1. Uses: acoustic instruments, bass, and keyboards

  2. Inputs: 1/4" Hi and Lo jacks with multi-stage LED level indicator

  3. Input Impedance: TBD

  4. Controls: Input Gain, EQ In/Out, High Pass Filter, Master Volume, DI Level, Mute, DI Output On/Off, DI Pre/Post

  5. EQ: Lo, Lo-Mid, Hi-Mid, and Hi: all with boost/cut and variable frequency controls.

  6. EQ Presets: Deep, Contour 1, Contour 2, Bright

  7. Effects Loop: Series Post EQ with level control

  8. Outputs: Two parallel 1/4" speaker, 1/4" Tuner, XLR balanced DI

  9. Frequency Response: TBD

  10. Power Output: 1200w/4 and 2 ohms, 600w/8 ohms

  11. Size: approximately 3.5"H x 14"W x 8"D

  12. 100/120 - 240 volt power using internal selection

  13. Weight: approx 8.5 lbs.


Front Panel

HI INPUT: The HI INPUT has a 1 MEG ohm input impedance and is suggested for use with instruments with active electronics

LO INPUT: The LO INPUT has a 1 MEG ohm input impedance and is suggested for use with instruments with passive electronics. There is no tonal difference between either input.

GAIN CONTROL: At the maximum setting for GAIN Control, the red LEVEL INDICATOR light barely lights. Avoid prolonged or constant lighting of the red LEVEL INDICATOR light. If your HI signal is not loud enough, switch to the LO input jack, this will provide 6dB more signal.

LEVEL INDICATOR: The RED LED should not normally light under normal playing conditions, although occasional lighting is not dangerous. Please note that the LEVEL INDICATOR is POST the TONE SHAPING section of the iAMP Classic. Changes to the TONE SHAPING section of the amp will affect the LEVEL INDICATOR. Once you arrive at the desired tone re-check the input GAIN as not to clip the amplifier. Once the GAIN CONTROL is set, it should be left alone with the output volume determined by the MASTER CONTROL.

MASTER CONTROL: Adjusts the level going into the power amplifier section. The iAMP® was designed to be exceptionally clean, accurate and versatile. If you want a “dirtier” overdriven-type sound, it is best to use an effects device through the EFFECTS loop.




Back Panel

RETURN LEVEL: Use this control to adjust the level of the signal returning from the effects chain.


SEND JACK: Connect the cord going to the effects box or pedal here.


RETURN JACK: Connect the cord coming from the effects box or pedal here. The iAMP-Classic features a Series Effects Loop.


COOLING VENTS: Your iAMP® is so efficient it needs no cooling fan. Although the iAMP® needs no fan, the vents on the side need to be kept clear. If you are putting your iAMP® in a rack, consider a 3-space rack for adequate ventilation.


LINE VOLTAGE: Adjusts automatically, there are no switches to set.. Input Power: 90-132VAC-50/60HZ or 190-264VAC-50/60HZ


FUSES: All fuses are internal to the unit and are not user serviceable. In the event of a problem, contact EA for service.


Note: There is a slide switch located on the top edge of the preamp PC board just to the right of the input GAIN control area. When this switch is in the “right” position (default setting), the preamp response is flat when all tone controls are off. If you switch it to the “left” position, there is a slight boost at about 80Hz. This boost will add depth to the sound at low volumes, everything else being the same. You can also achieve this boosting using the tone controls if desired



POWER SWITCH: Turns unit on/off.

A/C INPUT: Use appropriately grounded, three-prong A/C plug.

SPEAKER OUTPUT: Two Speakon connectors, wired 1+, 1-.

XLR OUTPUT PLUG: For sending a balanced signal directly to low noise studio equipment.

DI OUTPUT LEVEL: Adjusts the level of the DI, for finer control of levels going to an external mixing board or recording device. Note that the ground pin of the DI XLR connector is permanently connected to ground.

DI ON/OFF: Turns DI on and off.

POST/PRE EQ: Sets the DI output to send either a clean (PRE) or colored (POST) signal—created in the TONE SHAPING SECTION, including PRESETS— to external sources.

TUNER JACK: Allows for an external tuning device or can be used for an unbalanced Line Out signal.


For a long time it has been mistaken that a solid state amp could not have that big, warm tube sound. The flexibility of the iAMP design allows that and many other sounds. Try this setting to get that fat tube amp sound.


Lo: +12dB @ 180Hz

Lo-Mid: +5dB@640Hz

Hi-Mid: N/A

Hi: –12dB@4kHz Deep Preset Engaged

“The iAMP offers a lot of tone-shaping flexibility: Four bands of parametric EQ plus four well-voiced presets pro- vide almost unlimited tone-tweaking potential.”

- Bass Player Magazine

Here is another example for all of you “Jacophiles” out there! This setting will give you that great midrange growl and beautiful ringing harmonics that became the signature of the Jaco Pastorius bass sound.


Lo: N/A

Lo-Mid: +10dB@640Hz

Hi-Mid: +7dB@2kHz

Hi: +2dB@4kHz All Presets Off


This is only a guide. Determine your personal settings based on your instrument and playing style. Finally, one more quote from Bass Player Magazine:


“The deep button’s moderate bass boost, combined with contour 2’s upper midrange dip, produced a full and clear sound that worked especially well with 4-string basses. These two presets are so well voiced I never needed to use the iAMP’s powerful parametric EQ during my gig tests. To enhance the EQ section’s intuitive feel, EA angles the frequency-selecting sliders to give a better graphic representation of their function. It’s easy to find EQ sweet spots by slowly adjusting the sliders.”


CONCLUSION:

The EA Tone Shaping Section is extremely powerful and versatile. Use the Tone Shaping section judiciously.

Add a little bit at a time.


“The iAMP offers a lot of tone-shaping flexibility: Four bands of parametric EQ plus four well-voiced presets pro- vide almost unlimited tone-tweaking potential.”

  1. -Bass Player Magazine


THIS QUOTE FROM BASS PLAYER MAGAZINE

JUST MIGHT SAY IT ALL.


If you are new to the range and flexibility built into the EA Tone Shaping Section, we offer this primer to help get a good working knowledge of the iAMP Tone Shaping. Although many are used to calling this the EQ section we use the more accurate term, “Tone Shaping”.


We chose to call this the Tone Shaping section because that is exactly what it does. It allows you to custom contour your tone. The term “Equalizer” is used to boost or cut specific frequencies inherent in the listening environment itself, to “equalize the room.” Instead, the iAMP® provides you with extremely pliant tone controls to allow you the freedom and creativity to develop a wide variety of tones from any instrument you play through it.


That being said, it is important to remember most listening environments (clubs, auditoriums, rehearsal halls, etc.) actually enhance the frequencies below 50Hz of a bass rig, adding “room resonance” to the sound emanating from the woofer. Conversely, people in the room will absorb the higher frequencies created by the midrange and tweeters. Depending upon the timbre desired, you may wish to keep that in mind, as the sound you are hearing directly in front of your rig is not the same as the sound perceived in the listening environment. When in doubt, back off the bass a little and boost the treble a bit. That way you will be felt as well as heard.


OVERVIEW The iAMP’s tone shaping section is divided into two sections that can be used independently or together. The iAMP has Presets that allow the player to quickly dial in a great sound. There is also a section that allows more detailed tone shaping options. There are 5 presets, HP Filter, Deep, Contour 1, Contour 2, and Bright. Each Preset has its own on/off switch.


HP FILTER: This filter cuts the frequencies below 20Hz and is primarily for upright bass players.However, there is no harm when using it with electric bass as it might help better control and define the low end with certain speakers


DEEP: +6dB@50Hz, 1/2-octave bandwidth. Use this control to fill out the bottom end that is easily lost at lower volume settings. The frequency range that this preset affects is the area perceived as the “solidity of an instrument,”” or how much strength your sound has. Caution: when engaged at loud volume settings, this preset could cause permanent loudspeaker and hearing damage.


CONTOUR 1: –6dB@500Hz, 1/2-octave bandwidth. This preset was conceived to optimize fingerstyle playing. This EQ is based upon players’ request for a “sculpted” pleasing tone—specially tailored toward an ultimate finger picking sound. It will also take the “honk” out of almost any speaker system. CONTOUR I will eliminate a portion of the lower midrange frequencies, providing wide, deep shaping. At low volume levels, you can use this preset similarly to a loudness control (which typically boost the extreme low and high frequencies).


CONTOUR 2: –8dB@750Hz, 1/2-octave bandwidth. This preset was designed to give a great slap/pop sound. This wide filter removes the upper midrange frequencies thereby eliminating the harshness that is often present when slapping the bass. CONTOUR II makes this playing popular style of more sonically pleasing.


BRIGHT: +8dB@7.5kHz, 1/2-octave bandwidth. This preset emulates the high-end response of a vintage Fender® Jazz Bass pickup. It gives you a top end “snap” that dull-sounding pickup systems cannot. The tremendous amount of boost also compensates for speaker systems that do not deliver a good upper end response. It can also add sparkle to a lackluster or old set of strings.


For more detailed Tone Shaping options the player can boost or cut specific frequencies as desired. The unique design of the iAMP Tone Shaping section presents a visual representation of the effect on your sound. There are four adjustable frequency ranges:


LO CONTROL: +/–18dB shelving gain control, 40–180 Hz

LO-MID CONTROL: +/–18dB gain control, 180–1kHz

HI-MID CONTROL: +/–18dB gain control, 800-8kHz

HI CONTROL: +/–18dB shelving gain control, 1–8kHz


Each frequency range has a diagonal slider that centers the frequency to be adjusted and a rotary boost/cut control knob. PLEASE NOTE THAT THE EQ ON/OFF SWITCH HAS NO EFFECT ON THE PRESETS.


The iAMP is designed so that either the presets or the more detailed tone shaping option of the iAMP can be used individually or together. We suggest that if both are to be used in conjunction that first you should dial in your desired tone with the sliders and THEN enhance the sound by kicking on the presets.


Each slider, from left to right, affects a higher frequency range; stepping up like a ladder. Here is a step-by-step introduction to the infinite possibilities presented by the iAMP Tone Shaping Section. First, engage each preset button, one at a time to see if you get the tone you are looking for.


If you still want something different DISENGAGE all Presets. Find the frequency you want to enhance (or diminish). To do this, estimate the frequency range that you want to adjust (Lo, Lo-Mid, Hi-Mid or Hi). Boost the Rotary control for that slider by 5–10dB. Play a note and slowly move the slider until the desired characteristic “blooms”.


Now that you have isolated the frequency you can use the rotary control to enhance or diminish it. You might want to add some bottom to fill out the sound on a low volume gig. Adding midrange will help you cut through the mix. You might also want to remove some fret noise or string squeak.


Now that you’ve added or removed certain specific frequency ranges, you can engage different presets to affect the overall sound. Be cautious as each of these are additive. If you’ve boosted the bass by 15dB and then turn on the Deep button, you have boosted the bass by 21dB. This can cause serious damage to many speaker systems as well as your hearing!


OUR OBJECTIVE was to create a compact, full–featured integrated bass amplifier with a wide bandwidth, possessing more than adequate power and exceptional “headroom” (for extra power demands, when needed), an amplifier capable of driving and extracting all the nuances from EA’s expressive line of speaker cabinets. Our overall design mandate included balancing between two competing ideals: simple to use, yet extremely flexible.

We took our cue from today’s high-end recording studio equipment, thus creating a robust integrated amp with an intuitive layout, providing today’s bassist with exceptional versatility. Notice the “organic” placement of the controls on the Front Panel. As the signal flows from left to right—from the INPUT SECTION to the TONE SHAPING SECTION to the OUTPUT SECTION — you adjust the parameters at each stage, corresponding to actual the signal path within the iAMP® itself.



















If you've never seen an iAmp in person, their classic EQ section may look a little complicated; but it is pretty intuitive once you understand its concepts and interactively wrap your ears around its effects. The Deep and Contour II presets are favorites of mine, and Contour I and Bright are very nice as well. The four part section section has controls for Bass, Low-Midrange, High Midrange, and High, with a range -15db to +15db. The slider beneath each lets you select the semi-parametric center frequency that the knob affects, so you can very precisely choose and affect favorite frequency bands to dial in your sound - or dial out problem frequencies when on a "stage from hell" that might be causing "boominess" or "honking." As an example-- getting too much finger noise from your double bass sound?? Move the High Mid slider to 1kZ, and use the dial above to subtract some of that noise! Knowing the "magic" frequencies helps, but the bottom line is: you should use your ears to make these adjustments. The EQ section can be switched in and out, which is very helpful if you are switching between two basses, and one needs more sound tailoring than the other. The rest of the features are pretty self-explanatory, and of course for optional use, but please email me if you have any questions. "The thing that drew me to Euphonic Audio was the purity of the translation of my sound through their system. It has worked in such a large variety of situations from Phil Collins, TOTO, James Taylor and Carole King to Lyle Lovett, Judith Owen and on and on. It is both my live set up and my studio set up. FOH and studio engineers always say how much they appreciate the purity and clarity of the system. EA is always striving to up the bar and tweak what is already great. Just remember that you are the sound and the gear is there to allow others to hear YOU and NOT CREATE YOU!"

Leland Sklar

 

Tel: 01926 886433








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