Instruction and Installation Manual MINOTAUR DRACONIA DREADNOUGHT LEVIATHAN RA Designed and manufactured in the United States of America
Index Introduction Page 1 Myths, Magic and Facts Pages 2 to 16 Setting Controls Page 17 Quality Control Page 18 Installation instructions Pages 19 to 20 Specifications Pages 21 to 25 MINOTAUR Pages 26 to 34 DRACONIA/DREADNOUGHT Pages 35 to 48 LEVIATHAN Pages 49 to 61 RA Pages 62 to 66 ....
Zed Audio is proud to introduce our third line of innovative mobile amplifiers. The new products were carefully selected to fill the need of the car audio enthusiasts. The first is MINOTAUR an all new single channel (mono block) rated at 600w into 4 ohm and 1000w into 2 ohm. This is not your normal “run of the mill” mono block since this is actually a full range amplifier with some unique features.
MYTHS, MAGIC AND FACTS Amplifiers: What are they and what do they do? ALL amplifiers are basically power supplies! This will shock almost all who read this. Audio amplifiers are really a valve between the power supply and the speaker. This valve is “instructed” by the incoming audio signal to allow a given amount of the voltage and current from the power supply to reach the loudspeaker dependent solely on the amplitude and polarity of the incoming signal.
MYTHS, MAGIC AND FACTS Let us use a 50w amplifier as our example. We shall assume a lossless output stage and a perfectly regulated power supply capable of tons of current and enough rail voltage to supply 8 ohm loads.. The constant voltage amplifier will deliver 14.14 volts across whatever load we present to it. So at 8 ohms power is 25w, at 4 ohms it is 50w, at 2 ohms 100w...you get the idea so far? The constant current amplifier will deliver 14.
MYTHS, MAGIC AND FACTS Class A and class B amplifiers do not have output filters and so the feedback network is always taken off from the output node of the amplifier. Class D amplifiers have a “monkey on their backs” in that they ALL have to have an output demodulator filter to get rid of the high frequency carrier. Class D amplifiers are simply Pulse Width Modulated power supplies where the modulation is the audio signal. How good or bad they sound depends on how the whole design is implemented.
MYTHS, MAGIC AND FACTS What we have is a big old amplifier with a 0.04 ohm “resistor” in series with the output. The DCR of the wire on the inductors is absolutely equal to a resistor with regards to straight DCR. The output impedance of the amplifier is at best 0.04 ohms and this does not take into account the output stage’s resistance which typically is at least 0.01 to 0.02 ohms. Rounding off let’s go for 0.05 ohms and this is at 20Hz. At 100Hz the value is 0.134 ohms.
MYTHS, MAGIC AND FACTS Please read this paragraph very carefully. When typical bench testing of amplifiers is performed we generally use sine waves, a quite severe torture test for almost all amplifiers. The stress on both the power supply and the actual amplifier is far greater than with music or speech. Typically any amplifier driven to 1/8th of its absolute clipped power (1% THD) with sine waves, expends the same energy as music driving the amplifier to occasional clipping.
MYTHS, MAGIC AND FACTS Output level all the time, in fact very rarely. So referring back to the fact that the average level is about 10-15% of the maximum or peak power of the amplifier, the efficiency is substantially lower than the 90+%. Typically with a class D amplifier this figure is around 75% or less which is an order of magnitude better than class B amplifiers.
MYTHS, MAGIC AND FACTS 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.
MYTHS, MAGIC AND FACTS Oh I forgot some facts about cables I would like to mention. This applies really to home stereo. The typical RCA patchcord cable length from CD player/Tuner to the pre amplifier is maybe 1.5 metres (4.8’). Even if the capacitance between the inner conductor and shield is 350pF (Pico Farads) the CD player or tuner has absolutely ZERO knowledge of this amount of capacitance.
MYTHS, MAGIC AND FACTS 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.
MYTHS, MAGIC AND FACTS Damping Factor - This amplifier specification has been blown out of all proportion. What 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).
MYTHS, MAGIC AND FACTS Bridging two channels of an amplifier is not a magical thing. Most are mystified by the power 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.
MYTHS, MAGIC AND FACTS Headroom - continued. So a 100w/ch amplifier running into 4 ohms must develop 20 volts across the speaker terminal. 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!).
MYTHS, MAGIC AND FACTS Subsonic filters and CLIPPING. The former are simply steep slope high pass filters with 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.
The following pages show some interesting facts about sound, hearing issues, power and most of all dispel many of the ill gained facts in the car audio industry. DECIBELS (dB) POWER RATIO 0.5 0.7 1.0 2.0 3.0 4.0 5.0 6.0 10.0 20.0 VOLTAGE RATIO 1.12 1.17 1.26 1.58 2.0 2.5 3.16 4.0 10.0 100 1.06 1.08 1.12 1.26 1.414 1.58 1.78 2.0 3.16 10.
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Setting the controls on amplifiers L evel control - This control is the most misunderstood control on any amplifier. It’s sole purpose 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.
Quality control (QC) is a process which begins from the first designs entered into a computer and then never ends. Zed is continually striving to improve the products which we design and manufacture. All our semiconductors are purchased from either the manufacturer direct or through reputable distributors. Electrolytic capacitors which have the highest long term failure rate of any component are chosen for their durability and sonic qualities.
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. Mounting the amplifier(s) These amplifiers can be mounted in one of two ways. The first is by using the supplied mounting feet. Each foot is bolted to the underside of the chassis using the supplied metric M4 bolts.
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.
Specifications Specification MINOTAUR Continuous Output Power into 2 ohm ++ Continuous Output Power into 4 ohm ++ 1300w x 1 750w x 1 Continuous Output Power 2 AMPLIFIERS bridged into 4 ohm ++ Continuous Output Power 2 AMPLIFIERS bridged into 8 ohm ++ 2600w x 1 1500w x 1 Minimum Speaker Impedance 2 ohm Minimum Speaker Impedance in Bridge Mode (2 amplifiers) 4 ohm Power Response at any power into 4 ohms Frequency Response at rated power into 4 ohms 10-60KHz -2dB 10Hz-30KHz -0.
Specifications Specification DRACONIA Continuous Output Power into 2 ohm ++ Continuous Output Power into 4 ohm ++ 240w x 4 150w x 4 Continuous Output Power 2 channels bridged into 4 ohm ++ Continuous Output Power 2 channels bridged into 8 ohm ++ 480w x 2 30 300w x 2 Minimum Speaker Impedance 2 ohm per channel Minimum Speaker Impedance in Bridge Mode (2 channels) 4 ohm Power Response at any power into 4 ohms Frequency Response at rated power into 4 ohms 10-60KHz -2dB 10Hz-30KHz -0.
Specifications Specification DREADNOUGHT Continuous Output Power into 2 ohm ++ Continuous Output Power into 4 ohm ++ Typical Output Power into 4 ohm per channel (1% THD) ++ 400w x 4 250w x 4 300w x 4 Continuous Output Power 2 channels bridged into 4 ohm ++ Continuous Output Power 2 channels bridged into 8 ohm ++ 800w x 2 500w x 2 Minimum Speaker Impedance 2 ohm per channel Minimum Speaker Impedance in Bridge Mode (2 channels) 4 ohm Power Response at any power into 4 ohms Frequency Response at rate
Specifications Specification LEVIATHAN Continuous Output Power into 2 ohm ++ Continuous Output Power into 4 ohm ++ Continuous Output Power into 6 ohm ++ Continuous Output Power into 8 ohm ++ Typical Output Power into 4 ohm per channel (1% THD) ++ 330w x 6 190w x 6 125w x 6 100w x 6 235w x 6 Continuous Output Power 3 pairs of channels bridged into 4 ohm ++ Continuous Output Power 2 channels bridged into 8 ohm ++ 660w x 3 Channel pairs may be bridged independently 380w x 3 Channel pairs may be bridged in
Specifications Specification RA Frequency Response 15Hz-240Hz Bandwidth Limited Input Voltage range 0 to 2.25 volt (can be factory adjusted to any setting)t Input Impedance from 15Hz to 240Hz 10K ohm Output impedance Approximately 100 ohms Output voltage Can drive a 600 ohm load at 9v RMS Noise below 5 volt output (30KHz limited) -100dB Total Harmonic Distortion 15Hz to 240Hz Less than 0.008% Intermodulation Distortion Less than 0.
MINOTAUR MINOTAUR is the first of our new generation of mono block/single channel amplifiers. These are capable of full range operation for those who demand high power for midrange and lower midrange drivers in multi way systems. However its primary goal is for sub woofers. The on board crossovers have been optimized for low frequency operation. Using the four (4) RCA inputs facilitates constant sub woofer fading by using head units with front and rear line outputs.
Four (4) MINOTAURS may be connected in a parallel-bridge configuration when the need for ultra high power is required. Refer to the later diagrams. Graphs showing the difference between conventional and constant Q equalizers LOW IMPEDANCE LOADS - 1 Ohm and below - Our philosophy WE ARE ABSOLUTELY 100% AGAINST THESE LOADS There is no reason to run a “daily driver” or SQ system into these loads. The aim is quality after all and not sound pressure.
MINOTAUR driving one or more speakers as a stand alone amplifier from a four output signal source. 1/slave 3 EQUALIZER INVERT 0 25Hz 0 0 0 40Hz 31Hz 0 50Hz PEAK OUTPUT 63Hz 125 250 500 63 +12 -12 -12 +12 +12 -12 35 20 1+2 130 LINE IN NON INVERT 1-4 LINE OUT LINE IN 85 63 12 4 2 100 HIGH PASS 0 w/4Ohm +12 -6 -9 1.9v -3 0 dB 210 45 180 PHASE -12 185 60 80 10 +12 -12 230 LOW PASS 8.0v 0.
MINOTAUR driving one or more speakers as a stand alone amplifier from a two output signal source. 1/slave 3 EQUALIZER INVERT 0 25Hz 0 0 0 40Hz 31Hz 0 50Hz PEAK OUTPUT 63Hz 125 250 500 63 +12 -12 -12 +12 +12 -12 35 20 1+2 130 LINE IN NON INVERT 1-4 LINE OUT LINE IN 85 63 12 4 2 100 HIGH PASS 0 w/4Ohm +12 -6 -9 1.9v -3 0 dB 210 45 180 PHASE -12 185 60 80 10 +12 -12 230 LOW PASS 8.0v 0.
MINOTAUR driving one or more speakers as a stand alone amplifier from a four output signal source and set to FLAT mode. This drawing applies to any configuration where a single MINOTAUR is used. 1/slave 3 EQUALIZER INVERT 0 25Hz 0 0 0 40Hz 31Hz 0 50Hz PEAK OUTPUT 63Hz 125 250 500 63 +12 -12 -12 +12 +12 -12 35 20 1+2 130 LINE IN NON INVERT 1-4 LINE OUT LINE IN 85 63 12 4 2 100 HIGH PASS 0 w/4Ohm +12 -6 -9 1.
FRONT Two MINOTAURS driving one or more speakers each. Signal source shown as 2 but may be a 2 or 4 source (See previous drawings) REAR TRACK 7 THE CONTROLS SHOWN IN GREEN ARE APPLICABLE ONLY 1/slave 3 EQUALIZER INVERT 0 25Hz 0 0 0 40Hz 31Hz 0 50Hz PEAK OUTPUT 63Hz 63 +12 -12 -12 +12 35 20 1+2 LINE IN 1/slave 3 NON INVERT 1-4 LINE OUT LINE IN 25Hz A RC -9 1.9v ble ca 0 0.25v 8.
Two MINOTAURS bridged and driving one or more speakers Signal source shown as 2 but may be a 2 or 4 source (See previous drawings Pgs 28 and 29) FRONT REAR TRACK 7 THE CONTROLS SHOWN IN GREEN ARE APPLICABLE ONLY 1/slave 3 EQUALIZER INVERT 0 0 25Hz 0 0 40Hz 31Hz 0 50Hz PEAK OUTPUT 63Hz 63 +12 -12 -12 +12 35 20 1+2 LINE IN 1/slave 3 NON INVERT 1-4 LINE OUT LINE IN 0 25Hz A RC R to -9 1.9v ble ca 0.25v 8.
FRONT FOUR MINOTAURS in a parallel/bridge mode configuration Signal source shown as 2 but may be a 2 or 4 source (See previous drawings) REAR TRACK 7 3 EQUALIZER INVERT 0 25Hz 0 0 0 40Hz 31Hz 0 50Hz PEAK OUTPUT 63Hz 63 +12 -12 -12 +12 20 1+2 LINE IN RCA to RCA cable 1/slave 3 NON INVERT 1-4 LINE OUT LINE IN 85 63 0 0 0.25v 8.0v 230 FLAT 0 0 50Hz -12 +12 20 1+2 +12 -12 1/slave 3 NON INVERT 1-4 LINE OUT LINE IN 85 63 -12 PHASE -9 0 0.25v 8.
FOUR MINOTAURS in a parallel/bridge mode configuration continued. The MASTERamplifier receives the signals from the source unit. SLAVE 1 and the MASTER are bridged as a pair as per instructions on Page 32. The MASTER drives from its NON INVERT line output to SLAVE 2 SLAVE 2 drives SLAVE 3 from its INVERT line output. SLAVE 2 and SLAVE 3 are then connected in bridge mode. The MASTER controls the crossover frequencies, the phase, the master level and the equalization.
DRACONIA and dreadnought DRACONIA AND DREADNOUGHT are the first new 4 channel amplifiers. DRACONIA’S output is a modest 100w x 4 at 4 ohm but by no means a wimp when bridged as a 2 channel amplifier into 4 ohms where the amplifier delivers 400w/ch and 200w/ch into 8 ohms. DREADNOUGHT at 225w x 4 at 4 ohm is the powerhouse and when bridged into 4 ohms delivers 800w/ch and into 8 ohms 400w/ch.. Versatility was one of the prime requirements in the design of these two amplifiers.
DRACONIA/DREADNOUGHT driving four channels all in FLAT mode using component speakers. Signal source is front and rear. 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 85 135 85 2 4 BP 4K HIGH PASS 135 LP MODE 4K 55 11 +4dB 8v FLAT HP LP/BP 0.25v 1 4K 8v LOW PASS +12dB 0 3+4 1.5K 55 3+4 48 1.3v 760 40Hz EQ 1.3v 44 1.5K 85 NOR 290 LP 85 1.5K 55 INPUTS 1.5K 4K LEVEL 40 15 55 3+4 290 760 MODE 30 0.
DRACONIA/DREADNOUGHT driving four channels all in FLAT mode using component speakers. Signal source is TWO (2) channel. IN THIS MODE THE SIGNAL IS ROUTED TO BOTH SETS OF CHANNEL PAIRS AND EACH CHANNEL PAIR IS INDEPENDENT 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 55 3+4 290 760 85 2 4 4K BP 4K HIGH PASS 135 LP MODE 4K 55 NOR 290 LP 11 +4dB 8v FLAT HP LP/BP 0.25v 1 4K 8v LOW PASS +12dB 0 3+4 1.5K 55 3+4 48 1.
DRACONIA/DREADNOUGHT driving four channels all in FLAT mode using component speakers. Signal source is TWO (2) channel from 3+4 inputs. IN THIS MODE THE SIGNAL IS ROUTED TO CHANNEL 3+4 PRE AMPLIFIERS ONLY BUT ALL FUNCTIONS OF 3+4 AFFECT 1+2 - LEVEL CONTROLS ARE INDEPENDENT 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 55 3+4 290 760 85 2 4 4K BP 4K HIGH PASS 135 LP MODE 4K 55 NOR 290 LP 11 +4dB 8v FLAT HP LP/BP 0.
DRACONIA/DREADNOUGHT driving four channels all in HIGH PASS mode using component speakers. Signal source is FRONT and REAR THE SPEAKERS ARE NOT NECESSARILY COMPONENT TYPES, THEY OF COURSE CAN BE TWEETERS 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 55 3+4 290 760 85 2 4 4K BP 4K HIGH PASS 135 LP MODE 4K 55 NOR 290 LP 11 +4dB 8v FLAT HP LP/BP 0.25v 1 4K 8v LOW PASS +12dB 0 3+4 1.5K 55 3+4 48 1.3v 760 40Hz EQ 1.3v 44 1.
DRACONIA/DREADNOUGHT driving four channels all in HIGH PASS mode using component speakers. Signal source is 1+2 THE SPEAKERS ARE NOT NECESSARILY COMPONENT TYPES, THEY OF COURSE CAN BE TWEETERS 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 55 3+4 290 760 85 2 4 4K BP 4K HIGH PASS 135 LP MODE 4K 55 NOR 290 LP 11 +4dB 8v FLAT HP LP/BP 0.25v 1 4K 8v LOW PASS +12dB 0 3+4 1.5K 55 3+4 48 1.3v 760 40Hz EQ 1.3v 44 1.5K 85 85 1.
DRACONIA/DREADNOUGHT driving four channels all in HIGH PASS mode using component speakers. Signal source is 3+4 IN THIS MODE THE SIGNAL IS ROUTED TO CHANNEL 3+4 PRE AMPLIFIERS ONLY BUT ALL FUNCTIONS OF 3+4 AFFECT 1+2 - LEVEL CONTROLS ARE INDEPENDENT 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 55 3+4 290 760 85 2 4 4K BP 4K HIGH PASS 135 LP MODE 4K 55 NOR 290 LP 11 +4dB 8v FLAT HP LP/BP 0.25v 1 4K 8v LOW PASS +12dB 0 3+4 1.
DRACONIA/DREADNOUGHT driving four channels all in LOW PASS mode using woofers. Signal source is 1+2 THE TWO PAIRS OF CHANNELS USE THEIR OWN LOW PASS CROSSOVERS. USING ALL FOUR INPUTS REQUIRES THIS SWITCH TO BE IN THE “3+4 POSITION AND SIGNALS MUST BE FED INTO CHANNELS 3+4 AS WELL USING Y ADAPTORS 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 55 3+4 290 760 85 2 4 4K BP 4K HIGH PASS 135 8v FLAT HP LP/BP 0.
DRACONIA/DREADNOUGHT driving four channels all in LOW PASS (SUB) mode using woofers. Signal source is 3+4 NOTE THAT CHANNELS 1+2 USE THE CROSSOVER AND EQ SETTINGS FROM 3+4 AND THE TWO LEVEL CONTROLS SET THE GAINS INDEPENDENTLY WITH THE SWITCHES SET AS SHOWN BELOW, THE SIGNAL IS 12dB DOWN IN LEVEL.
DRACONIA/DREADNOUGHT driving four channels 1+2 in HIGH PASS and 3+4 in LOW PASS Signal source is 1+2 NOTE WITH THESE SETTINGS THE SUBSONIC AND 40Hz EQ HAVE NOT BEEN INVOKED ON CHANNELS 3+4 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 55 3+4 290 760 85 2 4 4K BP 4K HIGH PASS 135 8v FLAT HP LP/BP 0.25v +12dB 0 3+4 1 4K LOW PASS 3+4 48 1.3v 760 8v MODE 11 +4dB 1.5K 55 LP 4K 55 NOR 290 LP 40Hz EQ 1.3v 44 1.5K 85 85 1.
DRACONIA/DREADNOUGHT driving four channels 1+2 in HIGH PASS and 3+4 in LOW PASS Signal source is 1+2 and 3+4 CHANNELS 3+4 PROCESS THE MIX OF INPUTS 1-4, THE SIGNAL IS MONO AND CHANNELS 3+4 MAY BE BRIDGED, CHANNELS 1+2 ARE IN STEREO THIS MODE SWITCH IS OUT 3 1 THIS MODE SWITCH IS IN SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 3+4 290 760 85 2 4 55 4K BP 4K HIGH PASS NOR 290 LP 135 8v FLAT HP LP/BP 0.
DRACONIA/DREADNOUGHT driving four channels 1+2 in BAND PASS and 3+4 in BAND PASS Signal source is 1+2 CHANNELS 1+2 HANDLE THE UPPER MIDRANGE, 3+4 THE LOWER MIDRANGE THE HIGH AND LOW PASS CROSSOVERS ARE SET TO SUIT THE DRIVERS THIS MODE SWITCH IS IN 3 1 THIS MODE SWITCH IS OUT SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 3+4 290 760 85 2 4 55 4K BP 4K LP HIGH PASS NOR 290 LP 135 MODE 4K 55 11 +4dB 8v FLAT HP LP/BP 0.
DRACONIA/DREADNOUGHT Bridging instructions Any pair of channels may be bridged independently of the others where the minimum load impedance is 4 ohm per bridged pair. For a pair of channels to be bridged it is required that the input signals of the channels be the same. To bridge channels 1+2 a Y-Adaptor is required and of course the signal should be mono. However no harm can come to the amplifier if the signal content of the channels is not identical.
DRACONIA/DREADNOUGHT Front panel controls 3 1 SOURCE HIGH PASS LOW PASS SUBSONIC MODE 290 290 1+2 135 760 BP SUB 135 760 20 135 55 3+4 290 760 85 2 4 INPUTS 1.5K 4K 135 BP 55 4K HIGH PASS 8v 0.25v 3+4 1 4K 1+2 0.25v 2 3 4 FLAT HP LP/BP MODE LEVEL LOW PASS 3+4 +12dB 0 1.5K 8v MODE FLAT HP LP/BP 760 55 LP +4dB 48 11 1.3v 85 1.5K 4K 55 NOR 290 LP 40Hz EQ 1.3v 44 1.
LEVIATHAN We are proud to introduce the second generation of the LEVIATHAN amplifier. The previous generation LEVIATHAN proved that there is a need for multi channel amplifiers (>4 channels) in the mobile market. Several improvements have been incorporated into the new amplifier. 1) Channels 5+6 have an expanded high pass crossover frequency range of 11Hz to 105Hz which will now enable LEVIATHAN to be part of a 4 way system.
11) Run channels 1+2 as high pass and channels 3,4,5 and 6 as low pass for a typical front stage system. 12) Run channels 1+2 in high pass for the front stage, channels 3+4 in high pass for the rear fill and channels 5+6 for the subs. 13) Run channels 1+2 in high pass for the front stage tweeters, channels 3+4 in band pass for the front stage midrange and channels 5+6 for the subs. 14) A high power front stage system.
LEVIATHAN run with all 6 channels with FLAT response 1 5 3 HIGH PASS 25 75 10 290 4 55 105 760 55 1+2 1 235 FLAT LP 5+6 1.4v 290 135 85 135 290 760 85 4K MODE 2 3 4 5 6 8.6v 0.25v 1.4v 1.5K 1.5K 55 760 55 4K FLAT HP LP5+6 LEVEL CLIP LP LP 1-4 4K HIGH PASS 5+6 200 40 8.6v 0.25v INPUTS 1.4v 180 1.5K 85 6 LEVEL 120 75 90 18 2 LOW PASS 45 8.6v 0.
LEVIATHAN with 6 channels in FLAT response and bridged 5 3 1 HIGH PASS 25 75 18 10 4 2 6 1+2 1.4v 180 55 105 55 1 235 135 85 LEVEL 135 760 85 4K 290 760 55 3 4 5 6 8.6v 0.25v 1.4v 4K FLAT HP LP5+6 MODE 2 1.5K 1.5K 55 4K HIGH PASS FLAT LP 5+6 290 1.5K 85 CLIP LP LP 1-4 1.4v 760 5+6 200 40 8.6v 0.25v INPUTS LEVEL 120 75 90 290 LOW PASS 45 HIGH PASS LOW PASS 8.6v 0.
LEVIATHAN with Chs 1+2 in high pass 5 3 1 HIGH PASS 25 75 18 10 4 2 6 85 55 105 CLIP LP LP 1-4 1 235 FLAT LP 5+6 1.4v 760 5+6 200 40 290 135 1.5K 135 290 760 85 85 760 4K MODE 3 4 5 6 8.6v 0.25v 1.4v 55 4K FLAT HP LP5+6 LEVEL 2 1.5K 1.5K 55 4K HIGH PASS 1+2 1.4v 180 55 8.6v 0.25v INPUTS LEVEL 120 75 90 290 LOW PASS 45 HIGH PASS LOW PASS 8.6v 0.
LEVIATHAN with Chs 3+4 in high pass 5 3 1 HIGH PASS 25 75 18 10 4 2 6 1+2 1.4v 180 55 105 55 1 235 135 85 LEVEL 135 760 85 4K 290 760 55 3 4 5 6 8.6v 0.25v 1.4v 4K FLAT HP LP5+6 MODE 2 1.5K 1.5K 55 4K HIGH PASS FLAT LP 5+6 290 1.5K 85 CLIP LP LP 1-4 1.4v 760 5+6 200 40 8.6v 0.25v INPUTS LEVEL 120 75 90 290 LOW PASS 45 HIGH PASS LOW PASS 8.6v 0.
LEVIATHAN with Chs 3+4 in low pass 5 3 1 HIGH PASS 25 75 18 10 4 2 6 1+2 1.4v 180 55 105 55 1 235 135 85 LEVEL 135 760 85 4K 290 760 55 3 4 5 6 8.6v 0.25v 1.4v 4K FLAT HP LP5+6 MODE 2 1.5K 1.5K 55 4K HIGH PASS FLAT LP 5+6 290 1.5K 85 CLIP LP LP 1-4 1.4v 760 5+6 200 40 8.6v 0.25v INPUTS LEVEL 120 75 90 290 LOW PASS 45 HIGH PASS LOW PASS 8.6v 0.
LEVIATHAN with Chs 3+4 in band pass 5 3 1 HIGH PASS 25 75 18 10 4 2 55 105 55 1+2 1 235 FLAT LP 5+6 290 135 85 LEVEL 135 760 85 4K 290 760 55 3 4 5 6 8.6v 0.25v 1.4v 4K FLAT HP LP5+6 MODE 2 1.5K 1.5K 55 4K HIGH PASS CLIP LP LP 1-4 1.4v 760 5+6 200 40 8.6v 0.25v INPUTS 1.4v 180 1.5K 85 6 LEVEL 120 75 90 290 LOW PASS 45 HIGH PASS LOW PASS 8.6v 0.
LEVIATHAN with Chs 5+6 in low pass using 5+6 inputs 5 3 1 HIGH PASS 75 10 40 55 INPUTS 1+2 1 235 135 85 LEVEL 135 760 85 4K 290 760 55 3 4 5 6 8.6v 0.25v 1.4v 4K FLAT HP LP5+6 MODE 2 1.5K 1.5K 55 4K HIGH PASS FLAT LP 5+6 290 8.6v 0.25v CLIP LP LP 1-4 1.4v 760 5+6 200 1.5K 85 6 1.4v 180 55 105 290 4 LEVEL 120 75 90 18 2 LOW PASS 45 25 8.6v 0.
LEVIATHAN with Chs 5+6 in low pass using INPUTS 1,2,3 and 4 5 3 1 HIGH PASS 75 10 40 55 INPUTS 1+2 1 235 135 85 LEVEL 135 760 85 4K 290 760 55 3 4 5 6 8.6v 0.25v 1.4v 4K FLAT HP LP5+6 MODE 2 1.5K 1.5K 55 4K HIGH PASS FLAT LP 5+6 290 8.6v 0.25v CLIP LP LP 1-4 1.4v 760 5+6 200 1.5K 85 6 1.4v 180 55 105 290 4 LEVEL 120 75 90 18 2 LOW PASS 45 25 8.6v 0.
LEVIATHAN with Chs 5+6 in low pass using inputs 1,2,3 and 4 and Ch 1,2,3 and 4 switched to LP5+6 5 3 1 HIGH PASS LOW PASS LEVEL 45 120 1.4v 25 75 10 290 4 6 105 1+2 235 760 55 135 85 LEVEL 135 760 85 290 4K 760 55 3 4 5 6 8.6v 0.25v 1.4v 4K FLAT HP LP5+6 MODE 2 1.5K 1.5K 55 4K HIGH PASS FLAT LP 5+6 290 1.5K 85 1 200 40 CLIP LP LP 1-4 1.4v 8.6v 0.25v INPUTS 180 55 90 18 2 75 5+6 8.6v 0.
LEVIATHAN as a 2 channel tri-amplified system 5 3 1 HIGH PASS LOW PASS LEVEL 45 120 1.4v 25 75 10 290 4 105 40 55 1+2 235 135 85 135 290 760 760 85 55 4K 55 MODE 3 4 5 6 8.6v 0.25v 1.4v 4K FLAT HP LP5+6 LEVEL 2 1.5K 1.5K 4K HIGH PASS FLAT LP 5+6 290 8.6v 0.25v INPUTS 1 1.4v 760 CLIP LP LP 1-4 200 1.5K 85 6 180 55 90 18 2 75 5+6 8.6v 0.
LEVIATHAN jumper links to parallel the inputs instead of using external Y-Adaptors. Remove the Lexan top and remove the three RCA connector plugs from the main PCB. These are plugged into connectors “CON4, CON2 and CON3” as shown below. When re inserting them they can only lock in in one direction.
RA the Egyptian sun God was the inspiration behind this new product. He is considered the father of Gods, and was the most important and worshipped king of Gods in ancient Egypt.. We are sure that our humble version of RA will also be “worshipped”. It is truly a unique pre amplifier. The purpose behind RA was to enable the user to have substantially more control over the sub woofer’s sound than just a simple remote volume control which is supplied with every mono block.
Once the signal leaves the low pass crossover it is routed to the Sub Harmonic Synthesizer. I bet that most have never heard of such a device but they are common in pro audio and have been made for car audio however in much simpler forms. The basic principle is to take a band of frequencies and synthesize them down to half their original frequency (one octave down). We have taken this one step further.
UNITY GAIN 2:1 THRESHOLD OF COMPRESSION 10:1 >20:1 = LIMITING OUTPUT SIGNAL INPUT SIGNAL The ATTACK time determines how quickly the compressor can react to signals which are above the threshold. The RELEASE time determines how quickly the compressor releases the signal and return to normal gain. The RATIO control sets the ratio of input level to output level and typically compressors have ratio controls with ranges from 2:1 up to 12:1 dependent on the type of signal being compressed.
Instructions for setting the Threshold control of the compressor. The compressor’s threshold control is relatively easy to set as long as one understands the various electronic “blocks” involved. Please read the following text carefully. RA can be considered simply as a pre-amplifier, with variable gain (the front panel volume control) and a compressor circuit whose threshold has nothing to do with the amplifier which drives the sub woofers or where the gain setting is on the amplifier.
RA Panel controls and connections 130 85 SUB HARMONIC SYNTHESIZER COMPRESSOR RA 185 60 210 45 230 LOW PASS MIN MAX MIN MASTER MAX MIN 45Hz MAX 32Hz HIGH LOW THRESHOLD MIN MAX VOLUME We feel the panel controls require no further explanation BATT GND REM RA POWER L OUTPUT R INPUTS FUSE 0.
Some suggested systems using various combinations of Zed amplifiers. 4 way using a MINOTAUR and a LEVIATHAN: The LEVIATHAN is used for the lower mids (ch 5+6), upper mids (ch 3+4) and tweeters (ch 1+2), MINOTAUR is used for the sub woofers. 4 way using DRACONIA and DREADNOUGHT: The DRACONIA is used for tweeters (ch 1+2), midrange (ch 3+4), DREADNOUGHT runs the lower mids (ch 1+2) and subs are handled by ch 3+4.
Troubleshooting Amplifier will not power up. Amplifier gets hot High “hiss” heard in speakers Protection LEDs flash Engine noise Alternator whine Sound is distorted Check for battery power at amplifier’s power terminals. Check for voltage at REMOTE terminal must be greater than 3 volts Make sure protection LED is off. If it is on, turn the amplifier off for 5 seconds and then power up again. If LED comes on Again refer to notes below.
Limited Warranty This Zed Audio product is warrantied to the ORIGINAL purchaser against defects in material and workmanship from the factory. This warranty is for a period of 90 days from date of purchase from Zed Audio Corporation or an authorised dealer. This warranty is valid in the country in which it was purchased and is non-transferable. To obtain the two (2) year warranty requires the user to register the product with Zed Audio Corp.
All warranty claims shall be decided at the discretion of Zed Audio Corporation or an appointed representative. Zed Audio Corporation reserves the right to make changes and/or improvements upon it’s products. We do not assume any obligation to install such changes and/or improvements to existing equipment previously manufactured. Zed Audio Corporation, 743 Cochran Street Suite D Simi Valley Ca 93065 USA Email Zedaudio@aol.com Website www.zedaudiocorp.
Registration Form Name of owner: Address: Name of product(s) purchased: Serial number: Name and address from whom this product was purchased. Date of purchase Please do not forget to mail a copy of the retail invoice OR scan it an email to us.
New products scheduled for 2012 release Owing to the bad economic climate we have decided to delay the launch of MEGALITH and the tube hybrid amplifiers. We are instead launching 5 new products which will fit below these products in this manual. They are less expensive but do not lack features or power. As of this time we have not decided on the names of the new amplifiers and so we have given them generic names.
