EDB-2 H.

E
Equaliser Direct Blender – 2 Channel Pre-amplifier &
Harmonic Enhancer
INSTRUCTION MANUAL
New for 2020

• Acoustic Pre-Amplifier, EQ’s, D.I, Anti-Feedback,

Blender, Phantom & Harmonic Enhancer – For Pickups &
Microphones via Battery or D.C Powering
• SUPERIOR ACOUSTIC AMPLIFICATION & CONTROL
 INSTRUCTION MANUAL
EDB-2 H.E provides a beautifully voiced and practical
solution to the diverse and critical needs for high quality
acoustic musical instrument amplification. Suitable for
stage and other signal processing e.g. recording
Offering a huge range of gain to Interface signals weak or
strong.
With mixers and other sound processors, EDB-2 H.E
provides a unique range of features, including highly
effective but simple Interactive EQ & Tunable Notch Filter
plus other versatile facilities to get the best possible,
trouble free sound from amplified acoustic stringed
instruments with ease all from an exceptionally compact
unit

EDB-2 H.E incorporates customer-led Expanded

Features, now Dual Instrument/Player friendly

Featuring: H.E.A.T. ~ Harmonic Enhanced Analogue

Technology offering enhanced tuneable natural High
Harmonics

Improved Class "A" Inputs & Classy Pro Audio Circuit

voiced for clarity and warmth, producing a huge 32dB of
Low Noise Gain

Twin Channels with 2 sets of 5 Band Interactive EQ & 2

Silent Mute Switches

48v & 11v Phantom Power To Jack & XLR - Mono,

Stereo & Balanced Inputs

P.2
Send & Return FX Loop ~ providing optimal connection
of Effects & Tuner

Mono, Stereo or Blended Outputs via Jack & Balanced

D.I. XLR

Tunable Notch Filter ~ defeating feedback & resonances

on either channel

2 Way Phase Reverse & Earth Lift Switches ~ for phase

imbalances, feedback & ground hum

2 Range Switches for Guitar, Bass, Violin/Mandolin ~

handling noise, boom & feedback

Easy to read, BBC Pro Audio design panel layout &

contrast

Batteries & Power Supply included ( as standard ) ~ suits

Europe, North America, Japan etc. 100v-240v

3 Pre-amplifier mounting methods

New sturdier, lightweight, extra-compact construction in

Aluminium alloy

Long Life Heavy Feel Controls that hold their position.

Comprehensive printed manual

P.3
Designed in UK - Made in EU

Congratulations on your astute purchase!

Please read this comprehensive manual carefully
before first use of your EDB-2 H.E. Text is also
available on our website:
www.headwaymusicaudio.com

P.4
EDB-2 H.E PRINCIPLES
EDB-2 H.E is a Pre-amplifier or Analogue Audio Signal
Processor with many additional features, offering huge
reserves of gain and headroom designed to bring
instrument output levels up to optimum levels to interface
with a wide range of other such devices and at low noise

EDB -2 H.E shapes and equalises uneven tones, defeats

feedback, and allows two sound sources to sit together
and sound better by reversing the phase or cancelling
hum loops

Devices with which to interface include Mixers, Effects

Pedals and Rack Units, Powered Monitor Speakers,
Headphone Amps, Combo Amplifiers and Power
Amplifiers

EDB-2 H.E also offers a uniquely developed Analogue

Harmonic Enhancer feature, perceived as an "audio
sparkle", which replaces naturarlly inherent harmonics 1-
1.5 Octaves above what is often lost from your
instrument due to shortcomings or inadequacies in a
pickup or microphone
All can be achieved easily at hand. EDB-2 H.E can be On
but muted on either channel, ready to re-start instantly
and quietly. EDB-2 H.E is small enough for convenient
transportation

DON'TS: Without additional suitable equipment, EDB-2

H.E WILL NOT drive speakers, headphones or produce
it's own audible sound and WILL NOT accept a power

P.5
amplifier into the "IN" or "Return" sockets as this may
cause damage .
EDB-2 H.E WILL NOT operate or may become
intermittent or damaged with use of any but the included
Power Supply. Will likely to be damaged if rain or liquids
are in contact

CONTENTS OF EDB-2 H.E RETAIL PACKAGING BOX:

I) EDB-2 H.E Pre-amplifier x 1 EAN: 7107718579859

II) 1 x Belt clip & screws x 2

III) Power Supply (as standard) with mains plug for terri-
tory initially supplied

P.6
IV) PP3 Batteries x 2 fitted

V) Instruction Manual, Guarantee Card & "Headway"

Logo Stickers to apply to Cases etc

MANUAL CONTENTS / INDEX

The aims when compiling these contents were to

broadly assist and inform the user to achieve the
highest possible standard of effective and trouble
free acoustic amplification

1.0 SAFETY PRECAUTIONS & OPERATION

1.1 IMPORTANT SAFEGUARDS
1.2-1.6 SERVICNG, REPAIRS, RETURNS & LEGAL
1.7 WARRANTY / GUARANTEE TERMS
1.8 STORAGE & TRANSPORT
2.0 EDB-2 H.E - POWER ON
3.0 PICKUPS & MICROPHONES TO INTERFACE
3.1 LEAD / CABLE NOTES
4.0 CH.1. JACK INPUT
5.0 MUTE / LIVE SWITCHES ON CH.1 AND CH.2
6.0 ROTARY POT CONTROLS
6.1 GAIN CONTROLS
6.2 GAIN COMBINED WITH MASTER VOLUME
6.3 5 BAND INTERACTIVE EQ - CH.1 & CH.2
7.0 HARMONIC ENHANCER - H.E.A.T
8.0 CHANNEL 2 & MICROPHONE USE
9.0 PHANTOM POWER TO: IN / OUT CONNECTORS
10.0 NOTCH FILTER - ANTI-FEEDBACK
11.0 RANGE SWITCH - ANTI-FEEDBACK

P.7
12.0 PHASE REVERSE - ANTI-FEEDBACK
13.0 SEND & RETURN - FX LOOP
14.0 AUXILIARY (AUX) IN
15.0 MASTER VOLUME
16.0 LINE OUT - JACK
17.0 D.I. OUT - XLR
18.0 POWERING - BATTERIES OR POWER SUPPLY
19.1 PHYSICAL SPECIFICATIONS
19.2 ELECTRICAL SPECIFICATIONS
20.0 TROUBLE SHOOTER CHECKLIST

HEADWAY PRODUCTS/ POLICY OF CONTINUAL

IMPROVEMENT

P.8
 HEADWAY EDB-2 H.E
FEATURES DIAGRAM TOP PANEL
POWER ON/ STANDBY/ OFF
LOW BATTERY LED
Green LED Indicates Power ON
Lights PURPLE when
Slow Power on Time to Reduce
Batteries are within
Power on “Thump”
hours of expiring

HIGH HARMONICS PHASE

Harmonics Enhancer Reverse Phase of CH.1
Switch: CH.1, CH.2 or to CH.2, or EDB-2 to
BOTH Outside signals.
Anti-Feedback Option
ENHANCER >1kHz
Level of Harmonic
frequencies added XLR DI OUT
above 1kHz Switches Signals: CH.1/
CH.2/ Mix on D.I. OUT
NOTCH FILTER
-12dB Notch EARTH/GROUND
Q=Band width LIFT
FREQ = Centre Anti Hum Loop -
Frequency of cut. Disconnects Pin 1 re.
Switches: CH.1 CH.2 or XLR OUT
OFF
MASTER
5 BAND EQ CH.1
Sets Output Level to
TREBLE @ 10kHz +/- 13dB LINE OUT, XLR D.I.
PRESENCE @ 2.8kHz +/- 7dB OUT & AUX IN levels
H.MID @ 880Hz +/- 12dB
L.MID @ 590Hz +/- 13dB MUTE CH.1 & CH.2
BASS @ 120Hz +/- 12dB
(BASS...if measured Turns OFF Output
@45Hz +/-16dB ) Signals Re. Red LED.
CH.2 : As above Live Denotes Pre-
XLR SWITCH/ MIC IN Amp Output ON
Switches: XLR OFF / ON
INPUT GAIN RANGE FILTER
0dB to 32dB XLR PHANTOM SWITCH (High Pass Filter/ Low
CH.1 & CH.2 Roll OFF)
Switches: OFF / 11V / 48V Switches: CH.1 & CH.2
Violin @ 192Hz
Guitar @ 85Hz
Bass @ 41Hz

P.9
 EDB-2 H.E Side Panel
AUX IN / iPOD INPUT
3.5mm Mini Jack RETURN SEND
FX LOOP
Post EQ to Master Vol. Mono: Ch.1 to Tip Mono: Ch.1 to Tip

LINE OUT
Low Impedance
Mono Mix Jack Out

EDB-2 H.E Front Panel

CH.2 MIC/XLR IN
PHANTOM POWER 11V Balanced with Phantom
TO CH.1 JACK IN Power Option
SWITCH OFF/ RING/ TIP (See XLR SWITCH)

CH.1 JACK IN CH.2 Stereo/Mono JACK IN

Switchable Phantom to Routes Stereo to Both
Tip/Ring Powers Channels if no Jack in CH.1
Electret Mics & suitable
Active Pickups

EDB-2 H.E Rear Panel

EXT. POWER IN D. I. / XLR LINE OUT

18v DC Adapter Input Connector Balanced Line Output XLR (CH1/CH2 or MIX)
Use ONLY Headway EDB – PSU Does not accept Phantom Power From Mixer
but EDB-2 H.E not damaged

P.10
 EDB-2 H.E Bottom Panel

BELT CLIP/ MIC STAND

NUT
Belt Clip (as shown) or BATTERY COVER
Mic Stand Adapter 19/32” (PP3/6F22 x2)
(15mm)

BATTERY PANEL
KNURLED SCREW

P.11
Please read all warnings on Headway Sheer Acoustic
EDB-2 H.E very carefully
1 SAFETY PRECAUTIONS & OPERATION
1.1 IMPORTANT SAFEGUARDS to your life and gear to
note before use of your EDB- 2 H.E
IMPORTANT: Make sure that you power only by: PP3
(9v) battery as included with this unit or: Phantom Power
via XLR-Stereo Jack plug Adapter (supplied as standard
with unit) installed in Output Socket and with 48v
Phantom from Mixer
Headway EDB/M PSU (Optional) Mains AC-DC 18v
Adapter Connector Types available for EDB-2 H.E See
Electronic Specifications
EDB/M PSU UK = United Kingdom/Eire/Singapore
EDB/M PSU EU = Europe (Continental Mainland)
EDB/M PSU NA = North America/S. America/Japan
EDB/M PSU AUS = Australasia/S. Africa

1.1.2 EARTH PROTECTION & GROUNDING To prevent

electric shock, ensure that any Input/Output cables from
EDB-2 H.E are connected to amplification or signal
processing devices (e.g. mixers, amplifiers & effects
units) so that where Mains powered devices with an
Earth Connection are used, there is a continuous,
unbroken chain of Mains earth connection and where the
mains supply at the venue offers a viable Earth or
Ground connection. DO NOT disconnect any
ground/earth wire on any earth connected mains
powered devices

1.1.3 MAINS PROTECTION Always take care to protect

your own life and those of others along with your
equipment by using RCD Circuit Breakers and AC Mains

P.12
Surge Protectors at each source of the mains power.
Circuit breakers should be tested prior to use. We
recommend that you also use Mains Noise Filters. Also
Switch Off Power Supply Unit and other connected mains
powered devices and unplug when EDB-2 H.E unit is not
in use

1.1.4 PREVENTION OF SHOCKS & DAMAGE DO NOT

expose the EDB-2 H.E, its optional Power Supply Unit or
attached cables to any liquids, such as rain/spilt
drinks.space. If your EDB-2 H.E should come in contact
with any liquids, switch off at mains power socket,
disconnect and dry EDB-2 H.E and hands before re-use
SHOCKS WARNING Stop immediately the use of any
sound equipment when even minor electric shocks are
detected and seek a practical consultation from a
qualified professional electronics repair technician

1.1.5 VENUE WARING Avoid venues with suspect

electrical wiring, damp or wet wires and/or contacts or
where sparks are visible

1.1.6 MICROPHONE SAFETY Where microphones are

used into EDB-2 H.E or associated PA system,
Government Authority Type Approved & Licensed Radio
Microphones and Transmitters could be used. Do not use
Non-Type Approved for the Territory, likely to cause or
pick up radio interference

1.1.7 CABLE & AMP PLACEMENT WARNING Always

place your EDB-2 H.E and associated cables where they

P.13
are visible and cannot cause an accident such as on a
Mic Stand or Belt Clip. Try not to block exits

1.1.8 MINIMISING PLUG IN NOISES. Pluging In and Out

of EDB-2 H.E quietly is possible without a big clunk heard
through the P.A Sound System is as follows:
First engage Mute switch, plug Guitar Lead /Output cable
into Guitar/Instrument Output Socket, then plug Guitar
Lead Cable into combo amp, mixer or FX device etc.
Next, plug Guitar Lead Cable into EDB-2 H.E IN Socket.
Next Switch Mute to LIVE
Switchcraft, Neutrik, Deltron & GH offer quieter switching
Jack Plugs

1.2 SERVICING, REPAIR & RETURNS: All Headway

servicing and repairs should be carried out by Headway
Music Audio Ltd. or any approved agents where
applicable
All returns must be sent pre-paid and insurance against
loss is sender responsibility. Headway Music Audio Ltd.
will NOT be held responsible for losses in transit or for
duty and taxes incurred, e.g. where customs
documentation is completed incorrectly. Customs
Declaration forms on returned products sent
internationally, should be completed and could read, for
example:
"Electrical Musical Instrument Amplifier Unit returned to
Country of landed origin (UK) for Service/Repair. Not for
Re-sale. Value for Customs = $ 35 ? Customs
Classification & Code: Graphic equalisers & mixing
units: 8543 70 90 99. Unit will be returned to sender"

P.14
See: Transport 1.8 If returning product for repair/service
you must include: Your full contact details including
name, phone number, full mailing address and email
address. A full description of any problems. If claiming
under Guarantee/Warranty you must also include: Proof
of purchase clearly indicating date, business name and
address of dealers who sold the product, when as new
DO NOT DISASSEMBLE ANY PARTS OF YOUR EDB-2
H.E yourself as there are no user serviceable or
repairable components. Any attempt to do so without
prior permission would negate the 12 Month guarantee

1.3 CLEANING the EDB-2 H.E: Ensure EDB-2 H.E is

unplugged before cleaning with a moist cloth. Do not
allow moisture to enter unit and do not use chemical or
abrasive cleaning products

1.4 PRODUCT LIABILITY: Headway Music Audio Ltd.

cannot be held responsible for damage to its products
caused by the subjection to unreasonably high or low
temperatures or due to wet conditions or for abuse or
mishandling. Headway Music Audio Ltd. retains the right
to make such determination according to its own
inspection

1.5 CONSEQUENTIAL LOSS: Headway Music Audio

Ltd. will not be responsible for consequential loss or
damages such as due to the use or misuse of its
products, accident, neglect, technical modifications or
unreasonable expectations. Headway Music Audio Ltd.
will not be held responsible for the application of
Phantom Power where some other electronic device may

P.15
have been damaged. Headway Music Audio Ltd. retains
the right to make all such determinations from its own
inspection

1.6 PERSONAL INJURIES: Headway Music Audio Ltd.

cannot be held responsible for personal injuries or
damages related to its products such as those caused by
heat, fire, obstruction, modifications or electrical shock
where obtained due to a lack of care on the part of the
injured party or due to that persons ignorance of the
instruction manual or due to that persons ignorance of
best practices in the use of mains powered facilities.
Headway Music Audio Ltd. retains the right to make any
such determinations according to its own assessment

1.7 WARRANTY/GUARANTEE TERMS: EDB-2 H.E

guarantee is valid for up to but no longer than 12 months
from the date of purchase but valid only after the
guarantee registration has been made online at:
www.headwaymusicaudio.com
All guarantee issues will be subject to assessment by
Headway and appointed service agents. Headway Music
Audio Ltd. does not recognise or participate within
guarantees/warranties offered by third party companies
such as retailers and dealers. We have observed that
such dealer guarantees are not always maintained

WHAT IS COVERED: Headway Music Audio Ltd. Cover

labour and parts required for the actively functioning of all
aspects of the amplifier. This guarantee is subject to: Full
completion and receipt by Headway Music Audio Ltd. of
online guarantee form within 30 days of purchase,
customers retention of proof of purchase indicating date,

P.16
business name and address of dealers who sold the
product

WHAT IS NOT COVERED: Shipping related, handling or

customs, tax & duty charges will not be covered under
this guarantee. (Physical damage and cosmetic
blemishes.) Electrical, electronic or audio problems will
not be covered under this guarantee if caused by
electronic or electrical misuse or general vandalism!
Damage caused by insufficient care in handling and/or
inadequate transportation. Non - registered guarantees,
partly completed registrations, expired guarantee periods
or 3rd party company issue guarantees will NOT qualify
for free repair work or free transportation

WHAT IF I HAVE NOT REGISTERED GUARANTEE? If

you have not registered the Guarantee/Warranty within
30 days of purchase you are not covered by the 12
Month Guarantee unless you are the end retail customer
and have purchased direct from Headway Music Audio
Ltd. If you have not registered it you retain your statutory
rights under consumer law of the country in which you
made the purchase and your contract is with the
dealer/retailer

1.8 STORAGE & TRANSPORT ADVICE: Headway

Music Audio Ltd. suggest storing & transporting the EDB-
2 H.E in the original box or inside a polythene bag inside
a heavy, double thickness cardboard box in excellent
condition or the original packaging. Any container should
be padded out in order to prevent the unit from shifting
around during transit. We recommend using Postal
Services, DHL or Fedex

P.17
International Shipping with Batteries: Lithium batteries,
Re-Chargeables and spent batteries are now banned
from all International Shipping and could result in a return
to sender or disposal. The battery shipping rules and
regulations keep changing so please check. If in doubt,
remove them first

2.0 EDB-2 H.E POWER ON / QUIETER SWITCH TO

LIVE SOUND
EDB-2 H.E is powered ON/OFF via Power Switch on top

First ensure that any Instrument(s) are plugged in to their

cables, the cable are plugged into the EDB-2 H.E and
Mute Switches are ON.
Next, move Power Switch slowly with a delay through
middle "Standby" position for less noisy switching to 'ON"
when connected to a live sound system
Lastly, when ready for live sound, Switch Mute(s) to
"Live" on Channel(s) in use & Red LED's cease
illuminating. This should be a virtually silent operation

3. PICKUP & MICROPHONE TYPES TO INTERFACE

The primary types of pickups optimised for EDB-2 H.E
can be active ( powered by battery or phantom ), or
Passive ( non powered ) in addition to all main types of
microphones:

P.18
i) Active ( Powered ) Piezo Under Saddle Pickup
Systems ( e.g. HE4/G.FEQ, or Snake3 pictured above,
or forthcoming Headway "Superbug" - Low Impedance
Output with Fixed EQ according to model ). These
pickups are one of the last prone to feedback and body
noises

P.19
Ebony Floating Bridge for Archtop Guitar – here routed
for Piezo cable Pickup & bone saddle.

ii) Passive Piezo Cable or Co-axial Cable Under Saddle

Pickups ( e.g. Headway HE4 Passive - Ultra High
Impedance Output that requires a short, high quality lead
into a High Impedance Input such as EDB-2 H.E

iii) "The Band & Band2" pictured on Violin above.

Headway‘s “The Band“ is a popular,easy fit, strap around
Violin Contact Pickup with High Impedance Output. “The
Band2” is latest tonal upgrade version for 2020
iv) Active Magnetic Sound-hole Pickups - Low
Impedance Output (e.g. Headway SAM-1 pictured

P.20
above.) These types of pickups are generally the least
prone to feedback.

SAM-1 carries pre-EQ and Harmonic Enhancer. Other

active magnetic sound-hole pickup typically require a lot
of EQ and may still sound mellow or boxy

P.21
SA2 Active Under Saddle Pickup System with On Board
4 Band EQ & Vol.
v) Active Piezo Contact Pickups ( e.g. forthcoming
Headway “SuperBug” - Low Impedance Output ) These
should be less prone to feedback than Passive Contact
Pickups and a lot less prone than Microphones

vi) Transducers or contact pickups : High Impedance (

e.g. Headway “Limpet” Passive Contact Pickup ) ,

P.22
Headway “Limpet Duo” pictured above.These should be
less prone to feedback than Microphones
vii) Passive Piezo Ceramic - Under Saddle Fitting
viii) Passive flexible “Piezo Film” contact pickups or
Under Saddle Transducer pickups ( may be encased in
metal ) - Ultra High Impedance
ix) Passive Magnetic Sound-hole Pickups - Low to Mid
Impedance Normally fairly proof against feedback
x) MEMS Microphones include analogue output
versions of miniature mic's mainly utilised in the
manufacture of digital devices. Not unrelated to Electrets
they exhibit a generally flatter frequency response and
note: take out "which" run on very low voltages (typically
3v-5v) from their own power supplies.
MEMS are new to the analogue audio industry but carry/
hold a lot of potential to rival miniature Condenser
Microphones ( i.e. a smaller footprint, lower power
consumption, higher sensitivity, flatter response and less
expense)

xi) True Condenser or Ribbon Microphones: Run

optimally at 48v from EDB-2 H.E or most mixers via XLR
connections, they deliver high quality amplification only at
very low stage volume levels without problems

xii) Electret Condenser Microphones

Run on low voltages via battery compartments or on low
Phantom Power Voltages usually between about 5v-11v,
their sound quality is normally considerably lower than
with True Condenser Mic's or MEMS, but may be
powered by EDM-1 H.E or EDB-2 H.E 11v Phantom to
stereo Jack Plugs. Check if Tip or Ring wiring is required

P.23
and check voltage requirements. BEWARE that 48v is
likely to burn them out.

xiii) Dynamic Microphones: Included the popular SM57

and may connect via XLR or Jack but do not require
powering and are not damaged by Phantom Power. They
are often tough and reliable but not terribly sensitive and
have an uneven frequency response. They usually
benefit from treble boosts and mid cuts. Most are for
external use on stands but miniature versions do exist,
often used primarily for drums or woodwind

3.1 CABLE / LEADS NOTES:

Suitable Jack leads as used to the Input of the EDB-2
H.E should have at least 80% screening, preferably
braided or, at least, conductive plastic shielding with
extra extensive lapped screening to minimise hum and
radio interference

Denmark can have a particular problem with hum when

using Mains electricity to run a sound system, because
there is no mains earth. So everything has to be
exceptionally well shielded, particularly at high
impedance

High quality leads as short as practicable with metal

covers are generally recommended

3.1.1 LEADS FOR PASSIVE PICKUPS: For the highest

Impedance Passive Pickups such as Piezo Cable or Film

P.24
pickups, we recommend using cables 2m ( 6' ) max. if
standard quality ( e.g. Klotz or Van Damme ), and 3m (9')
max. with note: remove special low capacitance cable,
(e.g. Sommer Cable into Pre-amp Input)

Headway offers Sommer Cable Jack Leads and quality

Standard braided cable Jack leads with quality
lightweight Jack plugs

For High Impedance Passive Piezo Pickups, such as

Piezo Ceramic or Headway's popular "The Band", use
quality cables of 3-5m (9'-15') max. to EDB-H.E are
recommended

For Lower Impedence Magnetic Passive Pickups and

Dynamic Mic's, a max. of 6m is recommended

3.1.2 LEADS FOR ACTIVE PICKUPS: quality Active

( powered ) Pickup Systems of all types are least
affected, but are not unaffected by lead length and
quality. A maximum of 10m ( 33') is recommended. For
lengths above that, go to balanced cables, such as XLR
outputs from Active D.I Boxes, e.g EDB-2 H.E

3.1.3 D.I. BALANCED LEADS: XLR Output leads

running a Balanced signal greatly extend effective lead
lengths possible without noise build up, making cable
quality less critical for noise

4.0 CH.1. JACK INPUT ( Standard 1/4" - 6.35mm diam.)

- LOCATED ON FRONT END. Accepts Active and

P.25
Passive Pickups and some Dynamic and Electret
Condenser Microphones. Offers Stereo (TRS) Socket
configured for standard Mono Jack Plug Inputs.
Alternatively Stereo Jack Plugs may be used with
Phantom Power options. See: Sections 3.x,xi,xii, 8 and 9
Warning! - Plugging a live Power Amp would likely
damage the unit and negate the Guarantee / Warranty

5.0 MUTE/ LIVE SWITCHES ON CH.1 & CH.2 -

LOCATED ON TOP. Mute position with Red LED
illuminated indicates that Output is OFF on that Channel.
They are useful to allow silent tuning in front of audience
or to switch off during periods of inactivity without re-
setting controls, preventing howl sound/feedback

Two Mute Switches enable easy instrument swapping

and quieter plugging/unplugging when Live. Mutes can
also be used to switch off a feedback loop instantly

ROTARY POT CONTROLS -LOCATED ON TOP

6.0 GAIN CONTROLS (- CHANNEL 1 & 2) (0dB-32dB
Gain) Graduated 0-10
Turn Rotary Pot CW to increase the gain. Each dot
marker equals 2.5dB (approx.) or +/- 40%

Control on maximum "10" provides gain of 32dB ( x 5

approx. ) which is far more than should normally be
required

Start at around "2-3" or 1/4- 1/3 of the way to the right

and adjust to taste, listening to the level/desired volume.

P.26
Control on maximum "10" provides gain of 32dB ( x 5
approx. ) which is far more than should normally be
required.

NOISE NOTES: Background noise, usually residual hiss

and hum, may or may not be audible. Noise levels
usually increase as gain levels are boosted but may or
may not be more noticeable. But a higher output from
EDB-2 H.E may mean running subsequent devices in the
chain with less gain and producing less noise at those
stages. Every electronic device produces some noise in
operation. You may wish to provide the highest gain
levels from the devices in the chain with the lowest noise
levels?

EDB-2 H.E is a multi-function device which may be run

on batteries, which has made the achievement of a low
noise performance challenging, but this has been
attained. This is not mains powered, nor is it a limited
single function device, or a digital software, so some
small amount of noise is necessary. See Electrical
Specifications 19.2.7

6.2 GAIN & MASTER - JOINT OPERATION

Method A. After plugging in at a Gain of "0" with Mute
ON, turn Master up to about 2/3 CW or 2pm., then switch
Mute OFF and gradually turn CH.1 ( or CH.2 ) Gain
Control CW note: loose "slightly"until you have reached
the desired level at maybe 1/4-1/3 CW.

Method B. After plugging in at a Gain of "0" and with

Mute ON, switch Mute OFF and turn MASTER up a little

P.27
maybe 1/4-1/3 CW, then gradually increase the Gain CW
to maybe 1/2-2/3 CW or about 2pm., until the desired
level (for your instrument) is reached. Further adjust Gain
and Master in order to retain headroom and clarity. Use
the MASTER control for the overall volume required.

Method "B" should offer a slightly lower noise level, while

Method "A" may offer a slightly clearer or more pleasing
tone ~ Recommended

6.3 INTERACTIVE 5 BAND EQ ~ CH.1 & CH.2 -

LOCATED ON TOP
-Baxendall Interactive & Musical Sounding EQ
CW = Clockwise ( right ) to Increase effect of Rotary
Pot Controls from Centre position marked by Centre
Detent

ACW = Anti Clockwise ( left ) to reduce effect of

Rotary Pot Controls from Centre Position, where you
may be able to feel Centre Detents. Detents may not
be felt due to long life "Heavy Feel" Pots used
( potentiometers ), that hold their position

Each dot marker equals 2.5dB (approx.) or +/- 40%

EDB-2 H.E now offers two sets of 5 Band EQ by popular

demand to offer maximum flexibility in shaping the sound
of two sources via two channels for input from both
Pickups and/or Microphones

P.28
6.3.1 TYPICAL EQ REQUIREMENTS
Steel Strung Acoustic Guitars plus Celtic Bouzouki,
Octave Mandolas and Acoustic Bass often require a mid
range cut, especially when playing full chords. Headway
HE4 & Snake3 Fixed EQ pickups will require less EQ
applied than most other pickups because they
incorporate an active tone section, such as with fixed mid
range cuts and low end roll offs, which is set for the
instrument type specified on the Pickup model ( e.g
Headway HE4/G.FEQ for High End Acoustic Guitar -
Fixed EQ )

Nylon Strung Guitars played finger style, Macaferri or

Resophonic Guitars usually require flat mid range EQ or
maybe with a slight boost unless they are played with
mainly full chords in which case some mid cut may be
preferable.

Violins and Mandolins often require treble cuts and low

end cut below 200Hz, as offered on EDB-2 H.E Range
Switch

Violins also often benefit from Upper Mid cuts

Many Electret and Condenser Microphones carry a

Presence or Treble boost, which you may wish to cut via
EQ controls?

Dynamic Mic's usually benefit from a treble boost and

often some mid cut

P.29
6.3.2 BOOSTING EQ: The EDB-2 H.E offers active boost
as well as cut on its EQ controls while some alternatives
offer merely passive or cut functions on controls.
However, boost functions can only work effectively if
there is a significant amount of the frequency already
there in order to be able to increase it.
The Harmonic Enhancer can apply high end content
above 1 kHz that would otherwise not be present
which can then be fine tuned, cut or further boosted via
the Treble and Presence Control

For critical applications, EQ is generally thought to sound

better where cut rather than boosted

6.3.3 WHAT DETERMINES TONE? There are a lot of

overlapping influences. At the top (treble) end alone, they
include reflectiveness and brightness of the room, what
fixtures, fittings and people are in it, the size of the space,
the instrument type and what it is constructed of, strings
type and condition, tuning, player style, type of pic or
fingers used, pre-amplifier, effects, power amplifier,
speaker drivers and speaker cabinets as well as the
direction the speakers are set at. EQ can compensate for
a lot of these influences

But most important of all with EQ is to USE YOUR EARS!

6.3.4 EQ CONTROLS - ROTARY POTS

i) BASS CONTROL: +/- 12dB centred broadly,

approximately @ 120Hz, or +/- 16dB if measured @
45Hz....and before you ask, YES, this figures are both
correct!

P.30
Allows control of the bass at the lowest frequency of the
audio spectrum and will over-lap a little tonally with Low
Mid control

Controls the lowest frequency of the audio spectrum

Cut Bass ACW to cut body handling noise, boomy
sounds, externally generated hum, percussive clunks and
low end feedback, as well as any instrument bias towards
the low strings.

Increase Bass CW to beef-up tone or bias lower strings

more strongly. However, high strings will produce some
lower tones or sub-harmonics which will be enhanced or
reduced by the Bass Control

If you prefer a more sharply focussed Bass cut, use the

Notch Filter

Guitar or Violin 'Range" setting offers a fairly gentle

additional bass roll off

ii) LOW MID CONTROL: +/- 12dB centred broadly,

approximately @ 590Hz
With a broad sweep it allows control of lower Middle
range of frequency spectrum which is centred above
bass but below High Mid or Treble/High. These will
overlap on both sides a little
Cut Low Mid ACW bringing down to thin out tone or
linearise or naturalise the tone of many lower mid biased
guitar pickups, especially when mounted on steel strung
Acoustic guitars

Also, used in cut mode, to linearise speakers and

speaker cabinets which are often Mid biased

P.31
Cut Low Mid to reduce body handling noise or over
loudness on lower strings, muddiness and boomy sound
Increase Low Mid CW to thicken tone. This is more
popular on Nylon Strung Instruments or when playing
finger-style or slide

The Notch Filter and Violin "Range" Switch settings can

all impinge on this area

iii) HI MID CONTROL: +/- 12dB centred broadly,

approximately @ 880Hz
Allows control of Upper Mid range of frequency spectrum.
Will overlap a little tonally mainly with Low Mid and
Presence.
Cut Upper Mid ACW to thin out or hollow out tone,
reduce bias of middle guitar strings, remove honkiness,
clunk, or peakiness.
Increase Upper Mid CW to thicken tone, add punch and
increase bias towards middle strings

iv) PRESENCE CONTROL: +/- 7dB centred in narrow

band, approximately @ 2.8kHz
Allows control of Presence which noticeably overlaps into
lower treble and upper mid range areas but offers a
useful, narrow but distinctive area of control.
Cut Presence ACW to reduce clunk, peakiness or
harshness,
to hollow out sound subtly and reduce low end
brightness, reduce bias of top 2-3 guitar strings, thin the
treble, tame low treble feedback and mellow the sound. A
Presence cut is also thought to reduce the Piezo

P.32
response effect which is sometimes partly characterised
as "quacking"

Increase Presence CW to thicken treble, increase punch

and increase bias to top 2-3 strings

N.B. Pro Audio or dictionary defined "Presence" as used

by Headway should NOT be confused with the controls
sometimes listed on Electric Guitar combo amps which
use the term to denote high treble

v) TREBLE CONTROL: +/- 13dB Centred broadly @

10.5 kHz with shelving
HIGH allows control of treble at higher end of the audio
spectrum which offers you increased brightness on
turning CW or a jazzy mellow sound on turning ACW.
Treble overlaps mainly into Presence area. However, low
strings will also produce high tones or harmonics

Cut Treble ACW to reduce high end feedback,

harshness, externally generated hiss, squeaks from new
strings or to compensate for over-bright pickups or hard
reflective rooms.
Increase Treble CW to compensate for old, dull strings,
weak top strings, mellow pickups or dull, boxy rooms and
P.A's

Use Treble control to fine tune the effect of the

Harmonic Enhancer Control. For Piezos, try applying a
treble cut, while the H.E Pot control is placed about
halfway CW or full ON to the right

P.33
Humbucker Magnetic Pickups and Flexible Piezo Film
Contact Pickups will probably benefit from treble control
increases in addition to turning H.E. Pot CW

7.0 HARMONIC ENHANCER H.E.A.T ~ HARMONIC

ENHANCED ANALOGUE TECHNOLOGY: VIA
ROTARY CONTROL POT & CHANNEL SELECTOR
SWITCH - LOCATED ON TOP
Generates an exceptional, high end, even, "harmonic
sparkle", restoring
"string zing", replacing natural tones lost from your instru-
ment due to amplification or use of magnetic or piezo
pickups and many microphones and defining string sepa-
ration, enabling greater clarity to be heard in ensembles

The 3 Way Channel Switch allows it to be applied to

CH.1, CH.2, or Channels 1 & 2. The treble tone can be
completely re-shaped in this way without it needing
to be overly bright, by turning down treble control
(ACW). Or an overly mellow pickup can have a huge
boost in brightness by applying the HARMONIC EN-
HANCER, while turning up treble control

7.1 PIEZO PICKUPS ( CERAMIC, CRYSTAL & PIEZO

CABLE ) and Condenser Mic's: If sound is perceived as
being bright, try putting Enhancer Control in 1/3 CW up
position for modest effect then try turning treble control
pot down to fine tune overall sound. This will boost high
harmonic content while reducing lower frequency "clunky"
treble content and the "piezo quacking" response

P.34
7.2. MAGNETIC PICKUPS, DYNAMIC MIC'S AND
PIEZO FLEXIBLE FILM PICKUPS: These tend to be on
the over mellow or boxy side, with magnetic pickups usu-
ally not producing tones above 4kHz -5kHz, while Piezo
Flexible Contact Film Pickups can often produce no
higher than 2 kHz. Put Treble control in the centre and
Enhancer Control Pot 2/3 CW to the Right, then try in-
creasing treble control CW as there would then be some-
thing there for it to be able boost. Re-adjust Enhancer
control to your taste
Headway's SAM-1 Magnetic Pickup already incorporates
Harmonic Enhancement Analogue Technology

8.0 CHANNEL 2 & MICROPHONE USE

8.1 INPUTS - LOCATED ON FRONT END

Channel 2 is suitable for a second pickup or Microphone
on the same instrument or to facilitate and balance two
instruments such as Guitar and Bass or Guitar and
Vocals and provides a full independent set of EQ for
each. As with Channel 1, it suits Active and Passive
Magnetic/Piezo Pickups as well as a wide range of
Microphones

The two channels are now configured to accommodate

the option of two players or two instruments left plugged
in under effective individual control

8.1.1 STEREO JACK INPUT

Stereo Jack Input feeds separate signals to both 1 & 2
Channels controlled by their gain controls. The signal on

P.35
the tip of jack (red or white wire in stereo cable) feeds
Channel 2. The signal on the ring of the jack (blue or
black wire in cable) feeds Channel 1.
Plugging a Mono Plug into the Stereo In feeds Ch.2 only,
freeing Ch.1 for additional Independent use

Warning - Plugging a live Power Amp would likely

damage the unit and negate the Guarantee / Warranty

Headway Music Audio will NOT accept requests for

information on other manufacturers wiring or
specifications

Headway Music Audio Ltd. will not be held liable for

damage to other manufacturers pickup systems from
Phantom Power

The Ring Position suits more typical active pickup

systems where wired for Phantom Power. Tip position
powering is required for many Electret Condenser Mic
based systems

8.1.2 MIC INPUT XLR: Impedance < 2k Ohm.

XLR input accepts Dynamic, Ribbon, Condenser and
Electret Condenser Microphones

The XLR input allows the use of a high quality true

Condenser Mic or Ribbon MIc, directed at the instrument,
often to be mixed in combination with a pickup source fed
into Channel 1

P.36
Use Uni-directional Microphones such as Cardiod and
note: loose "especially" Hyper-Cardiod Polar Patterns to
optimise signal in a live setting before feedback

A 3 Way Switch on the front end offers 11v or 48v

Phantom to XLR . 11v is optimal for most Electret
Condenser Microphones or Active Pickup Systems while
48v is optimal for true Condenser microphones

Headway XLR 3 pin wiring is standard configuration. See

Phantom Power / Electrical Specifications / Microphone
Notes

8.1.3 ON/OFF MICROPHONE SWITCHING - LOCATED

ON TOP PANEL
2 Way Switch offers XLR ON/OFF (to minimise circuit
noise to Jack In Channels and reduce battery power
consumption, when XLR is not in use)

8.2 MICROPHONE USE NOTES: Headway Music Audio

suggests caution on the use of internal Mics within
instrument bodies. Miniature Mic's supplied with pickups,
or purchased separately at low cost are often poor
quality. These are usually Electret Condensers running
on around 9v

MICROPHONE MOUNTING - INSIDE OR OUT?

P.37
Firstly, musical instruments are voiced to be heard from
the outside whereas internally, body sounds usually offer
excessive mid/bass boom

Secondly, Mics are meant to be used in free air where

sound waves travel mainly from the front of a diaphragm
to the rear whereas inside instruments, sound reflections
and partial cancellations from standing waves may cause
phasing problems, causing a swirling effect and
preventing clarity

Finally, the placement of a Mic inside a resonant

chamber may produce uneven peaks and a tendency to
low frequencies making them highly prone to feedback

TESTING OR PERFORMANCE? Musicians should bear

in mind that they might judge the sound of an internal Mic
at very low volumes but will often find it completely
unusable at typical live performance volumes or in
difficult acoustic conditions, even at low volumes

BLENDING: If you try to blend in some Mic you may be

severely constrained by stage sound pressure levels

P.38
from PA speakers, monitors, or backline combo amps
and you may have to turn down the Mic volume to
prevent feedback to such a low signal that it is effectively
perceived as turned off

POSITIONING: If you try to make the Mic sound a little

less boomy and unnatural by pointing it out of the
sound-hole you will be making it even more likely to
pickup speaker cabinets and monitors which may make it
more likely to feedback
If a Uni-Directional Microphone is mounted outside of an
instrument, it may be offset to cut it's potential to
feedback, by angling it to keep front and rear of the Mic
pointed away from the main sound source

GOOSENECKS: If an internal Mic is on a flexible

gooseneck you may lessen the problems by spending
time finding the best sounding spot for placement but as
soon as it inevitably moves or changes angle slightly, or
you take it to a different acoustic environment, the
problems are likely to worsen as it interacts differently
with the room

ANTI-FEEDBACK ELECTRONIC DEVICES: If used

correctly, these can help a lot at the professional sound
engineer level but the sound quality that a good
microphone can deliver is incrementally compromised by
use of anti-feedback electronic devices. The harder they
work, the more holes in the sound they need to remove,
which defeats much of the aim of using a Mic. One of the
cheaper rack units commonly available is supplied
incorrectly setup and they are not at all easy to use

P.39
POLAR PATTERNS: For optimal sound quality,
Headway recommends that, if used, microphones should
be used externally and with Uni-Directional, Cardiod and
Hyper Cardiod polar patterns, such as the DPA 4099 with
its soft external body clip option

Omni-Directional mic's may produce a natural sound at

low cost but their feedback headroom is the lowest of any
such device

FREE STANDING FULL SIZED/LARGE DIAPHRAM

MIC'S: Headway recommends full sized/large diaphram,
Uni-directional Condenser or Ribbon Mics mounted on
standard microphone stands or with Proel's Guitar body
mounting bracket. External Mics will still be prone to
feedback compared to pickups however, they should
sound better than internal Mics

DPA: Headway recommends Miniature Instrument

Microphones by DPA which are true
Condensers(HyperCardiod)

HE4: Headway's "HE4" range of Co-axial Piezo Cable

Under Saddle pickups for acoustic instruments offer a
more natural sound than flat pickups, sensing in 360
degrees (see website for full range)

REVERB: A quality digital reverb (e.g. Lexicon) with a

slow natural decay, on a Room/Hall reverb setting a little
larger than the ambience of the space you are performing
in, can add the impression of "air" in the sound

9. PHANTOM POWER - FEATURES LOCATED ON

FRONT END

P.40
9.1 3 WAY PHANTOM SWITCH to CH.1 IN JACK
SOCKET:
OFF / 11V to JACK RING / 11v to JACK TIP

This is not to be confused with the XLR On/Off Switch on

the top, which switches off the XLR circuitry

EDB-2 H.E Phantom provision enables external powering

of certain Active Pickup Systems and Blender systems on
board instruments with no battery inside where wired to
accept Phantom Power via RING (Stereo Jack Lead) or
wired to accept Phantom Power to TIP.
Active Pickup or Active Pickup/Mic Blender Systems
wired for Phantom should NOT require an Internal
Battery. This may be an advantage where maximum
active system performance is required but where battery
access may be restricted, e.g. "f" Hole Instruments and
Resophonic Guitars

When using Phantom Power, we recommend removing

any battery in place in a pickup system, whether new or
expired, which might be heated up or be damaged and
leak. You may then need to bridge the two battery snap
terminals with a wire from positive to negative to
complete the circuit

Headway's "HE4" and "Snake3" Active Pickups may be

powered by 9v-18v Phantom Power to RING from EDB-2
H.E, using a Stereo Jack Lead to End Pin Jack Socket.
ENABLE PHANTOM POWER BY REMOVING BATTERY
AND CONNECTING THE TWO BATTERY TERMINALS
TOGETHER. Alternatively use Headway's "PPE Clip"
(Phantom Power Enabler) which is fast and reversible
and available to HE4 & Snake3 Purchasers

P.41
Some Blender systems which include Electret Condenser
Microphones may be powered via 11v Phantom to TIP.
Check Pickup manufacturer's Instruction Manual first

11v Phantom Power has been identified as the maximum

voltage for optimum signal to noise ratio, headroom, tone
quality and output levels in many pickup systems and
Mic's
CAUTION: BE SURE TO CHECK IF PHANTOM
POWER IS REQUIRED BY CHECKING THE WIRING
SPEC. OF YOUR PICKUP/MIC OR BLENDER SYSTEM
WITH THE MANUFACTURER OR THEIR TECHNICAL
SPECIFICATIONS BEFORE TRYING THIS FACILITY

9.2 3 WAY PHANTOM SWITCH : OFF / 11v to XLR IN /

48v to XLR IN:
48v powers true Condenser Microphones optimally.
Exceptional quality reproduction may be obtained in this
way. Many of them will also operate on a lower voltage

9.3 PHANTOM POWER CONSTRAINTS: It is NOT

possible to power the EDB-2 H.E via Phantom Power
from a Mixer, due to insufficient milli-amps provided from
Mixer. This is a multi function device and not a simple,
minimal D.I Box and the quality of components used in
EDB-2 H.E have NOT been compromised to run LoFi &
with low headroom at a low power consumption

P.42
The smaller alternative Pre-amplifier EDM-1 H.E will
run on Phantom Power from most mixers, depending
upon the voltage and milli-amps offered, as current
draw is much lower, due to reduced functions

Applying Phantom from a Mixer to EDB-2 H.E will

NOT damage the unit

10. NOTCH FILTER CONTROLS / ANTI-FEEDBACK -

LOCATED ON TOP
Sometimes known as a "Sweep" the Notch Filter utilises
two Rotary Pot Controls, a Sliding On/Off Switch and a
sliding channel selector Switch. It applies either to
Channels 1 or 2 and applies to Line out and DI out

P.43
sockets. Control markers are only a rough guide to
frequency and band width

10.1 NOTCH-Q CONTROL: Sharp to Broad Band Width

Application
Sets the bandwidth or spread of notch cut for the filter
around the frequency setting of the NOTCH Control
Rotary Pot. Turning ACW to "Sharp" reduces width of cut
towards minimum width while turning CW up to "Broad"
increases width of notch cut towards maximum
A sharp width enables you to seek and remove typical
narrow but problematic feedback peaks

10.2 NOTCH FREQUENCY SELECTOR: 50Hz - 6kHz

Sets the approximate centre frequency from 50 Hz (low
bass) - 6kHz (treble) via a Rotary Pot to which the "Q"
Pot sets a broad or narrow notch cut either side of the
position
10.3 NOTCH FILTER SWITCHES
i) 2 Way Slider Switch determines whether the Notch
Filter is In or Out. This enables you to instantly determine
whether you like the application set "ON" or "OFF"
without altering settings. The LED indicator illuminates
BLUE when filter is applied
ii) 2 Way Slider Switch applies Notch Filter to Ch. 1 or
Ch. 2 alternately

10.4 NOTCH FILTER IN USE

This is a versatile, supplementary tone control which can
be used quite subtly at the "Sharp" end or severely at the
"Broad"/Wide end. It is the most precise and effective

P.44
method for cutting highly intrusive or severely
problematic sounds such as feedback, excessive
booming & body handling noise, background rumble,
honky upper mid range or muddy lower mids
First try the Notch Filter on what seems to be the most
problematic frequency spectrum leaving the other EQ
controls at their centre position. Here are a few potential
strategies

10.4.1 How to sweep out unwanted low end Bass

i) Set the NOTCH Frequency Rotary Pot ACW well below

useful tonal range of instrument or fully ACW

ii) Set the NOTCH-Q knob close to or fully ACW

iii) With the NOTCH Switch selected for channel, adjust

the NOTCH-Q Width control from its minimum ACW
setting slowly turning CW while listening to the amplified
low strings until the tone of the low strings starts to thin
out and clarify as required. Re-balance both controls
slightly in order to fine tune the maximum amount of cut
and the roll off point according to what sounds best

10.4.2 Excessive or problematic heavy Midrange:

Set NOTCH-Q and NOTCH Frequency controls around
middle of dial and then, whilst listening to the amplified
sound, adjust the NOTCH frequency control to find where
the cut is most effective. Increase or reduce the
NOTCH-Q control until the problematic frequency is
minimised without taking more useful tone than is
necessary

10.4.3. Feedback Peak / Spikes & Feedback :

P.45
These are are best countered by setting the NOTCH-Q
width control fully ACW (as narrow as possible) Then,
whilst listening carefully, slowly turn the NOTCH
Frequency Control CW. Stop turning immediately when
the unwanted noise has been located and removed

All EQ and Parametric EQ in particular, should be used

carefully and sparingly. The use of EQ can improve or
worsen sound quality. Even frequencies that may sound
unpleasant when heard in isolation may need to be
retained as part of the overall mix of a body of sound, to
enable it to be perceived as full, natural or balanced
An alternative view would be that carefully tuned active
EQ boost and cut can be used creatively beyond just
problem solving

11. RANGE CONTROLS / ANTI-FEEDBACK - CH.1 &

CH.2 - LOCATED ON TOP
- 3 Way Slider Switches
These set a High Pass Filter which rolls off low
frequencies according to the requirements of three target
instrument types: Violin/Mandolin, Guitar and Bass

This rolls off low end, feedback and "muddy" resonances

from the instrument body, stage or room but allows
through and amplifies the fundamental frequencies and
harmonics above that. Hence "High Pass Filter". This
may be partly countered by turning up Bass or Lo Mid

P.46
controls, which overlap in effect, or further re-enforced by
turning those controls down

11.1 RANGE SETTINGS

i) Bass: Effectively "Full Range". Cuts below 40 Hz. This
setting applies to all instruments producing bass such as
Double Bass. You may also prefer this setting on
Baritone Guitar, Cello and Mandocello

ii) Guitar: Cuts bass frequencies gently below 80 Hz,

which will still allows sufficient amplification through when
the lowest string is dropped from bottom "E" to "D" ( 70Hz
) or down to "C" ( 65Hz)

Ensure that Combo Amplifiers and P.A speakers are

capable to reproducing these Guitar and Bass
frequencies as very small cabinets will typically not
produce any fundamental frequencies below about 130
Hz

Setting also applies to 12 String, Electric and Nylon

Strung Guitars, Resophonic Guitars and Pedal Steel
Guitars plus other mid range instruments, e.g. Bouzouki
& most Banjos
If applied to Baritone Guitar & Cello, this will trim low end

iii) Violin: Cuts bass and Low Mid frequencies

significantly below 200 Hz. This setting also applies to
similar smaller, high pitched instruments such as
Mandolin and Ukulele
If applied to Viola or Tenor Mandola, the low end would
be significantly trimmed

P.47
The "Range" Switch effect may be partly countered or
modified by the use of the Bass & Low Mid controls

If the "Range" Switch is set high at "Violin" it will thin out

the sound instruments with lower ranges. See "Rock
Acoustic" below

11.2 STRINGED INSTRUMENTS - THEIR LOWEST

FREQUENCIES PRODUCED
These are an approximate guide to help set Notch Filter
and Range switches

Bass Guitar/ Double Bass ( E ) = 40Hz

5 String Basses theoretically produce 30Hz on Low "B"

string but there is no fundamental produced that low on
the instrument and even if there was, almost no bass
amplifier could reproduce such low frequencies.
We perceive the 30Hz via the harmonics, at an octave or
more above, i.e at 60Hz. Set on "Bass"

Baritone Guitar ( "B" to "B" ) = 60 Hz

Cello ( Low "C" ) = 65 Hz

D Guitar ( Dropped "D" Guitar Tuning ) = 70 Hz

Acoustic Guitar / Nylon Strung Guitars ( "E" ) = 80 Hz

P.48
Bouzouki ( Celtic "G" ) Octave Mandolin/ Oct. Mandola /
Tenor Banjo = 100 Hz

Tenor Guitar ( "A" ) = 110 Hz

Viola / Tenor Mandola ( Middle "C" ) = 130 Hz

5 String Banjo ( Typical lowest note "D" ) = 147 Hz

Violin/ Mandolin ( "G " ) = 200Hz

Uke ( "A" Soprano ) = 210 Hz

11.3 "ROCK ACOUSTIC" SETTING: If you need to

amplify an acoustic guitar or other acoustic instrument
over a loud electric band especially where using high
powered stage monitor speakers, there may be little or
no point trying to amplify the bass end of that acoustic
instrument since it would be drowned out by Electric
Bass Guitar, Bass Drum or Keyboards etc. It may be
trying to feedback at lower volume levels than where an
acoustic guitar's low tones are likely to be audible

To achieve this effect, set Range Switch on "Violin",

further reduce Bass and Low Mid EQ controls and set
Notch Filter to cut broadly below approx. 300-500 Hz.
This will still allow the "shimmer" of Acoustic Guitar
chords to be heard. Although less in lower frequency
content, the result may be a useful sound in a Band

P.49
ensemble spectrum, similar to Cymbals and with the
minimum possibility of feedback

11.4 TWO GUITAR MIX: This thinning EQ technique also

enables the mixing together of two quite similar range
Instruments so they separate audibly in a mix. To mix two
guitars or an Acoustic Guitar and a Bouzouki for
example, thinning out the sound of one of them will
prevent them audibly clashing, blurring and cancelling out
notes

12. PHASE REVERSE / ANTI-FEEDBACK - 3 WAY

SWITCH - LOCATED ON TOP
Allows you to better match diverse separate signals via 2
Channels in a mix, similar to tiny time delays between
them. The function is also used to beat feedback. It will
change tone slightly which is inevitable

"In Phase" - Low position is normal

"Out of Phase" via Channel 1 with Channel2 / Or could

be for Anti-feedback - Middle Position

"Out of Phase" via Channels 1 & 2 with other non EDB-2

H.E signals / Alternative Anti-feedback option

13. SEND & RETURN - FX LOOP - JACK OUT & JACK

IN - LOCATED ON LEFT SIDE
Effects ( FX ) pedals or rack units can be connected in
line using short Mono Jack Leads, Patch Leads or Jack
to Jack Adapters if those line up effectively. Note that the
order in which they are connected will affect tone and

P.50
noise levels building up, so pedals with the highest output
and lowest noise ( s/n ) should be first in the chain. You
may wish to experiment with the order FX Pedals are
connected as this will also affect tones and the way they
interact with each other

Devices chained into the Loop may include Chorus,

Delay, Reverb, Acoustic Multi FX, Band Creator Pedal,
Phaser, Vibrato, Volume Pedals, Electronic Tuners with
Jack In and Out, or Pro Audio type Compressor/Limiter

We do not recommend Electric Guitar type Compressor

Pedals or Overdrive/Distortion Pedals for Acoustic
Instruments if you wish to retain an acoustic sound

Headway Music Audio Ltd. recommends that Jacks

Socket contacts be kept clean to retain full working
operation. Lubricating with e.g. Switch Cleaner with
Lubricant, or WD40 will prevent problems. Send & Return
Sockets should treated with particular care

14. AUX IN / IPod - LOCATED ON RIGHT SIDE - 3.5mm

Diam. Mini-Jack Socket routes directly to Master Volume
Pot (Post EQ )
Intended to connect analogue audio signal of pre-
recorded music for practice or backing, which does not
require EQ

15. MASTER VOLUME CONTROL - LOCATED ON TOP

Rotary Pot Control sets the output level of the EDB-2 H.E
pre amp which is fed to the LINE OUT and DI Out
sockets

P.51
Also applies as sole control to Aux. IN via Mini-Jack
Socket. Turn CW to increase Output
See: Section 6.2

16. LINE OUT - JACK SOCKET - LOCATED RIGHT

SIDE
Line Out Jack is a standard Mono Output at Low
Impedance, able to run long shielded cables of decent
quality without significant loss to. It can interface with
rack units, pedals, Combo Amps, Headphone Amps,
many Digital Recording Interfaces and some Power
Amps

17. D.I BALANCED OUTPUT VIA XLR - LOCATED

REAR END
Less sensitive to cable quality, specification or cable
lengths. May be interfaced with rack units, pedals, combo
amplifiers, headphone amps, many digital recording
interfaces and many power amps

An XLR Output lead that terminates in a stereo

(balanced) or Mono Jack Plug may be used if convenient

Passive Transformer type D.I's are designed for

microphones only and can be problematic with pickups.
They are better avoided. EDB-2 H.E ELIMINATES THE
NEED TO RESORT TO INFERIOR D.I. BOXES. USE
THE D.I. OUT FACILITY

Uses Standard 3 pin XLR wiring. See 19.2.7

18. POWERING OPTIONS

P.52
18.1 BATTERY POWERING Via 9v PP3 (6F22) x 2,
supplied as standard, and housed under angled
aluminium panel cover. Undo the engraved, knurled
brass nut to slide off cover and access batteries

Connection is via two fixed, non-reversible clips which

should be pinched on tight

Batteries should be new and identical and their condition

checked before use to avoid damage or injury. Dispose
of leaking batteries responsibly!

Battery removal is unnecessary whilst using a Headway

DC Adapter ( external Power Supply Unit) or if EDB-2

P.53
H.E Phantom Power is switched ON however when using
EDB-2 H.E to power pickup systems, any "in-instrument"
batteries should be removed to avoid injury or damage

EDB-2 H.E is designed to be powered with Alkali,

Lithium, Lithium Polymer Rechargeable or Ion
Rechargeable. Type of battery, i.e Alkali, is more
important than brand or manufacturer, so you might buy
the least expensive Alkali or Lithium, Lithium Polymer
Rechargeable or Ion Rechargeable.

18.2 LIFESPAN OF BATTERIES IN EDB-2 H.E WHEN

POWERED ON

1st: Lithium: 250 Hours of Power ON, or maybe 150-

200 Hrs if Phantom Switch also ON, which depends on
*current draw of device EDB-2 H.E is Phantom Powering
Lithium have the longest life, but are relatively expensive
and banned from normal international transit, fitted, not
fitted or expired

2nd: Alkali: 70 Hrs of Power ON, or less hours if EDM-1

H.E Phantom Switch also ON*. Probably the best value
non-rechargeable battery to purchase in terms of cost per
hour and long, reliable life

3rd: Zinc Chloride or Manganese: Reasonable lifespan

but pattern of use is major determination of battery life

We do not recommend Zinc Carbon Batteries or NiCd,

the older re-chargeable batteries for this application as
life is limited, NiCd Voltages start at 8.4v or lower and
they are banned from International Shipping

P.54
Note that lifespans are approximate and will vary
according to pattern of use and current draw from any
devices requiring Phantom Power from EDB2-H.E

Do not dispose of batteries in Landfill rubbish

collections. Use battery collection schemes

18.3 LIFESPAN OF RE-CHARGEABLE BATTERIES IN

EDB-2 H.E WHEN POWERED ON - based on recently
improved battery manufacturer claims of specification
when new:

1st Lithium Polymer Rechargeable PP3: at approx. 100

Hours

2nd Lithium Ion Rechargeable PP3: at approx. 60 Hours (

roughly comparable to Alkali when new)

3rd Ni-Mh (Nickel Metal Hydride) PP3 9v 280 mAh: at

approx. 50 Hours

4th Ni-Mh, at 9.6V 220 mAh PP3 NiMH Rechargeable

Battery : at approx. 40 Hours

Headway advises keeping two spare PP3 batteries for

EDB-2 H.E

18.4 LOW BATTERY INDICATOR LED - Located on Top

Indicates that battery life is close to being expended.

EDB2-H.E will continue to function for several hours after

P.55
which the voltage remaining falls below the minimum
required 7.3v ( per battery)

(International Shipping with Batteries: See: Section 1.8)

18.5 PSU Power Supply 18v D.C. Adapter

Insert 2.1mm diam. plug into D.C. Socket. This overrides
the battery. Only Headway Regulated PSU-EDB/M
should be used, which may operate on between
100v-240v Mains Electricity Supply

The PSU Output cable should not be knotted or stressed

as it will subsequently fail. A loose loop held by a re-
useable nylon or double sided Velcro cable tie holding it
together will allow it to last years. See Specifications 19.
for PSU details.

19. SPECIFICATIONS OF EDB-2 H.E

EAN: 7107718579859

19.1 PHYSICAL SPECIFICATIONS ( Approx.)

Dimensions: Aluminium Metal Box Length 160mm. ( 6,3")
• Overall Length = 167mm ( 6,57")
• Box Width 100mm ( 3,9"), Overall Width = 103
mm ( 4,0" )
• Depth of Metal Box 30mm ( 1,18")
• Depth including knobs and feet = 41mm ( 1,61")
• Weight: 450g ( oz)
• Dimensions of Retail Packaging complete with
EDB-2 H.E = 195mm x 185 mm x 51mm (7,7" x
7,3" x 2" )

P.56
 • Weight of Retail Packaging complete with EDB-2
H.E = g (. " )
• Mic Stand Bracket Connector: Female threaded
bush on rear at 19/32" = 15mm approx.). DO NOT
OVER TIGHTEN!

19.2 ELECTRICAL SPECIFICATIONS (Approx.)

19.2.1 CH.1 & CH.2 Jack Input Impedance = 6.8Meg

Ohms / High Impedance

Voicing is not negatively affected by Impedance setting

when using Active Inputs & Condenser Mic's etc. and will
optimise Piezos and slightly brighten dull sounding
Passive Magnetic Pickups & Dynamic Mic's

• Gain Control to Ch.1 Jack: Continuously variable 0

- +32dB Jack IN: Offers Mono Signal path IN via
Tip plus Phantom Power 11v option, sent when
switched on via Ring or Tip Switching Options
• Gain Control to Ch.2 Jack: Continuously variable 0
- +32dB Jack IN: Offers Mono to Ring ( Ch.2 ) or
Stereo Signal path IN via Tip to Ch.2 & Ring to
Ch.1
• Ch.2 XLR Mic In with Continuously variable 0 -
+50dB and Switchable Phantom Power 11v -48v
option. Ch.2 XLR Mic Input Impedance = 3.4kOhm

19.2.2 BAXENDALL INTERACTIVE 3 BAND EQ

SECTION

P.57
 • Treble: @ 10.5 kHz +/- 12dB Shelf
• Presence: @ 2.8 kHz +/- 7dB
• Upper Mid: @ 880 Hz +/- 12dB
• Low Mid: @ 590Hz +/- 13dB
• Bass: measured @ 120 Hz +/- 12dB Shelf.
• Bass if measured @ 45Hz +/- 16dB Shelf

19.2.3 "RANGE" 3 WAY SWITCH (High Pass Filter)

Slope Profile of Low frequency roll off: 12 dB per Octave.
Rolls off below: 40Hz (Bass ) / 80Hz. (Guitar) / 200Hz
( Violin/Mando)

19.2.4 PHANTOM POWERING OF ALL PRESENT &

PAST MODELS OF EDB PRE-AMPLIFIERS - Output
XLR does NOT accept 48v Phantom from a mixer, as
milli-amps power provided is not sufficient to power EDB
preamplifier's high performance, multi-function features

19.2.5 PHANTOM POWER TO IN JACK –

SWITCHABLE
IN Jack Socket: 11v with 10 mA Current Limit on Ring
option or 5K6 Resistor in Series, for Tip setting. 3 Way
Switch: Off / Ring / Tip

19.2.6 CURRENT DRAW

Minimum = 16.3 mA
+ additional draw if Notch Filter On = 0,14mA
+ additional draw if Phantom Power On = 0,1mA

P.58
 Maximum total draw =19,9mA with red led diodes mute
on

19.2.7 OUTPUT - Line Output via Jack: Nominal 0.5v

RMS @ 150 Ohms Mix of Ch.1 & Ch.2 + Aux IN via
Mono Jack Socket. (Standard ¼" / 6.35mm Diam.)

D.I Balanced Output via XLR Adapter: Nominal 0.5v RMS

@ 150 Ohms Electronically Balanced (Mono)

XLR IN/Out Wiring: Pin 1 = Earth/Ground, Pin 2 =

+Signal (Plus), Pin 3 = - Signal (Minus)

Noise Level (True RMS 20 Hz-20 kHz) At/@ 20 dB gain,

EDB-2 H.E produces (-)90 dB. At /@10 dB gain, EDB—2
H.E produces -94 dB Distortion: THD
See 6.1 Noise Notes

19.2.8 POWER SUPPLY UNIT - D.C Adapter

Supplied as standard - Mains Plug type & PSU inclusion
with EDB-2 H.E determined by Trade Purchaser

AC ADAPTER: CE in EU, UL Listed in USA. PSE in

Japan
INPUT: 100-240VAC 50/60 Hz @ 100mA+ OUTPUT:
18VDC @ 0.5A+ N.B. Output power can be higher
than 100mA without problems as power is drawn from
PSU
Input Plug Connections (L.P.S.): 2.1mm Diam. Outer =
+VE (Positive)• Inner = - VE (Negative)

P.59
PSU MUST BE "REGULATED" OF CORRECT
OUTPUT VOLTAGE, POLARITY & OFFERING
SUFFICIENT MILLI-AMPS

MAINS PLUG CONNECTORS SUPPLIED ARE

CHOSEN ACCORDING TO THE PRIMARY
PURCHASERS OF EDB-2 H.E AS REFLECTS THE
REQUIREMENTS OF THEIR TERRITORY.

BEWARE - IF YOU PURCHASE EDB-2 H.E FROM A

RETAIL SUPPLIER IN A DIFFERENT TERRITORY,
YOU ARE LIKELY TO RECEIVE THE WRONG MAINS
PLUG.
YOUR OPTIONS WOULD THEN BE TO:

i) PURCHASE THE CORRECT PSU ADAPTER FROM

HEADWAY;
ii) TO USE BATTERIES;
iii) TO USE A MAINS PLUG TYPE CONVERTER; OR
iv) TO RETURN THE PRODUCT FOR A REFUND AND
PURCHASE FROM YOUR OWN TERRITORY WITH
THE CORRECT MAINS PLUG ON PSU ADAPTER

Headway Music Audio will always supply the correct

plug type to each territory where ordered with EDB-2
H.E

On occasions, purchasers may opt to purchase

EDB-2 H.E without PSU Adapter

IN JAPAN, THE 100v MAINS REQUIRES "PSE" MARK

FOR POWER SUPPLY COMPATIBILITY. A PSU
Adapter without that mark may not operate optimally
on 100v

P.60
Use only Headway Music Audio supplied 18v PSU:
As per EDB-1, EDB-2, EDB-2 H.E, EDM-1, EDM-1 H.E,
or forthcoming EDB-2 V.A.P, Headway Music Audio Ltd
will not honour guarantees where an incorrect Power
Supply has damaged a pre-amp

19.2.9 WEEE Regulations & Environmental Disposal:

Power Supplies, Batteries and Pre-amplifiers should
NEVER be randomly disposed of in a bin or sent for
landfill disposal. Repair and service Pre-amplifiers for
long term use and use local re-cycling and electronics
collection schemes

RoHS Regulations: EDB-2 H.E and other Headway

products are made in accordance with RoHS Regulations
and are made free of lead and other environmentally
damaging substances

20 TROUBLE-SHOOTER CHECKLIST

20.1 AVOIDING ACOUSTIC FEEDBACK & ROOM

RESONANCES

• Turn the amplifiers, instruments and microphones

down and turn off when not in use
• Re-angle instruments and Mics to the side of, off
axis or behind the speaker cabinets
• Try re-positioning speakers
• Use "Notch Filter" to hone in on and cut
troublesome frequencies

P.61
• Check that "Range" control switch is set correctly
to remove unwanted low frequency amplification
• Use EQ controls to cut frequency of feedback
• Covering or blocking the sound hole(s) of an
instrument may often help give a few more dBs of
level before the onset of feedback
• Sound absorbent materials such as drapes and
heavy banners in room may help to damp sound
reflections which cause feedback
• Where using two pickups or pickup + Mic and
feedback is encountered, increase proportion of
saddle/bridge pickup or magnetic pickup and
decrease proportion of Contact Pickup or Mic; or
Increase proportion of Contact Pickup and reduce
Mic level
• Where using Mics, avoid Omni-directional and use
Uni-Directional / hypercardiod
• Move source closer to any Microphone in use
• Electronic feedback destroyers are rack units
which, when set up correctly, automatically tune
into and attenuate the troublesome feedback
peaks allowing the remaining frequencies' volume
to be increased. However, they may be complex to
use correctly and will remove frequencies from the
sound which may defeat the point of using Mics
• The overall level may be increased by playing
harder and getting the instrument closer to any
microphones

P.62
 • Damp any strings, which will not be in use either
with techniques while playing or when left on stand
such as by wedging in plectrums (pics)
• Getting people, such as your audience into an
enclosed performance space will soak up a lot of
sound reflections and discourage feedback as if
MABS, or Mobile Acoustic Baffles!
• Check that a power amp output or headphone
output is not plugged into EDB-2 H.E inputs

20.2 UNEVEN STRING AMPLIFICATION, HARSH or

BOOMY SOUND?

• Use "Notch Filter" or EQ controls to hone in on and

cut troublesome frequencies
• Under saddle pickups may not be fitted or seated
correctly and evenly on the instrument. Contact a
professional luthier in order to have the installation
checked and put right
• If a contact pickup is in use, change its placement
in order to get the best sound by locating the
sweet spot and avoiding honks, resonances and
hollowness
• If a microphone is in use, change its position to
obtain the best balance and overall sound. Guitars
often Mic up best with Mic pointed towards treble
strings area of upper bout a little away from sound-
hole

P.63
 • If a magnetic pickup is fitted in the sound hole,
where possible, adjustment of the magnetic pole
pieces and overall pickup heights and angles will
enable the string balance to be adjusted

20.3 POOR SOUND: WEAK, DULL or DISTORTED?

• Ensure that any batteries on pickup systems and

pedals are in good condition & Low Battery
Indicator LED is not red. ( See 9. Battery
Powering.) Alternatively use Phantom Power (48v)
from mixer or optional Headway EDB/ EDM/ VAB
PSU (External power supply)
• Turn down gain control or excessively boosted EQ
controls or engage attenuation switch on some
devices (e.g. PAD control -15dB)
• Avoid Passive D.I. boxes (transformers) which can
change or degrade the sound of a pickup due to
the way they load it and can add rhythmical load
and discharge noises
• Check that a Power amp Output or Headphone
Output is not plugged into EDB-2 H.E Inputs (or
Outputs)
• Check leads for cross leakage, excessive
capacitance or resistance with an Electrical Meter
or Cable Tester

20.4 INTERFERENCE: HUM, BUZZ, HISS, RADIO?

P.64
• Keep your EDB-2 H.E and signal cables away
from devices with strong magnetic fields, or
mobile/cellular phones. These include large AC
mains transformers, generators, lighting control
systems and non earthed fluorescent lighting
• Switch off equipment which is causing
interference. Keep signal cables away from mains
and speaker leads
• Check mains power leads are not coiled
• Use highly screened microphone or instrument
leads, with metal shielded connectors and good
connections
• Shorten or uncoil cable runs
• When using the XLR to Jack adaptor for a D.I.
output, set the Earth/GND LIFT switch to cut earth
loop hums if required. Otherwise leave Earth Lift
switch Off
• Use "Notch Filter" with narrow "Q" to hone in on
troublesome hum and cut it (at around 50-60Hz) or
cut fluorescent light buzz (at around 100-130 Hz)
• Mains Filters prevent noise transmitting through
mains power which can affect amplifiers
• If lighting is causing hum and/or buzz, power your
amplifier from a different AC mains ring that is not
being used for stage facilities or lighting
• Hum and buzz can be generated in a stringed
instrument where there is no earth connection
between output jack, strings or any tail piece

P.65
 • Excessive hiss will normally be produced by a
faulty, poor quality, noisy device in the chain or by
imbalances between different gear. To reduce
hiss, identify gear responsible and drive it harder
while reducing its own gain.
• Turn off unused mixer channels
• Radio interference within the signal may be
caused by the use of poor quality leads such as
curly leads, especially where High Impedance and
Low Output Passive pickups are used
• To avoid, use highly screened jack leads into
Inputs and use active pickups
• Use only current government licensed, type
approved, multi-channel radio Mics and radio
transmitters of good quality. If noise or broadcast
radio interference is experienced, change for
conventional Microphones and high screen leads

20.5 INTERMITTENT or LACK OF SIGNAL

• Check that all connectors are pushed firmly into

their sockets
• Jacks Sockets need to be kept clean or can short
out functions. Switch Cleaner with Lubricant,
WD40 or the like, on the probe can get them
working. Send & Return Sockets may be the first
connectors to deserve attention

P.66
• Check that Power Switch is ON, Mute is OFF,
Gain control(s) and Master are turned up and
Jacks are fully home
• Ensure batteries are in good condition and
connectors are pinched firmly on(,)the correct way
around. Ensure PSU is properly plugged in at both
ends. Warning light indicates less than a 7.3v
charge per battery
• Use a meter/cable tester to check jack leads and
solder connections for resistance and good
connection
• Make sure jack probes are straight and that the tip
contacts are not misshapen in any way
• Check that XLR leads are wired correctly as
standard. See Specifications
• If a socket is set too deeply recessed into an
instrument a jack plug may not make full contact
• Check that mains supply is operating in chain of
power supply with earth connected at all points
• It is recommended the best quality of connectors
be used. We recommend quality products: Neutrik,
Deltron & Schurter, Switchcraft, ST Professional &
GH. Headway offers quality jack leads with
appropriate lengths and specifications
• If EDB-2 H.E has become overheated, turn off,
cool it down and try turning on a little later to re-
start, checking leads and connected devices. Try
changing or removing batteries

P.67
20.6 PERSISTENT PROBLEMS If you have worked
through the Trouble Shooting and Problem Prevention
areas above and you still experience persistent problems
and require help, please contact your dealer, a
professional electronics technician or Headway Music
Audio Ltd. where applicable and we will attempt to help
where it applies to our products

HEADWAY LATEST NEW PRODUCTS

Sheer Acoustic Magnetic SAM-1 : Active Magnetic

Sound Hole Pickup - superior fixed EQ, Filtered and En-
hanced pre-amplifier. Easy fit for superior natural Steel
Strung Acoustic Guitar amplification

EDM-1 H.E Equaliser Direct Mini – Ultra Compact 1

Channel EQ Pre-amp with comprehensive new features
including Tuneable Range Filter, Phase Reverse, Earth
Lift and D.I. Output with 3 Band EQ, Send and Return via
Insert Point and Harmonic Enhancer Switch with im-
proved Pro Audio sound quality, plus lightweight Alu-
minium enclosure, supplied with 2 Adapters. Plus version
has 18v PSU and offers a Condenser Mic Friendly DC
Adapter Powering and additional XLR - Jack Adapter

! PIC of Bands !

The Band2 - New Improved Bowed Instrument popular

instant fit wrap around, passive body pickup. (Available
for Violin, Viola, Cello & Double Bass). Band2 offers a
larger, fuller sound with greater clarity

P.68
Due for release: SuperBug: Range of Active Contact
Pickup Systems with Multiple Maple encased Pickups,
superior fixed EQ, Filtered & Harmonically Enhanced pre-
amplifier and Other Pickup "additional channel blend" fa-
cility

Headway Existing Products include:

HE4 ( e.g HE4/G.FEQ - Active Under Saddle Pickup for

Steel Strung Acoustic Guitar). Also versions for Mandolin,
Bouzouki, Nylon Strung Guitar, Ac Bass etc. Improved
version introduced in 2019

Snake3 (e.g. Snake3 AG - Active Under Saddle Pickup

for Steel Strung Acoustic Guitar). Versions for other
stringed Instruments

! PIC of Violin Bridge Pickup. !

VL3 - Bridge based Violin Pickup System. Rosewood

"Clamp Jack" supplied

P.69
HEADWAY POLICY OF CONTINUOUS
IMPROVEMENT

Headway Music Audio Ltd. operates a policy of

continuous improvement and reserves the right to alter
specifications, components and prices without prior
notice. Validate your Guarantee only by registering it
online within 30 days of purchase. We recommend that to
get the best possible sound, you use only Headway
Pickups and good quality Microphones such as the
excellent DPA Miniature Instrument Mics

P.70
Headway Music Audio Returns/Repairs - 2020
Glympton Post Office
Glympton,
Woodstock,
Oxfordshire,
OX20 1AL
UK

N.B. PLEASE CHECK WEBSITE FOR

AMENDMENTS ON RETURNS ADDRESS
www.headwaymusicaudio.com
EDB-2 H.E: EAN: 7107718579859
Headway Music Audio Ltd
VAT Tax number: GB 924 7711 16.
EORI number: GB 924771116000
Company Reg. No: 05685289.

MAKING INSTRUMENTS LOUDER

SINCE 1995
The British Acoustic Specialists
HEARING WAY AHEAD!

© 2020 Headway Music Audio Limited

P.71
Lawrence Juber pictured with Headway EDB-2 Pre-amp
mounted via integral Microphone Stand Bracket.

INSERT NOTES

P.72
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
…………………………………………………………………….…

P.73
 INSERT NOTES
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………...……………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
………………………………………………………………………
……………………………………………………………………….
……………………………………………………………………….

P.74
P.75