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Manual
Transducer
Model 2601
Analog Cabinet and Miking Simulator for E Guitars
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Manual Transducer, Model 2601 Version 1.1 – 5/2007 Designer: Ralf Reichen, Jens Gronwald This user's guide contains a description of the product. It in no way represents a guarantee of particular characteristics or results of use. The information in this document has been care- fully compiled and verifi ed and, unless otherwise stated or agreed upon, correctly describes the product at the time of packaging with this document. Sound Performance Lab (SPL) continuously strives to improve its produ
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Contents Important Safety Information ................................................................. 4 Hook Up ......................................................................................... 5 Hook Up, Rack Mounting, Warnings, Symbols and Notes, Advices ..................... 5 Scope of Delivery ............................................................................... 6 Introduction .................................................................................... 6 Tonehun
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Important Safety Information Please note and retain this information. Carefully read and follow all of the safety and oper- ating instructions before you use the machine. Be doubly careful to note and follow the warn- ings and special safety notices. Connections: Only use the connections as described. Other connections can lead to health risks and equipment damage. Water and Humidity: Do NOT use this machine anywhere near water (for example near a wash basin or bath, in a damp cellar, near swi
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Hook Up Hook up Be very careful to check that the rear chassis power selection switch is set to the correct local line voltage position before using the unit (230 V position: 220-240 V, 115 V position: 110-120 V)! When in doubt about a source, contact your dealer or a professional electrician. Before connecting any equipment make sure that any machine to be connected is turned off (rear panel power switch). Follow all safety instructions on page 4. Place the unit on a level and stable surfa
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Scope of Delivery The scope of delivery comprises the Transducer, the power cable and the manual. Please keep the original packaging. In case of a service procedure the original packaging ensures a safe transport. It also serves as a safe packaging for your own transports if you do not use special transportation cases. Introduction Tonehunter and SPL The Transducer is a cooperative developmental effort between the guitar amp fi rm of Tonehunter and SPL. It brings together many years of exper
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Introduction Advantages – an Overview The Transducer supplants at least four loudspeaker cabinets, two high quality microphones, their preamp, a good room ambiance, and at any time, the amplifi cation may be cranked up. Moreover, the entire Transducer usage is highly intuitive and requires no prior miking exper- tise. • The Transducer offers a unique ability for the guitarist during production performance to hear a true playback and then adjust his playback to the moment in the control room.
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Introduction Sound Setups After cabling is complete, the sound setup functions primarily as one might expect: First, guitar amp sound adjustments are prepared as though the cabinet were already connected. However, instead of choosing a cabinet and experimenting with microphones and their posi- tioning, adjustments need only be made with the Transducer controls. In such cases the Transducer interfaces with the guitar amp just as an actual guitar cabinet and microphone: When switching the Tra
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Rear Panel Power Connection Before you connect the Transducer to any local power source, be SURE to check that the rear panel voltage switch is correctly set for your local area (115V position: 110-120V, 230 V posi- tion: 220-240V). Connect the included power chord to the rear Mains Input. Transformer, power chord and case connection conform to VDE, UL and CSA requirements. Power fuse ratings are 200 mA slow blow (230 volts) or 400 mA slow blow (115 volts).
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Rear Panel Overview, Wiring Examples Transducer 10
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Connections Rear Panel Power Input Here you connect the guitar amp‘s loudspeaker output. Connector variant and pin confi gura- tions follow industry standards: Unbalanced 1/4” Jack connector with the signal at the tip and ground at the sleeve. IMPORTANT INFORMATION: As with any typical amp and cabinet cabling, it is critical to observe loudspeaker cable of 2 a minimum 1.5 mm cross section. Guitar or line cables can lead to amplifi er damage! We recommend to use cables with a maxi
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Rear Panel Connections Mic Level Output The microphone level output is usable just like any mike out. The Miking Level control on the Transducer front panel regulates the signal. The Output Gain control has no infl uence on the Miking Level output. Just as with conventional cabinet miking, variations in microphone preamp choices may of course be made to infl uence further the sonic result. Balanced XLR output, wiring: pin 1 = ground, pin 2 = hot (+), pin 3 = cold (-). Li
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Switches Rear Panel Power The rear panel Power switch activates the Transducer, confi rmed by the lighted blue front panel LED. Voltage The rear panel voltage selector switch serves to let the user switch to the local line voltage standard. IMPORTANT ADVICE: Before you use the Transducer, make sure that this switch setting refl ects the correct local power line voltage (115V position: 110-120V, 230 V position: 220- 240V). Ground Lift The rear panel GND lift sw
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Front Panel Overview Control Elements Controls, LEDs and Switches from left to right Signal LED The signal LED indicates the presence of a signal at the Transducer‘s input. It is activated at a -20 dBu level. WARNING If an amplifi er is connected and the Signal LED illuminates though a signal is not present or too much noise from the amp is not the reason, the lighted LED can indicate a high frequency resonance of the amp. In this case turn down the master volume of the amp until the LED go
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Controls, LEDs and Switches from left to right Control Elements Miking Level A microphone produces a different sound at lower sound levels than at higher ones. With the Transducer‘s Miking Level one can simulate these differences. Increasing the Miking Level effect produces a stronger compression level and a denser sound canvas. This builds an effect of increasing loudness. A lower miking level produces a more refi ned and at the same time, marked high frequency production with re
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Recording, Live Setup Examples Setup 1 This is the simplest setup for recording situations. The guitar amp is connected normally to the Transducer. In this case either the Transducer Mic Level Output can be routed to a micro- phone preamp or its Line Output can connect to an external line in. Both of these outputs may be used simultaneously. Setup 2 This is the simplest setup for live applications and when it should be quiet on stage. Connect the amp to the Tr
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Live Setup Examples Setup 3 If an on-stage guitarist wishes to have his cabinet sound, the signal should be routed to his box via the Transducer Speaker Thru. In this case the amp signal power is reduced by 8 dB enroute to the box; here saturation (that is, power amp distortion) begins to occur at moderate listening levels. The two separate Transducer Line Outputs may be used simultaneously to feed both an FOH mixer and monitor mixer. Setup 4
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Setup Examples Live: Stereo Effect/Dry-Wet-Wet Setup 5 Stereo Effects Setup: Dry-Wet-Wet Setup with guitar box (Dry) and two stage monitors (Wet). The dry guitar signal is routed from the Transducer Speaker Thru. Connect the Transducer Line Output to an effects machine. The effects machine‘s wet outputs (Right/Left) are then connected as needed to powered monitors. The guitarst gets a simple stereo effects (Dry- Wet-Wet setup) signal on stage. The second Transducer L
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Live: Stereo-Effekt/Dry -Wet-Wet, Stage and P. A. Setup Examples Setup 7 Stereo Effects Setup on stage and for P. A.: Dry-Wet-Wet setup with (Dry) cabinet and two (Wet) stage monitors. The dry guitar signal is routed via the Transducer‘s Speaker Thru. Connect the Transducer Line Output 1 with an effects machine and each of it‘s wet outputs (L/R) to an active monitor. The on-stage guitarist gets a simple stereo effects Dry-Wet-Wet setup. F
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Leveling the Transducer All three Transducer level controls infl uence output levels. Therefore it is important to under- stand their existing mutual effects and the overall results. These controls have been designed purposefully with a percentage scaling, as one structured in dB is in fact not possible. The input signal itself – coming from the guitar amp – is a power signal that is no longer measur- able or depictable in dB. Thus a “0dB” input level is not defi nable, and thus other levels ma
