20 Transducer

All three Transducer level control s infl uence output levels. Therefore it is important to under-
stand their existing mut ual effects a nd the overall result s. These controls h ave been designed
purposefully with a percentage scaling, as one structured in dB is in fact not possible. The
input signal itself – coming fr om the guitar amp – is a power signal that is no l onger measur-
able or depictable in dB. Thu s a “0dB” input level is not defi nable, and thu s other levels
may not be derived from it . Because this reference point is lack ing, it is also impossible to
construct subsequent controls in dB scaling.
1. As an initial setting, move the Speaker A ction, Miking Level and Output Gain con trols to
50%.
2. In order to provid e the following peripherals wit h proper levels, adjust the Outupt G ain*
control appropriately.
3. For desired adjustm ents to the Transducer sound you have av ailable the four toggle sw itch
options provided by Speaker Act ion and Miking Level control s.
With a more limited Speaker Acti on a signal will sound cleaner and have more defi nition.
A higher Speaker Action off ers stronger compression and more over tones which begin to
introduce light speaker cone distortion.
A limited Miking Level provide s both more highs and refi nement in overtones with some-
what reduced mids. As Miking L evel is increased, the signal thickens . Mids and bass are
compressed and moved to the foreground.
4. You can adjust ov erall level controls that are ef fected by Speaker Action a nd Miking Level
with the Output Gain* control.
*: The Output Gain control fun ctions only with the Line Outp uts. If you are routing from the
Mic Level Output, use the co ntrol in your following mic preamp to a djust the overall level.
It is important to consider adde d power amp distortion, as i t is the basis for the Transducer‘s
concept with its ability to p rocess up to a 200 Watt, 8 ohm c abinet-amplifi ed signal. Avoid too
much mental separation in what shoul d be your integrated Transducer level control t hinking,
as just with past situat ions that employed traditional guitar amp and cabi nets, you must
consider the interaction wi th a guitar amp – and here especially in relation to t he preamp
and master gain. This is reall y the only way you can achieve the ef fects you‘re look ing for (in
particular, the distort ion from pre and power amps).
Please pay attention to the instructions for connecting g uitar amps to the Transducer on
page 11!

Setting Examples for Clean, Crunch and Lead Sounds

Just as you would choose a cabi net matching your amp you can use the settings of the
following presets. Our pr esets correspond to th e respective amps and pro vide a fi rst orienta-
tion for your individual settings.
Speaker Action and Miking Level co ntrols determine both the ba sic sound and leveling; indi-
vidual experimentation is al ways required here. The Transducer delivers a full bandwid th
signal from 20 Hz to 20 kHz, so we recommend to create the basic sound without f urther EQ
processing fi r st. Once you have found your soun d you can go ahead with any desired e ffects.

WARNING

If an amplifi er is connec ted and the Signal LED illuminates thoug h a signal is not present or
too much noise from the amp is not th e reason, the lighted LED c an indicate a high frequen cy
resonance of the amp.
In this case turn down the master volume of the amp until the LED goes out. High f requency
resonances can overload and damage the guitar amp!
Such problems are not a result of Transducer use, but r eside within the guitar amp.
Leveling the Transducer
Presets