Sound Performance Lab Model 2601 manual Advantages an Overview, On Stage

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 amplification 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.

•Fully analog construction for the highest authenticity in sonic quality and outstanding playability throught direct, latency-free response.

•Critical parts are carefully selected for exceptional sonic characteristics. In these days of mass production, we still select our OP amps only after listening to them and rejecting those lacking in our required exceptional sonic characteristics. This also applies to our top flight foil condensers and individually built High-Z transformers from Lehle.

•The Transducer replaces all major cabinet and microphone types, thereby enormous savings in cost and space in transport, on stage, or in the studio.

•Processing is independent from absolute volume levels, which means that no recording room is necessary and ear-saving work is possible everywhere and at any time.

•Sonically much more flexible than a fixed cabinet/mike set in that all important loudspeaker and cabinet types, as well as dynamic and condenser microphones can be simulated.

•Multiple guitar tracks can be “stacked” – the doubled layers become “phatter”. In the process, there will not be any thinning effect from phase shifts as with digital simulation.

•200-Watt Power Soak: The power amp‘s distortion may, as with cabinets, be integrated into an authentically distorted sonic design. Please pay close attention to the warnings for connecting guitar amps to the Transducer on page 11.

•Resulting recorded sounds are independent from room characteristics – what you hear is what you get.

•Signals for live mixes are at recording quality level and free from crosstalk from other sound sources.

•As on-stage recording loudspeakers are not needed any in-ear monitoring is done at safe- hearing levels as the cabinet must not be drowned out.

•Significantly less time spent and much more efficiency and convenience in equipment setup, preparation, and working with sound variations.

•Working procedures and connections follow customary standards of amp and cabinet sets.

•Live application advantage: It is extremely easy to achieve a dry-wet-wet setup. The amp signal passes via “Speaker Thru“, for a dry direct signal and the Transducer line out is connected to the effects machine; FX left and right out provides a wet signal on stage.

•Live application advantage: two line outs with separate balancing drivers – the Transducer provides for both FOH and stage routings.

On Stage

The Transducer’s “Speaker Thru“ option allows a cabinet to be connected without any loss in signal quality. The stage sound comes as usual from the stack, while at the same time the sound technician receives a top quality recording quality signal without miking – and without crosstalk from any other sound source. If on the other hand very low sound levels are required on stage, the Transducer can supplant the cabinet. The line or microphone signal of the Transducer can then be routed via FOH mixer to either a stage monitor or in-ear system for the guitarist.

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