SolStice
TM
1
Basic setup
inputs
The regular 1/4” input jacks for each channel are very
high impedance inputs; this means you can plug in any
kind of pickup, active or passive, and get the fullest fre-
quency response possible. These inputs also accommo-
date “stereo” signal sources coming in on a “TRS” (tip,
ring, and sleeve) plug; this is a common configuration
when using dual source pickup systems. With Solstice,
you can plug a stereo input plug into either channel.
Many modern acoustic pickup systems (such as the
D-TAR Timber-line cable pickup) are coupled with
onboard buffer preamps. The high impedance inputs
of Solstice work perfectly fine with these as well,
providing no “load” to the signal and thus preserving
the signal just as your cable delivers it.
Getting Top performance
Right Away
One of the first things you should know about Solstice
is setting the “Gain” and “Output” volume controls for
best performance and lowest noise. Most of the con-
trols, inputs, and outputs are pretty much self evident,
but to get maximum headroom and lowest noise, you
should adjust the gain control(s) so the clipping light
comes on just a bit when you play or sing your loudest
into the unit. Then control the volume at the output.
With the LED is just flashing, you have about 6 dB more
headroom before Solstice goes into clipping. This is
covered later in the manual, but it is the key to getting
superior performance from the unit, hence we mention
it here.
cable connections, Front panel – inputs
1. Jacks 1 and 15 are stereo 1/4” inputs. These inputs
are ultra-high impedance on the tip connection and will
accept un-buffered piezo signals (e.g. under-saddle pick-
ups) as well as active and passive magnetic pickups. The
ring connection can be supplied with phantom power
for microphones or for active pickup systems that work
from off-board power. The ring signal is automatically
assigned to the channel opposite of the one plugged
into, assuming that the other channel’s 1/4” input jack is
unused. To take advantage of the stereo input feature, a
stereo cable must be used, with the pickup signal on the
tip and the microphone signal on the ring.
2. XLR jacks 5 and 19 are intended for microphone level
signals. 40dB of gain is provided with the option of a
20dB pad (4, 18) that can be used with high output con-
denser microphones.
cable connections, Rear panel – Outputs
1. 1/4” jack 4 is intended as the cable connection to a
power amplifier. Its level is controlled by the Master vol-
ume on the front panel. It can be shut off with the Mute
switch.
2. 1/4” jack 5 is intended as a tuner output, but can be
used as an auxiliary output for many purposes. It is not
affected by the Master volume or the Mute switch.
3. XLR jack 3 is a line level balanced output. It contains
the blended signal from both channels.
4. 1/4” jacks 7 and 8 are the send and return jacks for
the master effects loop. The signal output is line level
(+4dBu or 1.2V RMS) and intended for professional
effects processors.
5. 1/4” stereo jacks 10 and 12 are insertion points for
channels 1 and 2, respectively. They can be used as indi-
vidual channel effects loops or as points where a signal
can be taken out of or inserted into the individual chan-
nels’ signal chain. A stereo cable is required for most
functions involving the insertion jacks; the send signal is
on the tip and the return is on the ring. The input imped-
ance is low (4.7K ohms), so it will be necessary to drive
the return side with an active device.
6. XLR jacks 9 and 11 are balanced signal outputs for
each channel. They can be used as individual balanced
signal sends to a mixing board or for recording a live
performance. This feature will also allow the Acoustic
Mixer to be used as a stereo mic preamp.
setting the input level properly for lowest
noise operation
1. Turn the Master all the way down.
2. Plug the instrument or microphone into the appropri-
ate input jack on the front panel.
3. Turn up the input Volume control for the jack that
you have plugged into until the red overload LED just
begins to light when you are playing or singing loudest.
4. Turn up the Master until you approach the desired
sound pressure level. If there is any tendency towards
acoustic feedback, try using the Phase Reverse button.
5. Adjust the EQ, if necessary. If a significant amount of
EQ is used, it may be necessary to re-adjust the input
and output levels slightly.
