SolStice
TM
5
Blending two signal sources from an acoustic instrument makes things
even more complicated. The most common combo would be usT (under
saddle Transducer) plus internal mic or usT plus magnetic pickup. often
one phase relationship between the two sources will sound thin and life-
less while switching the phase of one of the two signals can fatten up the
sound and bring the instrument to life. With solstice you can switch the
phase relationships between the two channels, and also switch the overall
phase of the output by switching both channels if necessary.
The caveat when using phase switching to control feedback is that if you
change your position on stage relative to the speakers, you may find that the
feedback threshold changes, and that you are better off switching phase the
other way. Your relationship to the phase of amplified sound is also affected
by your distance from the loudspeaker(s) and the frequency of the problem
notes. This is one of those “try it to get it right” situations.
D) GloSSARy oF Some AmPliFicAtioN teRmS
aMPLiFier
a device for making small electrical signals bigger. The amplifier was actu-
ally invented in the late 1800’s before there were any devices that could
make building one possible! in music, the term often refers to a self con-
tained “combo amp”—-an electromechanical device combining a preamp,
amplifier, and loudspeaker usually including some kinds of tone shaping
circuitry. With solstice, you have the option of “custom building” your
amplifier by matching the preamp/mixer/blender stage to a separate power
amp and loudspeaker system.
BuFFer
a preamplifier designed to isolate the source from the next stage of ampli-
fication. Buffer amps have high input impedances and low output imped-
ances and can also feature some “gain” or signal boosting capability.
Buffers are required with piezo crystal or piezo polymer pickups, and are
often built into acoustic-electric guitars. solstice features high impedance
buffer stages for both channels so you can use either active or passive
pickup systems. d-Tar makes several on-board buffered pickup systems
for acoustic instruments.
cardioid Mic
a microphone designed to be more sensitive in one direction than in oth-
ers, a directional mic. cardioid mics are used more often than other types
on stage because they make it easier to isolate one voice or instrument
from the others for mixing. hypercardioid mics, sometimes called shotgun
mics, are designed for use at a distance as they can be aimed at the sound
source and used from many feet away. The good old shure sM-57 and 58
are cardioid mics.
chorus
an electronic device that can split a signal, mildly shifting the pitch and
timing of one part, then mix it back in with the original signal. The effect is
roughly like several people (they’re the chorus) playing the same part at the
same time. solstice has effects loops to allow convenient interface with
chorus effects.
coMPressor
a processor that “squeezes” the dynamic range of the signal by limiting
peaks and bringing up the level of soft passages. a limiter can be used to
fatten a sound or give it more apparent sustain. if you’ve ever wondered
why music sounds kind of flat on FM radio compared to live, overuse of
compression can be one reason. on the other hand, the Beatles used tons
of compression on their acoustic guitar recordings and it sounds great.
can be used in solstice effects loops.
condenser Mic
a microphone in which an electrically charged diaphragm moves with
sound waves while a charged back plate stays stationary. Because the
diaphragms of condenser mics can be made very light in weight, the fre-
quency response can be very good with a condenser mic. neumann mics,
considered by many to be the ultimate mics for recording voice and acous-
tic instruments are condenser mics. “condenser” is an old term for capaci-
tor. condenser mic derive their name from the fact that they are sensing
the change in capacitance between the diaphragm and the
backplate and converting it to a signal voltage.
conTacT PicKuP
sometimes called “soundboard transducers” are most often piezoelectric
accelerometers (acceleration monitors). They put out an electrical signal
that is an electrical equivalent to the mechanical vibrations occurring
where they are placed. The d-Tar sa-2 is an excellent example of this
type of pickup.
di (see also “direcT BoX”)
The British term now common in the us for “directly interfacing” a pickup
signal into a recording or Pa console, thus bypassing amplifiers, speak-
ers, and mics. used especially for electric bass to get a clear tone. Many
home enthusiasts directly connect their acoustic guitars to the recording
device to gain better isolation from track to track than they can get just
using microphones. solstice has XLr outputs to allow using it as a di
source.
diaPhraGM
in a microphone, a thin, stretched, plastic film, the equivalent of your ear-
drum. The diaphragm vibrates with sound, then transforms that acoustical
energy into an electrical signal that can be amplified.
diGiTaL deLaY (ddL)
a signal processor that converts analog signals into a stream of digital
information that can be delayed and mixed to give echo-like sounds. digital
delay is usually included with other sonic colorings in multi-effects proces-
sors. can be used with solstice’s effects loops.
direcT BoX
a device used to buffer or isolate guitar and bass signals so they can be
“di’d”. Many of the direct boxes designed for electric guitars and basses
do not have a sufficiently high input impedance for interface with piezo
pickups. direct boxes can either be passive, using transformers, or active,
using tube or transistor based circuitry. solstice serves as a high quality
direct box.
dYnaMic Mic
a microphone which works like a backwards loudspeaker. The diaphragm
is attached to a small coil of very fine wire that is surrounded by a mag-
netic field. When the diaphragm and coil vibrate with sound waves, a small
electrical signal is generated in the coil that can be amplified through a
mic preamp and other devices. The shure sM-57 & 58, two of the most
common mics used in clubs and studios, are dynamic mics. dynamic mics
are noted for being tough; the mic you can drive a nail with is probably a
dynamic.
eFFecTs LooP
a set of jacks on an amp or preamp which allow sending a signal out to an
effect and bringing the modified sound back to the main unit. The advan-
tage of an effects loop is that it is buffered (yes, same concept) on the
output and input, the effect will “see” a predictable impedance and level,
and the modified signal can be master volume controlled in the main amp
or preamp.
eLecTreT MicroPhone
Miniature mics that work on condenser mic principles but have permanent-
ly charged polymer diaphragms. electret mics have miniature preamplifiers
built in and require low voltage dc power (usually 1.5 to 18 volts) often sup-
plied as “phantom power.” The seymour duncan Mag Mic uses an electret
element for it’s second source with “on-board” blending.
eQuaLiZaTion or eQ
an electronic means of shaping frequency response; the term generally
refers to sophisticated tone control circuitry. originally used to mean cor-
rection for the unequal frequency response of old Pa, recording and play-
back gear.
