PHASE SWITCHES
Compensate for Phase differences that often occur between instrument, microphone, pickup and speaker.
HOW TO USE THE BLENDER’S PHASE SWITCHES
1. GET THE MICROPHONE PHASE ALIGNED WITH THE SOUND SYSTEM
Determine your position on stage.
Adjust the BLENDER output Level to 3:00 and the Transducer Channel Gain fully counter-clockwise.
Adjust the MICROPHONE Channel Gain to just below the threshold of feedback. Play a sustained note or chord on
your instrument while flipping the MICROPHONE Channel Phase switch. Listen to and compare each position.
Find the Phase switch position that yields the least low frequency (instrument cavity resonance) feedback.
If you decide to move more than a few feet from your playing position, you may need to repeat this test.
(See Page 21)
2. GET THE PICKUP IN PHASE WITH THE MICROPHONE
Having done part one of this test, raise the level of the TRANSDUCER Channel Gain control to suit your taste.
Play a sustained note or chord on your instrument while flipping the TRANSDUCER Channel Phase switch.
Listen to and compare each position. When the pickup and microphone are in Phase, the sound is full with lots
of deep bass. When out of Phase, the sound is thin with less bottom end.
3. MAKE NOTE OF THE RELATIVE POSITION OF BOTH PHASE SWITCHES
Once you have the BLENDER Phase aligned, note and memorize the relative position of both Phase switches.
They will be either in the same position, or one in and one out.
When you set up in a different venue, the Phase of the house sound system and room acoustics can contribute to
different Phase relationships compared to your previous gig. You will also find that the Phase issue depends a lot on
the exact performance setting; it tends to be a bigger problem in small rooms and less of a problem in large outdoor
setups.
To determine if there is a Phase difference at a new venue, play a sustained note or chord and invert both Phase
switches at once. Listen to and compare each position. The proper Phase switch position yields the least low fre-
quency (instrument cavity resonance) feedback.
See Page 21 for more information on Phase.
TRIM CONTROL
Sets the MICROPHONE Channel sensitivity for optimum signal strength before clipping.
To attain the best signal to noise ratio, start with the control fully clockwise and play your loudest note or chord.
If you hear distortion, lower the control with a small slotted screwdriver until the distortion disappears.
The Trim control can also be used to calibrate the MICROPHONE and TRANSDUCER Gain controls. If there is a
disparity between the signal strength of the two channels, use the Trim control to "normalize" the levels.
Try setting the Trim controls this way:
1) Set the Output Level to 3:00.
2) Set the MICROPHONE and TRANSDUCER Channel levels to 12:00.
3) Play a note or chord on you instrument and lower the MICROPHONE or TRANSDUCER Trim control
until both levels are equal, or are balanced to suit your taste.
A C O U S T I C B L E N D E R S Y S T E M
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