ACOUSTIC X
AMPS
ROY X
Class–A High Voltage Preamp / No Integrated Circuits / No NFB
MULTIEFFECT
INSERT
LINE OUT
MASTER
encoder
mix
delay + rev
chorus
rev
delay
(150 ms)
200
100
mid
mid
slow
slow
fast
fast
300
500
400
800
voice doubler
SWISS
MADE
MULTIEFFECT
INSTRUMENT IN
Ø
GAIN
WARM
LOW
MID
HIGH
REV / AUX
VOLUME
STEREO IN
L
VOLUME
OL
INSERT
RESON
10V
R
5
6
7
MIC IN
A
INSTRUMENT IN
B
4
PARAMETRIC MIDS
3
2
gain
1
300 Hz 3.3 KHz
240 Hz
150 Hz
48V
A
10V
B
GAIN
OL
LOW
MID
HI
MULTIEFFECT REV / AUX
VOLUME
240 Hz
150 Hz
GAIN
OL
LOW
MID
HIGH
MULTIEFFECT REV / AUX
VOLUME
GAIN
OL
MULTIEFFECT REV / AUX
VOLUME
48V
MIC IN
INSERT
LOW
HIGH
PARAMETRIC MIDS
gain
300 Hz 3.3 KHz
GAIN
OL
MULTIEFFECT REV / AUX
VOLUME
48V
MIC IN
INSERT
LOW
HIGH
D.I. OUT
AUX OUT
HEADPHONES
DECAY
REVERB
master
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ROY X
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FOO
TSWITCH
REV
delay
flat
RESON
flat
700 Hz
700 Hz
INSERT
MIC IN
A
INSTRUMENT IN
B
48V
A
10V
B
FOO
TSWITCH
MULTIEFFECT
CONTROLS
7
2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11 2.12 2.13
2.1. MIC INPUT (XLR): This input is electronically balanced for XLR-type connections. The channel is
designed for any kind of microphone source e.g. dynamic and condenser mics.
2.2. INSTRUMENT IN: An unbalanced input for the connection of 1/4” jacks, with optimal sensitivity
for high level signals. The electronics will adapt to any situation - no special action is required.
2.3. INSERT: This stereo jack socket enables the connection of an external device (compressor,
equalizer, etc.) in series to all the outputs.
2.4. 48V: Phantom power supplies the XLR connector with 48 VDC for powering condenser
microphones. Most condenser (and dynamic) mics, and some preamps, can be safely phantom
powered. In certain cases however, phantom power can cause damage. This tends to happen with
unbalanced microphones, preamps, or stompboxes that have been modified for balanced XLR use.
If in doubt, please contact the manufacturer to check the compatibility of your audio device before
using the amplifier.
2.5. 10V: This supplies the jack connector with 10 VDC for powering electret microphones.
2.6. GAIN: This variable gain preamplifier adjusts the sensitivity level to ensure the best possible
processing of the mic/instrument signal through the channel. It is important that this input level is set
and optimized in the best way to achieve the cleanest sound possible.
2.7. OVERLOAD: This LED (when lit) indicates that the level of the input signal is too high and it might
therefore introduce distortion. (See “Practical tip”, 1.5.)
2.8. RESON: The RESONANCE (notch) filter cuts the frequency of 150 Hz/240 Hz, to reduce low-
frequency feedback. Left: no attenuation (flat), Right: maximum attenuation.
2.9. RESON button: Use the RESON button to select the resonant frequency of the instrument
(240 Hz/150 Hz).
2.10. HIGH, MID, LOW (EQ): These controls are for high, mid and low frequency regulation.
Offering cut and boost of ±15 dB, they allow a wide range of tonal variations to be explored.
When the controls are positioned centrally there is no cut or boost of the selected frequency band.
2.11. MULTIEFFECT: This rotary control sets the level of the selected effect on the channel.
2.12. REV/AUX: This rotary control sets the level of the digital reverb on the channel and the level
of the signal to the AUX OUT output. If you want to bypass the onboard reverb, you can set the
REVERB Master control to zero and use the REV/AUX to control the amount of signal you want to
send to an external effect unit, or to an additional monitor.
2.13. VOLUME: This rotary control regulates the channel volume.
1.1. MIC INPUT (XLR): This input is electronically balanced for XLR-type connections. The channel is
designed for any kind of microphone source e.g. dynamic and condenser mics.
1.2. INSERT: This stereo jack socket enables the connection of an external device (compressor,
equalizer, etc.) in series to all the outputs.
1.3. 48V: Phantom power supplies the XLR connector with 48 VDC for powering condenser
microphones. Most condenser (and dynamic) mics, and some preamps, can be safely phantom
powered. In certain cases however, phantom power can cause damage. This tends to happen with
unbalanced microphones, preamps, or stompboxes that have been modified for balanced XLR use.
If in doubt, please contact the manufacturer to check the compatibility of your audio device before
using the amplifier.
1.4. GAIN: This variable gain preamplifier adjusts the sensitivity level to ensure the best possible
processing of the signal through the channel. It is important that this input level is set and optimized
in the best way to achieve the cleanest sound possible.
1.5. OVERLOAD: This LED (when lit) indicates that the level of the input signal is too high and it
might therefore introduce distortion.
Practical tip: When using an amplified speaker, distorted input signals should be avoided at all cost
in order to prevent potential damage to the speaker. While playing or singing, carefully set the
preamp/gain level by turning up the GAIN control until the OVERLOAD LED begins to blink. At this
point, turn the gain back down slightly. Now set the MASTER Volume between 30% and 60%. With
the gain and master levels appropriately set, you can now set the channel volume as you please.
1.6. HIGH, MID, LOW (EQ): These controls are for high, mid and low frequency regulation. Offering
cut and boost of ±15 dB, they allow a wide range of tonal variations to be explored. Parametric
MID regulation offers the possibility to cut or boost a frequency range between 300 Hz and 3.3
kHz. When the controls are positioned centrally there is no cut or boost of the selected frequency
band.
1.7. MULTIEFFECT: This rotary control sets the level of the selected effect on the channel.
1.8. REV/AUX: This rotary control sets the level of the digital reverb on the channel and the level
of the signal to the AUX OUT output. If you want to bypass the onboard reverb, you can set the
REVERB Master control to zero and use the REV/AUX to control the amount of signal you want to
send to an external effect unit, or to an additional monitor.
1.9. VOLUME: This rotary control regulates the channel volume.
ROY X
Class–A High Voltage Preamp / No Integrated Circuits / No NFB
MULTIEFFECT
INSERT
LINE OUT
MASTER
encoder
mix
delay + rev
chorus
rev
delay
(150 ms)
200
100
mid
mid
slow
slow
fast
fast
300
500
400
800
voice doubler
SWISS
MADE
MULTIEFFECT
INSTRUMENT IN
Ø
GAIN
WARM
LOW
MID
HIGH
REV / AUX
VOLUME
STEREO IN
L
VOLUME
OL
INSERT
RESON
10V
R
5
6
7
MIC IN
A
INSTRUMENT IN
B
4
PARAMETRIC MIDS
3
2
gain
1
300 Hz 3.3 KHz
240 Hz
150 Hz
48V
A
10V
B
GAIN
OL
LOW
MID
HI
MULTIEFFECT REV / AUX
VOLUME
240 Hz
150 Hz
GAIN
OL
LOW
MID
HIGH
MULTIEFFECT REV / AUX
VOLUME
GAIN
OL
MULTIEFFECT REV / AUX
VOLUME
48V
MIC IN
INSERT
LOW
HIGH
PARAMETRIC MIDS
gain
300 Hz 3.3 KHz
GAIN
OL
MULTIEFFECT REV / AUX
VOLUME
48V
MIC IN
INSERT
LOW
HIGH
D.I. OUT
AUX OUT
HEADPHONES
DECAY
REVERB
master
7C
HA
NN
EL
−A
CO
US
TI
C−
AM
PL
IF
IE
R
ROY X
45
0W
AT
T
AC
OU
ST
IC
AM
PLIF
IE
R
23
0
W
A
T
T
−P
OW
ER
−
CO
NS
UM
PTI
ON
SER
IA
L N
UM
BER
W
W
W
.
S
C
H
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R
T
L
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R
.
C
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D
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+
S
W
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S
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GN
D L
IFT
TO
RE
DU
CE
RIS
K O
F F
IRE
, D
O N
OT
EX
PO
SE
TH
IS
EQ
UIP
MEN
T T
O R
AIN
OR
MO
IST
URE
. F
OR
CO
NTIN
UED
PRO
TEC
TIO
N A
GA
IN
ST
RIS
K O
F F
IRE
,
REP
LA
CE
ON
LY
WIT
H T
HE
SA
ME
TY
PE
AN
D R
ATIN
G O
F F
USE
.
!
CA
UTI
ON
RIS
K O
F E
LEC
TRI
C
SHO
CK
DO
N
OT
OPE
N
!
FOO
TSWITCH
REV
delay
flat
RESON
flat
700 Hz
700 Hz
INSERT
MIC IN
A
INSTRUMENT IN
B
48V
A
10V
B
FOO
TSWITCH
MULTIEFFECT
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
