Q\STRIP SIGNAL PATH
GUIDE TO CONTROLS
LEVEL
:
Active level control, cut or boost ±20dB. This enables you to trim
hot signals or boost weak signals, as well as compensate for certain EQ set-
tings. For example, with a significant mid-range boost, you’d cut back on the
Level. Conversely, with a significant mid-range cut, you’d boost the Level up to
unity gain, at the very least.
LOW & HIGH
:
A
ctive
shelving EQs, cut or boost ±18dB from unity gain at
12 o’clock, with pivot point at 1kHz.
MID SHIFT 1 & 2 and MID 1 & 2:
Cut or boost ±18dB. Preset to the
most musical Q of 1. These sweepable, semi-parametric EQ controls range 40
Hz-700 Hz and 300 Hz-6kHz, respectively. Mid Shifts 1 and 2 select the center
frequency of the mid-range controls (MID1 and MID 2), enabling you to cut
undesirable frequencies. Note: These are overlapping.
HPF
High Pass Filter. Filters out rumble and low frequency artifacts of certain
instruments or vocal mics that emit unintelligible rumble. Preset point at 45 Hz;
attenuated at 12dB per octave. Engaged (in position), frequencies below the
preset point are attenuated at 12dB per octave.
LPF
Low Pass Filter. Preset point at 3 kHz; attenuated at 12dB per octave. Engaged
(in position), frequencies above the preset point are attenuated at 12dB per
octave.
When the LPF is used in conjunction with the studio-grade EQ section, you
can recreate different speaker cabinet curves so you can go direct with your
favorite distortion and effects pedals. Note: The combination of the Mid 2 EQ
and High EQ with the LPF, allows you to increase or decrease the per octave
slope of the filter in the cabinet simulation setting.
THE INS AND OUTS
Follow Standard Audio Procedure to avoid unwanted and potentially speaker-
damaging “pops” when connecting or disconnecting any equipment:
Always mute mixing board and/or turn down amp volume
BEFORE plugging or unplugging!
IMPORTANT: TURN ON FIRST. TURN OFF LAST.
INPUT
:
1/4”, 4.7megOhm, instrument level. Switches battery power on/off.
To avoid battery drain, unplug when not in use. (
DON’T FORGET TO MUTE!)
PARALLEL OUTPUT
:
1/4” unbalanced direct output, “hard-wired” to
Input jack. Instrument signal passes through, UNEFFECTED, to the input of
your stage amp system. NOTE: Impedance of the 1/4” Input will change and
assume the impedance of the equipment the Parallel Output is connected to. If
that equipment has a lower impedance (vintage effects, tuners, etc.), it will cause
the signal to diminish. To avoid signal degradation, we recommend not using the
Parallel Output when a high impedance is required (for instance, for piezos).
BALANCED XLR OUTPUT
:
Balanced to drive a low Z input. Sends
effected or uneffected signal to mixing console/recorder, depending on the ori-
entation of the Footswitch.
XLR Output Level Switch:
-20dB pad to match the output to
equipment with different input level requirements.
Disengaged (out
position), the output is 0dB. Engaged (in position), the output is -20dB.
1/4” OUTPUT
:
Unbalanced 1KOhm low Z output. Sends effected or
uneffected signal to amp rig or power amp, as per the orientation of the
Footswitch.
1/4” Output Level Switch:
+10dB boost to match the output to
equipment with different input level requirements. Disengaged (out
position), the output is -10dB. Engaged (in position), the output is 0dB.
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