FOOTSWITCH,
with corresponding LED indicator: Engages/disengages the circuitry. Active,
LED will be on.Tonality and gain structure are affected as determined by the setting of the controls.
Delivers effected signal through XLR Output and 1/4” Output. Inactive, LED is off. SansAmp Para Driver
DI functions an an active transparent direct box and does not sonically alter the instrument signal.
PHANTOM POWER
Allows you to “tap into” the power of a suitably equipped mixer, which, today, most are. As the 3-con-
ductor XLR sends the audio signal to the input of a mixer, the mixer sends voltage back to the unit via
the same 3 wires, eliminating the need for an external power supply. Consult your mixer’s owner’s man-
ual for set-up instructions. For live and studio use, let the engineer know your SansAmp Para Driver DI
is phantom power operable.
PHANTOM & GROUND CONNECT SWITCH:
When engaged, the ground connects and
unit will accept phantom power through the XLR Output. Disengaged, the ground of your stage system
and other interconnected gear is lifted (isolated) from the ground of the mixing console.
With a mixer only: If you are plugging your instrument into the Para Driver and taking the XLR
Output to a mixer --and do not have any other grounded equipment connected in the setup--
you will have to set the switch to the right to connect the ground and engage the phantom power.
With a mixer and amp: If you are going to the mixer via the XLR and using the 1/4” Output or
Parallel Output to feed an amp (with its own AC ground), you should set the switch to the left in
“Ground Lift” mode. If you experience hum and/or buzz with the switch in either position, there is
probably a problem with the AC outlets you are plugging into.
NOTE: If using vintage equipment without proper grounds, take extra care connecting it to modern
grounded equipment.The inadequacies of the ground in vintage gear could result in damaging anything it
is connected to.
NOTE: While operating under phantom power, we recommend keeping a 9V alkaline battery installed
at all times to avoid the previously mentioned “pops” when lifting the ground.
SPEAKER SIMULATION
Speaker simulation is an integral part of the SansAmp circuitry. It is specifically designed for a smooth,
even response as would be achieved by a multiply-miked cabinet --without peaks, valleys, and notches
associated with single miking-- and will complement any type of speaker cabinet system.
NOTEWORTHY NOTES & CONSIDERATIONS
1)
SansAmp Para Driver DI is very responsive. Our controls are unusually sensitive and you
need not set everything at max to get maximum results. For instance, to brighten your sound, try cut-
ting back on the Bass first, rather than automatically boosting Treble all the way up.
Be aware that boosting Treble and Bass increases the high and low frequency content without changing
the overdrive structure. However, boosting the Mid and the Mid Shift controls will increase the amount
of saturation. (Refer to the Sample Setting for Sparkle Electric Guitar.) By taking the time to familiarize
yourself with how the EQ controls interact, you will be able to achieve the proper mix of frequencies
that best suits your needs in any venue.
2)
The noise level is exceptionally low. However, it may amplify noise emanating from the input
source.To minimize noise going into SansAmp Para Driver DI, we recommend active electronic instru-
ments have the volume set at unity gain/maximum and tone controls positioned flat. If you need to
boost, do so slowly and sparingly.
3)
Compressors or limiters may not be necessary. Our unique
circuitry emulates the warm, natural, gentle compression of tubes.This limits transient peaks for an even
meter reading, so that outboard units typically are not needed.
4)
Using effects. One of the key attributes of SansAmp is the responsiveness to the dynamics and
nuances of your playing technique.Therefore, it is best to have your instrument plugged directly into the
SansAmp and place effects after the SansAmp. If, however, you prefer to place an effect before SansAmp,
be sure to set the output level of the effect at unity gain with the output level of the instrument.
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Names of sample settings are intended for descriptive purposes only and
should not be construed as an endorsement or affiliation with the companies or artists named.