Front Panel
Channel 1
1. Input 1 – Combination XLR / Jack
Plug your microphone or instrument in here. The XLR input is a Lo impedance,
balanced input stage with additional gain required for microphones. The jack input
features a very high impedance input circuit (hi-Z). This is ideal for direct connection
to instruments with piezo pickups. Always use good quality XLR or instrument leads.
2. Phantom Power +48V
Press this switch to apply +48V phantom power to a connected condenser
microphone or alternative microphone that contains active electronic circuitry.
3. Pad
Press this switch to reduce the sensitivity of the input by 10dB. This should be used
when a higher level signal is applied.
4. Gain
This controls the input gain of Channel 1. Turning it clockwise increases the input
gain. The Sonnet preamps each include specially designed ‘dynamics control
processing’. At low signal levels and GAIN settings this is not applied and is therefore
transparent. The higher the signal level and higher the GAIN is set, then the more
the dynamics control will come into operation. This has two advantages: Firstly it
smooths out the peaks that can sound harsh on electronically amplified acoustic
instruments. The result is more like a nice studio recording. Secondly it allows much
higher headroom with the preamp and therefore less likely to clip. This is like having
an in-built sound engineer helping you sound your best at all times.
5. Shape
This switches between two basic EQ shapes. In the ‘out’ position, the EQ is relatively
flat which will be a good natural sounding starting point for most instruments. The
‘in’ position applies a mid cut as well as some low and high boost for an alternative
sound that can help create definition and space within a mix of instruments and/or
vocals. In both settings the normal channel EQ controls can be used to further fine
tune the tone.
6. Low
The LOW control adjusts the amount of low-end frequencies in your tone. This amp
has active tone shaping circuits which allow the low frequencies to be precisely
controlled for both the desired sound and also to help control instrument resonances.
7. Mid
The MID control adjusts the amount of middle frequencies in your tone. The middle
frequencies are particularly important in setting the amount of ‘body’ your tone has.
8. High
The HIGH control allows exact adjustment of the treble frequencies within the
sound. At low settings (counter clockwise) the sound will be warm and darker in
character. As the control is increased (clockwise) the sound will become brighter
and more lively.
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9. Anti-Feedback
Adjust this control to suppress low frequency acoustic feedback. Sweep from left
to right in order locate the feedback frequency. This will apply a tight filter to cut the
problematic frequency. At lower volumes and when feedback is not a problem then
we recommend leaving this set at minimum.
10. Phase
This will reverse the phase of the signal within the preamp. This can be used in two
ways. Firstly it can also help to suppress acoustic feedback. Secondly this may be
useful if you are using both channels on the same instrument (for example for two
different pickups or microphone). In that case then we recommend switching the
PHASE on one channel and listening to which setting produces the more pleasing
sound.
11. Reverb
The Reverb control sets the overall level of the reverb effect. With the control fully
counter clockwise there will be no reverb. Turning the control clockwise will increase
the amount of reverb.
Channel 2
12. Input 2 – Combination XLR / Jack
Plug your microphone or instrument in here. The XLR input is a Lo impedance,
balanced input stage with additional gain required for microphones. The jack input
features a very high impedance input circuit (hi-Z). This is ideal for direct connection
to instruments with piezo pickups. Always use good quality XLR or instrument leads.
13. Phantom Power +48V
Press this switch to apply +48V phantom power to a connected condenser
microphone or alternative microphone that contains active electronic circuitry.
14. Pad
Press this switch to reduce the sensitivity of the input by 10dB. This should be used
when a higher lever signal is connected.
15. Gain
This controls the input gain of Channel 2. Turning it clockwise increases the input
gain. The Sonnet preamps each include specially designed ‘dynamics control
processing’. At low signal levels and GAIN settings this is not applied and is therefore
transparent. The higher the signal level and higher the GAIN is set, then the more
the dynamics control will come into operation. This has two advantages: Firstly it
smooths out the peaks that can sound harsh on electronically amplified acoustic
instruments. The result is more like a nice studio recording. Secondly it allows much
higher headroom with the preamp and therefore less likely to clip. This is like having
an in-built sound engineer helping you sound your best at all times.
16. Shape
This switches between two basic EQ shapes. In the ‘out’ position, the EQ is relatively
flat which will be a good natural sounding starting point for most instruments. The
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