CH 1
CH 2
CH 3
LO
GAIN
LO
HI
LO
HI
INPUT 1
VOLUME
INPUT 2
MIC
250
800
100
GRAPHIC EQ
6K
12K
AG100D
ACOUSTIC GUITAR AMP
VOLUME
LEVEL
FREQ
MID
HI
EFF
VOLUME
LO
MID
EFF
800
300
3K
2K
1K
EFF
HIGH
TAPE/CD
0
10
5
4
3
2
1
9
8
7
6
5
4
3
2
1
9
8
7
6
0
10
0
10
5
4
3
2
1
9
8
7
6
0
10
5
4
3
2
1
9
8
7
6
3
6
9
12
12
9
6
3
0
3
6
9
12
12
9
6
3
0
3
6
9
12
12
9
6
3
0
3
6
9
12
12
9
6
3
0
3
6
9
12
12
9
6
3
0
3
6
9
12
12
9
6
3
0
0
10
5
4
3
2
1
9
8
7
6
PARAMETER
0
10
5
4
3
2
1
9
8
7
6
0
10
5
4
3
2
1
9
8
7
6
PK
PK
EFF1
EFF2
DUAL 24-BIT EFFECTS
MASTER
5
4
3
2
1
9
8
7
6
0
10
OFF
EFF2
EFF1
9
9
6
6
3
3
OFF
EFF2
EFF1
9
9
6
6
3
3
OFF
EFF2
EFF1
9
9
6
6
3
3
0
8
4
4
8
12
12
+
-
MID
POWER
E
C
H
O
C H
O
R
U
S
F
L
A
N
G
E
R
E
V
E R
B
E
C
H
O
CH
O
R
U
S
F
L
A
N
G
E
R
E
V
E R
B
3
6
9
12
12
9
6
3
0
15
14
13
10
7
2
3
AG100D FRONT & REAR PANEL CONTROLS
4
4
3
11
3
12
5
8
9
1
6
CHANNEL 1 FEATURES
1. INPUT 1 JACK & CONTOUR SWITCHES
The INPUT jack is designed for instruments such as acoustic or electric gui-
tars. The MID switch cuts the mid range frequency 10dB at 400Hz which results
in an enhancement of the bass and treble response. This can be an ideal set-
ting with acoustic guitars. Use the HI switch to enhance the high frequencies
(10dB boost at 10kHz) perfect for brightening up an acoustic guitar.
2. VOLUME CONTROL
The VOLUME control adjusts the volume of the channel heard in the speaker,
the line out jack and the headphone jack.
3. EFFECTS CONTROL FOR CH 1,2 & 3
Each channel features an EFF control. The EFFECTS control adjusts the volume
of the channel going to the one of the internal DSP processors. Turning counter-
clockwise to the left will send the channel’s signal to EFF 1 and turning clock-
wise to the right will send the channel’s signal to EFF2. The effects control is
post (or after) the volume control. Watch the PK (peak) LED on EFF 1 and 2 in
the master section. Turn down the channel EFF level if it the LED starts to flash.
4. LO AND HIGH TONE CONTROLS
The LO and HI tone controls are used to shape the bass and treble sound of
the input signal. Start out with the tone controls in their center positions where
they do not effect the signal. Then, as needed, turn the tone controls (turn to
the right to boost, or to the left to cut) to change the sound.
5. ACOUSTIC SWEEP TONE CONTROLS (FREQ. AND GAIN)
The FREQ and GAIN controls make up the MID sweep control. The way to
get familiar with these controls is to set the GAIN control to near full clock-
wise, and turn the FREQ control through its full rotation while playing chords
or notes on an instrument. Then try it again with the gain control to near full
counter clockwise to hear the difference. A suggested setting for electric gui-
tars is to place the GAIN control at +6 and set the FREQ control at 800Hz. This
setting will remove the mid frequencies for a crisper sound.
CHANNEL 2 FEATURES
6. INPUT 2 JACK & LO/MID CONTOUR SWITCHES
The INPUT phone jack is designed for instrument or line level inputs such as
a drum machine, tape deck, another guitar or bass guitar, a keyboard, an unbal-
anced mic, etc.. The LO switch is a 10dB low freq. boost at 60Hz & the MID
switch is a 10dB mid cut at 400Hz. These “pre-shape” filters can help eliminate
the guess work when dailing in the tone of your instrument. You can then fine
tune your sound with the EQ knobs.
7. VOLUME CONTROL
The VOLUME control adjusts the level of the channel heard in the speaker,
the line out jack, and the headphone jack. The gain structure of this channel
is designed to handle both instrument and line level inputs. The result is some
instruments, such as a single coil electric guitar, may need the VOLUME con-
trol turned up to 7 or higher to match the other channels. Also, for the same
reason some line level inputs, such as a CD player may need the VOLUME con-
trol less than 1 to match the other channels.
8. LO AND HI TONE CONTROLS
The LO and HI tone controls are used to shape the bass and treble sound of
the input signal. It is suggested that the tone control settings start in their
center positions where they do not effect the signal. Then, as needed, turn
the turn to the right to boost, or to the left to cut to change the sound.
CHANNEL 3 FEATURES
9. XLR MICROPHONE & 1/4” INPUT JACKS
The MIC input is designed for balanced low impedance ( microphone ) input
signals. The Balanced input will reduce the common noise picked up on the
microphone cables. The XLR connector is wired as per the industry standard;
pin 1 is ground, pin 2 is positive and pin 3 is negative. Phantom power is avail-
able on the XLR input jack. This allows condenser microphones to be run directly
without the need for batteries or other external phantom power supplies. The
1/4” jack is designed for unbalanced high impedance signals (guitar, tape deck,
drum machine, etc.). Both of these inputs can be used at the same time.
10. VOLUME CONTROL
The VOLUME control adjusts the volume of the channel heard in the speaker,
the line out jack, and the headphone jack.
11. LO AND HI TONE CONTROLS
The LO and HI tone controls are used to shape the bass and treble sound of
the input signal. It is suggested that the tone control settings start in their
center positions where they do not effect the signal. Then, as needed, turn
the turn to the right to boost, or turn to the left to cut to change the sound.
12. DIGITAL SIGNAL PROCESSING
The 24 bit processor will provide a host of awesome sounding effects that include:
Flange, Reverb, Echo, & Chorus
. The master
EFFECT 1 & 2
control will adjust
the volume level of the selected effect. Remember each channel has its own
EFFECT
send level that will adjust the amount of signal sent to the effects processor. The
red
PK LED
will indicate when the effects signal is clipping. Lower the channel
EFFECT
control until the
PK LED
stops flashing. (Note: When adjusting the effects
on either channel, an audible noise may be heard).
EFFECT PARAMETERS
Each of the four effects has a variable parameter that can be easily adjusted.
ECHO:
When the top
SELECT
control is at the “7 O-clock” position, it is selected
to the first
ECHO
setting where you get a single repeat echo (minimal regenera-
tion). Turning the
PARAMETER
control to 1 will provide the shortest delay time
between the original signal and the echo. Increasing the
PARAMETER
control to
the right will increase the time delay between the original signal and the echo.
You can get a maximum of .5 second delay. To increase the number of echoes,
turn the
SELECT
control clockwise to “9 O-clock” (maximum regeneration).
REVERB:
When the
SELECT
control is at the “10 O-clock” position, it is selected
