Sound Performance Lab Model 2601, Руководство пользователя

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7
Transducer
Advantages – an Overview
The Transducer supplants at least four loudspeaker cabinets, two high quality microphones,
their preamp, a good room ambiance, and at any time, the amplifi cation may be cranked up.
Moreover, the entire Transducer usage is highly intuitive and requires no prior miking exper-
tise.
• The Transducer offers a unique ability for the guitarist during production performance to
hear a true playback and then adjust his playback to the moment in the control room.
• Fully analog construction for the highest authenticity in sonic quality and outstanding
playability throught direct, latency-free response.
• Critical parts are carefully selected for exceptional sonic characteristics. In these days of
mass production, we still select our OP amps only after listening to them and rejecting
those lacking in our required exceptional sonic characteristics. This also applies to our top
fl ight foil condensers and individually built High-Z transformers from Lehle.
• The Transducer replaces all major cabinet and microphone types, thereby enormous
savings in cost and space in transport, on stage, or in the studio.
• Processing is independent from absolute volume levels, which means that no recording
room is necessary and ear-saving work is possible everywhere and at any time.
• Sonically much more fl exible than a fi xed cabinet/mike set in that all important loudspeaker
and cabinet types, as well as dynamic and condenser microphones can be simulated.
• Multiple guitar tracks can be “stacked” – the doubled layers become “phatter”. In the
process, there will not be any thinning effect from phase shifts as with digital simulation.
• 200-Watt Power Soak: The power amp‘s distortion may, as with cabinets, be integrated
into an authentically distorted sonic design.
Please pay close attention to the warnings for
connecting guitar amps to the Transducer on page 11.
• Resulting recorded sounds are independent from room characteristics – what you hear is
what you get.
• Signals for live mixes are at recording quality level and free from crosstalk from other sound
sources.
• As on-stage recording loudspeakers are not needed any in-ear monitoring is done at safe-
hearing levels as the cabinet must not be drowned out.
• Signifi cantly less time spent and much more effi ciency and convenience in equipment
setup, preparation, and working with sound variations.
• Working procedures and connections follow customary standards of amp and cabinet sets.
• Live application advantage: It is extremely easy to achieve a dry-wet-wet setup. The amp
signal passes via “Speaker Thru“, for a dry direct signal and the Transducer line out is
connected to the effects machine; FX left and right out provides a wet signal on stage.
• Live application advantage: two line outs with separate balancing drivers – the Transducer
provides for both FOH and stage routings.
On Stage
The Transducer’s “Speaker Thru“ option allows a cabinet to be connected without any loss
in signal quality. The stage sound comes as usual from the stack, while at the same time the
sound technician receives a top quality recording quality signal without miking – and without
crosstalk from any other sound source. If on the other hand very low sound levels are required
on stage, the Transducer can supplant the cabinet. The line or microphone signal of the
Transducer can then be routed via FOH mixer to either a stage monitor or in-ear system for the
guitarist.
Introduction