Tech 21, the Company
Tech 21 was formed by a guitarist possessing the unusual combination of a trained ear and electronics
expertise. In 1989, B. Andrew Barta incorporated Tech 21 and made his unique invention commercially
available to players and studios around the world. His highly-acclaimed SansAmp™ pioneered Tube
Amplifier Emulation in professional applications for recording direct and performing live, and created an
entirely new category of signal processing.While there have since been many entries into this niche,
SansAmp continues to maintain its reputation as the industry standard.
After developing a full line of SansAmp models,Tech 21 expanded its offerings to include effect pedals;
a compact, battery operable MIDI footcontroller, the MIDI Mouse; as well as “traditional” style ampli-
fiers. Each product is thoughtfully and respectfully designed by Andrew himself with the player in mind.
Our goal is to provide you with flexible, versatile tools to cultivate, control, refine and redefine your
own individual sound.Tech 21 takes great pride in delivering consistent professional quality sound, stu-
dio to studio, club to club, arena to arena.
PRODUCT OVERVIEW
Tech 21 redefined the term “direct box” with the development of SansAmp™ Tube Amplifier Emulation
technology. For recording and live performances, our exclusive, 100% analog circuitry delivers the
sound of a miked-up tube amp in a convenient direct box format.
SansAmp Para Driver DI offers detailed tone shaping for any signal source.The proprietary circuitry
(engaged via the Blend control) eliminates the unnatural harmonics of piezo pickups. SansAmp Para
Driver DI gives your instrument a natural warmth and presence as if you were miking it through a tube
pre-amp.
SansAmp Para Driver DI functions as a pre-amp, a stomp box, and as a standard direct box with EQ
(when the Blend control is at minimum). It also functions solely as a standard transparent direct box
(when in bypass) to convert
the instrument signal to a low impedance balanced output.This prevents signal loss and sound quality
deterioration caused by long cable lengths.When you engage the SansAmp circuitry via the on-board
footswitch, it gives you the sound and responsiveness of a miked-up pro stage rig --direct into a
recording console or P.A. system.You can also simultaneously plug straight into a power amp or conven-
tional amp.
As with each SansAmp model, the controls are designed to give you the
flexibility to achieve your desired sound, be it at home, in a local bistro or on a world tour.
APPLICATIONS
WITH AN INSTRUMENT AMP:
•As a Stomp Box: Run the 1/4” Output into the front input of your amp. For best results, keep
SansAmp Para Driver DI’s Level close to unity gain so as not to overload the amp’s input, which
could yield undesirable distortion.
•As a Pre-Amp: Run the 1/4” Output of SansAmp Para Driver DI directly into the power amp input,
a.k.a. “effects return” (if applicable), of an amp. This will bypass the amp’s tone-coloring pre-amp
section and defeat the amp’s master volume. So, be sure your instrument’s volume is off,
BEFORE you turn on the amp. If a power amp input is not available, use the cleanest channel with
the amp’s EQ flat and maximum headroom. For best results, keep the Level of SansAmp Para Driver
DI close to unity gain to not overload the amp’s input (which could yield undesirable distortion).
TO DRIVE A POWER AMP:
Run the 1/4” Output or XLR Output to the corresponding input of
a power amp, and adjust your stage volume with the Level control of SansAmp Para Driver DI. NOTE:
When running into the power amp input of an amp or a power amp alone, make sure the Output Level
Switch is set to Line and adjust the Level as needed. If you are so inclined, this is the time to crank it --as
long as the power amp volume is close to or at max.
FOR RECORDING DIRECT AND GOING LIVE DIRECTLY TO A P.A. SYSTEM:
Plug the XLR or 1/4” Output directly into the input of a mixer/recorder.Work with the input trim con-
trol on the mixer/recorder and be sure not to overload its input. If Level is below 12 o’clock and it is
overloading the board, set the Output Level switch to Instrument. Additionally, bear in mind that full-
range systems yield a wide frequency response.Therefore, we suggest you start with the EQ levels at
12 o’clock and then increase/decrease to taste.
WITH INSTRUMENTS:
Use with acoustic, electric and bass guitars, and upright bass, as well as key-
boards, violin, drums, sax, harmonica, and even vocals. But don’t stop here.Try your own experimentation.
WITHOUT INSTRUMENTS:
-Insert SansAmp Para Driver DI in your mixing board and use it as an outboard processor to warm up a
particular channel.
-Put direct in-line from the microphone to the mixer.
-Enhance existing tracks in the mix-down process.
-Use as a speaker/mic simulator to record your favorite effects/stomp boxes directly (see Sample Settings).
GUIDE TO CONTROLS
DRIVE:
adjusts the overall amount of gain and overdrive, similar to when the output section of a tube amp
is being pushed.
BASS & TREBLE:
These
active
tone controls cut or boost ±12dB from unity gain at 12 o’clock. Bass is
80 Hz.Treble is 3.2kHz.
MID SHIFT & MID
Sweepable, semi-parametric EQ controls range from 170 Hz to 3.5 kHz, ±16dB, respectively.With Mid Shift,
you can select the center frequency of the mid-range control (MID), enabling you to notch out specific fre-
quencies that may be causing your acoustic guitar to feed back.
To find the feedback frequency of your gui-
tar
, set MID at max (5 o’clock).Turn Mid Shift to the feedback point and leave it there. Cut MID until feed-
back stops. However, you can achieve various unique sounds by boosting MID and selecting different frequen-
cies with Mid Shift --such as the “Money for Nothing” sample setting. Note: If you set Mid Shift at 1kHz, MID
operates as a traditional mid-range control.
BLEND
allows you to blend the direct instrument signal with SansAmp Tube/Microphone Emulation circuit-
ry. In most cases, you will probably have this set at maximum (100% SansAmp). If you should want to hear
some of the distinct timbre of a piezo pickup, or reduce the amount of “compression,” you can simply adjust
accordingly by turning the Blend control counter clockwise.
At minimum, the SansAmp circuitry is bypassed. However, all the other controls remain active.The unit then
functions as a standard DI with EQ.
LEVEL
adjusts the output level of both the 1/4” and XLR outputs.
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 is “hard-wired” to the Input jack. Instrument sig-
nal passes through, UNEFFECTED, to the input of your stage amplification system. NOTE:The 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 (i.e., 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 600-Ohm low Z output. Sends effected or uneffected signal
to mixing console/recorder, depending on the orientation of the Footswitch.
XLR Output Level Switch:
-20dB pad to match the output to equipment with different input level
requirements. In line level position, the output is 0dB. In instrument level 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. In instrument level position, the output is -10dB. In line level position, the output is
0dB.