3
3. Channel 2 and 3
Channel 2 and 3 feature XLR / 1/4-inch hybrid combi-jacks. The 1/4-inch inputs are used for
line-level signals from acoustic guitars (using an active pickup) or other ‘line-level’ sources. The
hybrid combi-jacks also accept microphones through the incorporated balanced XLR connector
.
Tone controls include Gain, Bass, Lo-Mid, Hi-Mid and Treble which enable great control of your
equalization. Both channels
have been designed with a flat frequency response, making them
ideal for vocals, keyboards and drum machines. The channel inputs both XLR and 1/4-inch are
balanced but can also accept unbalanced 1/4-inch cables. To reduce noise, it is advised that
you use balanced cables for interconnection wherever possible.
Tech Note: In order to power condenser microphones, phantom power is applied to devices
connected with an XLR cable (15-volt for channel 2 and 48-volt for channel 3). Using a
correctly wired XLR cable, phantom power is effectively invisible to balanced dynamic
microphones and will not cause any damage. Phantom power IS NOT applied to the 1/4-inch
portion of the hybrid combi-jacks.
4. Gain Controls (C
h
1, Ch 2 and Ch 3)
The Gain controls are used to set the input level of your instrument. The clip LED can be used
to gauge input level to avoid audible clipping. If clipping occurs, lower the signal by turning the
volume down on your guitar or reducing the Gain control.
5. Tone Controls (C
h
1, Ch 2 and Ch 3)
The Channel tone controls help shape the sound of the acoustic guitar. The tone controls of
individual channels DO NOT affect the other channels. All tone controls can be used to either
boost or cut certain frequencies in your instrument’s signal. Use the Bass control to reduce
boominess or add low end thump. Change the Lo-Mid and Hi-Mid frequency controls to add
clarity or reduce harshness. The Treble control can be adjusted to accentuate percussive sounds
when using a light pick or to attenuate the sound of your fingers moving across the strings.
6. Feedback Notch Filter Control (C
h
1, Ch 2 and Ch 3)
Use the sweepable Feedback Notch filter to help eliminate feedback caused when the guitar is too
close to the amp at higher volume levels. If feedback does occur, rotate the notch control slowly until
the feedback is eliminated. To bypass this filter, rotate it fully counter-clockwise to the off position.
Note: If feedback occurs when you are in close proximity to the guitar amp, the notch filter may
not help. Therefore either reduce power or move the guitar farther away from the amplifier.
7. Digital Effects (C
h
1 and Ch 2)
Channel 1 and 2 share one of the built-in digital effects processors. From lush reverb to a
swirling rotary speaker simulator, the Acoustic Master Custom uses a DSP (Digital Signal
Processor) to create 16 custom Traynor effects. The Mix
control is used to blend in the amount
of the original, clean signal with the wet signal while the Modify control alters the nature
(parameter) of the selected effect. The parameters are listed for each effect on the amp. See
the end of this manual for a description of each effect.
Note: An optional footswitch can be used to bypass the Acoustic Master Custom’s built-in
digital effects. Use a two-channel footswitch such as the Apex AFS2 which allows you to
bypass channel 1 and 2 (shared) and 3 independently..
8. EFX Bypass Switch (Ch 2)
The Bypass switch enables the user to choose whether the Built-In Digital Effect setup for
channel 1 will be applied to channel 2.
9. Digital Effects (Ch 3)
Channel 3 features a totally independent digital effects processor from channel 1 and 2
allowing two channels to use completely different effects. The Mix
control is used to blend in
the amount of the original, clean signal with the wet signal while the Modify control alters the
nature (parameter) of the selected effect. The parameters are listed for each effect on the
amp. See the end of this manual for a description of each effect.
10. Insert Jacks (Ch 1, Ch 2 and Ch 3)
The Insert Jack loop allows an external sound processor to be applied directly to each of the input
channels 1, 2 and 3) independently. The loops are post-tone control and pre-EFX on all three
channels.
