In studio and on stage the Transducer replaces the guitar speaker cabinet and microphone(s) so that the time and resource-intensive microphone processing of this loud sonic source is no longer necessary.
In addition the Transducer offers much more sonic flexibility and variety than a single mike and cabinet setup because it allows for varied speaker and mike simulations while allowing to retain accustomed features of individual setups (such as the ability to vary level-dependent loudspeaker characteristics and microphone distances).
- The Transducer supplants at least four loudspeaker cabinets, two high quality microphones, their preamp, a good room ambiance, and at any time, the amplification may be cranked up.
- The entire Transducer usage is highly intuitive and requires no miking expertise.
- 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 flight foil condensers and individually built High-Z transformers from renowned German manufacturer 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.
- The Transducer is sonically much more flexible than a fixed 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.
- 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.
- Significantly less time spent and much more efficiency 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.
This simulates speaker cone characteristics at different levels. With a moderately driven guitar box (Speaker Action from 0%-35%), speakers ideally reproduce the signal clearly without too many side effects. As levels increase, overtones are added by the overdriven speaker, producing its characteristic “rasping” distortion effect. Speaker Action allows for the simulation of this effect.
Speaker Actions is, as with Miking Level and Output Gain, a level control. Turning it to the left allows only low levels to pass, just as with a cabinet driven at low levels. If a small Speaker Action is wanted, it must be compensated for with a comparable increase in Miking Level – in principle the same as you would need to do in working with a cabinet.
The signal LED indicates the presence of a signal at the Transducer‘s input. It is activated at a -20?dBu level.
This switch toggles between an open and closed guitar cabinet characteristic.
“Open” sounds definitely more open, brilliant and direct, as the signal contains more transients and produces less punch as with the “Closed” setting, wherein the sound has more punch and with its added compression more closely creates the impression of the compressed air in a closed box, though with less brilliance and detail.
This offers the choice of sound and attack characteristics from either alnico speakers (Sparky) or the British ceramic construction (Mellow). The “Sparky” setting produces a lively, more responsive sound with additional overtones, while the “Mellow” setting sounds warmer and softer.
A microphone produces a different sound at lower sound levels than at higher ones. With the Transducer‘s Miking Level one can simulate these differences. Increasing the Miking Level effect produces a stronger compression level and a denser sound canvas. This builds an effect of increasing loudness.
A lower miking level produces a more refined and at the same time, marked high frequency production with reduced mids.
This provides for selecting either condenser or dynamic microphone characteristics. Depending upon the cabinet these microphone choices will affect the sound right from the start, and clearly this will continue to contribute to the overall available guitar sound.
A condenser microphone normally sounds more open and transparent, though less punchy than a dynamic. It is also unforgiving, and, for example, can quickly single out weaknesses in loudspeaker microphoning. A dynamic microphone has more punch, though it sounds less clear than a condenser. It can be more forgiving and withstands higher sound pressure levels.
The sound dispersion characteristics of guitar speakers varies with microphone distance, with slightly distanced microphoning adding more ambience. With Microphone Distance settings it is possible to simulate these different sonic characteristics.
The Close setting provides a more direct sound and tends to sit in the front of the mix. With sharply defined corners and angles, full detailing and overtone rich, this sound is suited for soloists. In contrast, the Ambient setting is ideal for a “wall of sound“ – and is sonically less direct, softer, but with more push and punch.
This controls the Line Output 1 and 2 output levels; the Mic Level Output is not influenced by this control.
This LED illuminates 3?dB before the internal microphone preamplifier stage is overloaded. In this case, be sure to lower the Output Gain until the OVL LED goes out. The Mic Level Output is independent from the Output Gain control.
Line Output 1 and Line Output 2 only. This LED illuminates 3?dB before the internal microphone preamplifier stage is overloaded. In this case, be sure to lower the Output Gain until the OVL LED goes out.
Leveling the Transducer
It is important to consider added power amp distortion, as it is the basis for the Transducer‘s concept with its ability to process up to a 200 Watt, 8 ohm cabinet-amplified signal. Avoid too much mental separation in what should be your integrated Transducer level control thinking, as just with situations that employ traditional guitar amp and cabinets, you must consider the interaction with a guitar amp – and here especially in relation to the preamp and master gain.