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Transducer
Introduction
Sound Setups
After cabling is complete, the sound setup functions primarily as one might expect: First,
guitar amp sound adjustments are prepared as though the cabinet were already connected.
However, instead of choosing a cabinet and experimenting with microphones and their posi-
tioning, adjustments need only be made with the Transducer controls. In such cases the
Transducer interfaces with the guitar amp just as an actual guitar cabinet and microphone:
When switching the Transducer to a smaller cabinet with a “crispy” speaker, one probably
also changes the amplifi er settings.
During studio production the guitarist can try out different adjustments, and during play-
back, immediately hear these settings and their effects on the mix. The operation is based
on standard procedures, is completely intuitive and independent from room acoustics – what
you hear is what you get.
A Complete – Not Approximated – Simulation
An important aspect of signal processing with guitar sound distortion is the reproduction
of chords: The string sound should exhibit a fi ne resolution and homogeneous, musically
unifi ed sound quality. From this emanates the deep, complex and unifi ed sonic structure
typical of the best speaker and box assemblies. This aspect is also a prime consideration in
the Transducer‘s uniquely precise output: Through its new concept in signal processing you
experience a completely authentic sonic feel.
The Transducer circuitry also conveys the different time characteristics of guitar speaker low
and high frequencies. With reduced guitar signal levels, the Transducer nonetheless repro-
duces the full dynamic range of a guitar amp. Even attack-dependent loudspeaker compres-
sion characteristics are realistically reproduced. For guitarists there is his playing no change
in comparison to normal box setups.
Authentic Variety
The Transducer‘s fl exible switching enables adjustments which allow the creation of complex
sound and attack characteristics of “classic” electric guitar cabinets and their speakers in all
frequency ranges. From the small, half open 1x12 inch cabinet with alnico speaker to British
4x12 inch Rock n‘ Roll cabinets, the Transducer has every sound covered. Even speaker distor-
tion effects and recording levels may be simulated, including the desired loudness effect.
Analog Construction – Analog Function
In working with the Transducer, a guitar amp will be loaded as if with an actual cabinet so that
the interaction of both components will produce the same results. As the microphone type
and positioning are adjustable, the Transducer can supplant both cabinet and mike.
One Transducer output can also be used the same as if it were a microphone standing in front
of a guitarist‘s cabinet: It can be used with a microphone preamp. Just as it is worth the effort
to try out different mike preamps with mikes and cabinets, one may do the same with the
Transducer. Alternatively the Transducer also provides for a line signal output so that addi-
tional microphone amplifi cation is no longer needed. An internal microphone preamplifi er in
traditional SPL quality is used here for pristine sound results.