If using distortion, overdrive, booster, compressor, wah, etc..... and/or if your amp does not feature an effects loop, connection to the amp's input would be appropriate. To do so, simply use a good quality, screened (shielded) instrument cable to connect your guitar to the effect's input (Fig. 1.1). Use another instrument cable to connect the effect's output (Fig. 1.2) to the amplifier's input (Fig. 1.3).

then the whole signal with the above processing (or none) goes to a stereo tremolo splitter which I only occasionally use as tremolo -- usually it's for splitting the signal to go to "left side" "right side" Z.

Yes. You will need an XLR to 1/4" balanced to unbalanced transformer. Cables are available with this device built-in.

E. When I shelflisted the new records, I received an error that some of the records were not entered into the shelflist.

Several of our A/D boards offer data transfer capabilities in either single or dual DMA modes. Our detailed Hardware Comparison Charts provide a convenient way for you to select the right product.

When A/D is not activated, the SS (sampling switch) is open. When A/D is activated the SS is closed. The A/D conversion time can be further divided into two phases; the first is sampling time which needs 32 tAD,; the second is conversion time which needs 44 tAD. A total of 76tAD is needed. The tAD A/D clock period will be detailed in the datasheet.

The interface for controlling effects is very similar to Spider amps, but the effects themselves are not exactly the same as any other Line 6 product.

All product names used in this webpage are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6’s sound model development.

Proper connection and placement of external effects is somewhat subjective and depends greatly upon the type of effect and the player. Generally speaking time-based/ambient effects (i.e. delay and reverb) sound best when run through an effects loop. Distortion, overdrive, boosters, wah, and compressors tend to sound best when connected directly to the amplifier's input. Modulation effects (chorus, flange, phaser, etc.

Well... sometimes. Only the digital part of the signal will be relevant if they are connected, as the DVI-D connection cannot read the analogue signal which may be contained in the DVI-I.

When using multiple effect units, you'll find that the order in which they are connected can significantly affect their voicing. While we'd suggest you experiment, ultimately finding which works best for you, here's a generalized guideline to get you started; Guitar > Wah > Compressor > Overdrive (including Distortions and Boosters) > Modulation > Delay > Reverb.

Amps is an abbreviation for amperes. Amperes is the technical term for the amount of current flowing through wiring. A good analogy has always been to think of amps as water pressure through a pipe. Low pressure, the water trickles out but high pressure and that hose can, knock the socks off you. Wiring is sized to handle different amperes, therefore your circuit breaker / fuses are rated for different amperes. Circuit breakers protect wiring.

All the dimensions are by default input in millimeters ("mm"). You can however change your units using the Tools->Unit Settings menu.

This can be done by first selecting the internal effect unit you wish to use (press the effect menu button), and then selecting the input and output connections required (channel insert, or send from an output mix and return to an input channel for example). Also, this can be achieved in the virtual patch bay described above: the input patch bay includes effect returns; the output patch bay includes effect sends; the insert patch bays contain both effects sends and returns.

There is a virtual patch bay in the software, which is accessed by pressing the 'input patch' button. Input channels are listed vertically, and input connections on the input units are listed horizontally. So any physical input can be routed to any input channel on the console. Furthermore, any input connection can be routed to any number of individual input channels. Each channel could then be processed differently if required.

We have been unable to find any formal standard on this topic. However, there is an EIA Bulletin: EIA Consumer Products Engineering Bulletin No 6-A (CPEB6-A) 1974, titled "Preferred Voltage and Impedance Values for the Interconnection of Audio Products". The key word in the title is 'Preferred'. EIA CPEB6-A recommends 3mV at 47k ohms for magnetic phono cartridges, 250mV at less than 10k ohms for tape and preamp outputs, and 100k ohm minimum for tape, tuner, and amp aux inputs.

We’re always looking out for guitar related manufacturers that fit our ideology, and we found a lot at the NAMM show this year, so prepare yourselves for some kick ass shit!

No - Floor POD is a self-contained package that does not have a USB or MIDI connection to the computer.

Using the output RCA cables from your device, connect the to the corresponding colors on the faceplate. Then select the 'AUX' button from the control panel (or select the 'AUX' position on the control knob for cart systems). You may then control your external device and view the output through the system.

mentioned before, when time-based or ambient effects are used, the effects loop would be the logical place for connection. (Note; you should feel free to experiment with testing all effect types through the loop.) To connect an effect to the Loop, use a good quality, screened (shielded) instrument cable to connect your effect's input (Fig. 2.1) to the Effect Loop Send jack (Fig. 2.2). Use another instrument cable to connect the effect's output (Fig. 2.

If you are connecting a stereo amplifier or two different amplifiers to a stereo cabinet make sure the impedance and power handling of the cabinet matches your amplifier/amplifiers. If you are using our standard 4x12" this has two sockets and a selector switch on the back, setting this switch to stereo splits the cabinet into right & left. The two sockets will now have an impedance of 8 ohms with a power handling depending on the cabinet you have.

To connect a turntable to any NAD unit, (with the exception of the 160/162) you will need a phono pre-amp, our PP2. The PP2 phono pre-amp is a simple and inexpensive way to add high-performance phono capability to a pre-amp or integrated amp with spare line input. With the PP2, all turntables are made compatible with the amps. There are two different types of turntables: moving coil and moving magnet. You have to know what type you're buying, and set the PP2 accordingly.

Answer: Up to four Nexia devices of any type (CS, PM, SP) can be linked together by using the NexLink Transmit and Receive ports on the rear panel of each unit to create a daisy-chain configuration. Keep in mind that NexLink does not share control information, only digital audio; therefore, each Nexia?s control Ethernet port must be connected to the control network.

Surrounded has little meaning if the "pocket" has supply. ANY unit that does not have supply can not move or attack. If it is attacked it suffers -1 Evasion and on the unsupplied units return fire the attacker gets +1 Evasion. Well, unfrozen Russian units shouldn't be able to reach any German units to attack (unless maybe there are Germans in Persia).

Each analogue input unit (AI8) can be connected to as many as three different DSP engines. This means that the Front Of House, monitor and broadcast consoles (for example) could all share the same inputs. It is possible to connect two DSP engines to each analogue output unit (AO8), though only one DSP engine can be routed to the outputs at any one time. A switch on the unit's front panel determines which of the two DSP engines is routed to the outputs.

Absolutely. Letters to the editor are always encouraged and we read them all and publish as many as space permits. Beyond the letters column, Backstreets is very much a forum for the ideas and input of the many subscribers who contribute to the effort for each issue. Concert reports, images and news items sent in by subscribers are essential in helping us keep the magazine and website informative, and the help of our friends and subscribers is greatly appreciated.

This is a common requirement with multi-effects processors which can accommodate a mono or stereo input, depending on the selected algorithm. Fortunately, it is easily solved with a special version of half-normalling called 'stereo half-normalling'! The answer is to connect the tip (and ring, in balanced interfaces) contact(s) of the left channel input socket to the switching contact(s) of the right channel's input socket.

Many mixing boards have a dedicated pre-fader direct output for each input channel. The direct output is a copy of the incoming audio signal. The FOH console channel's direct output can be patched to an input on the AN-16/i using a balanced or unbalanced cable (depending on your mixer configuration) Many consoles use a single TRS audio jack for the 'send' and 'return' function required for a channel insert.