LR Baggs Dual Source - Manual (Page 3)

gain position as well. But, since you can't be absolutely certain, try it in both
positions to see which one is right for your situation.
C. A good starting point for the mic low cut knob is about 10:00, as shown on
the Dual Source label.
D. With the two knobs on the Remote Control turned all the way down, plug
into your sound system with a standard mono cable and gradually bring up
the volume on the Remote Control. This will give you the pickup signal only.
Gradually bring up the level of the "mic" knob to hear the blend of the mic
and the pickup.
E. Especially try the mic phase switch in each position to see which sounds the
best with your mic. Now you can experiment with the other controls to
achieve the best overall sound.
U S E R ' S G U I D E
The Dual Source is engineered primarily for use with the Ribbon Transducer
and our Dual Source microphone. All controls are pre-set at the factory for this
use. Feel free to experiment with the settings or other pickups and mics. If you
lose your way just return to the Ribbon Transducer and Dual Source mic and
match the switches and the pot to the settings shown on the label. The
controls mounted directly on the preamp are intended to be utilized as “set it
and leave it” controls. However, they can be switched by extending a tool such
as a pencil's eraser end through the sound hole.
Note: When the Dual Source preamp is mounted in the recommended location, the pre-set controls are accessible through the soundhole. The
best tool we have found for adjusting them is a pencil eraser. The eraser has the perfect surface to grab the switches and turn the knob.
If you are using the Dual Source with the Ribbon Transducer and the Dual Source mic, the default settings are on the label on top of the preamp.
The controls of the Remote Control have different functions in mono and stereo modes.
The letters in front of each control description correspond with the letters in figure 6.
A. Stereo/Mono Switch:
Mono: The “mono” or mix mode is designed for hassle-free live performance and recording when you want to plug in and play.
To Use: Confirm that the “stereo/mono” switch is in the mono position and plug in a “standard” cable. In this mode the two dials on the Remote
Control module function as a master volume (“vol” knob) and a microphone volume (“mic” knob). The "mic" dial allows you to add the amount of
microphone you desire to the mix. Full clockwise is pickup only and full counter-clockwise brings in the mic. Once the blend is satisfactory, use
the master volume to control everything with one knob.
Stereo: This mode provides independent buffered outputs for the mic and pickup. It is useful for recording and for achieving the ideal live sound.
You can use individual outboard EQ and effects for each channel. For live work, a mic-blended system often presents problems with feedback in
the monitors. In stereo mode you may send the pickup alone to the feedback-prone stage monitors, but use as much mic in the mains as you wish
to get the perfect “house mix”.
To Use: For this option flip the “Stereo/Mono” switch to Stereo, and plug in a stereo cable or stereo Y cable into the two muted channels of
whatever outboard gear you’re playing through. The live pickup signal is routed to the “tip” and a live mic signal goes to the “ring” contacts of the
strapjack. The stereo switch also changes the way the Remote Control functions. The “mic” knob becomes the mic-only volume and the “vol” knob
becomes the pickup-only volume.
B. Pickup high/low gain switch: This switch makes it possible to use a pickup other than the Ribbon Transducer with the Dual Source, such as the
LB6; however, we do not recommend using the iBeam with the Dual Source. The high gain position is specifically engineered for use with the
Ribbon Transducer which has a low level of output. Some magnetic soundhole pickups also work well with the high gain setting. Almost all piezo
pickups are best in the low gain position.
To Use: Confirm that the switch is in the correct position. It will be apparent if you get it wrong: the signal will be very quiet and full of noise if the
switch is in the low position when used with the Ribbon Transducer. Conversely, most other pickups will be loud and distorted when used with
the switch in the high position.
C. Mic phase switch: The phase switch changes the polarity of the mic signal. Its purpose is to optimize the blend between your chosen pickup
and microphone when the Dual Source is used in mono mix mode. We suggest the mic placement decision be made using headphones and with
the pickup unplugged prior to setting the mic phase, as the mic position will influence the phase relationship. The lowest frequencies will be
most affected by this phase relationship. It will be apparent which phase sounds best when you flip the switch. However, the best sound may not
be the “best” phase in every situation. For instance, in a live situation, the low frequency cancellation between an out-of-phase mic and pickup
provides a measure of feedback resistance. Here, the low frequency conflict between the two signals acts as a shock absorber to dampen
feedback. This effect is often helpful when using a live mic. In the studio, with headphone monitors, having the mic and pickup in phase with each
other will usually result in the warmest and richest blend of the two.
Please note that when the mic and pickup are mixed in phase with each other, the mic will seem nearly twice as loud as when they are out of
phase. You will not need as much mic level with an in-phase mix to get a nice blend.
D. Mic low cut filter: This rotary control allows for fine tuning the low frequency response of your chosen mic. The range of control will allow
adjustment of the low cut-off frequency from 2kHz to 100Hz. The nicest sound is usually achieved by using as much microphone bass as possible
without inducing boominess or feedback. In mono mix mode a higher cut-off frequency is advised than when in stereo. The lows of the pickup
and the mic reinforce each other when they are mixed together, so it is easy to get too much bass. A great strategy to minimize feedback is to let
fig. 6
A
B
C
D