LR Baggs Para DI - Manual

U S E R ' S G U I D E
L . R . B A G G S P R E A M P S
P A R A A C O U S T I C D . I .
4 8 3 N . F R O N T A G E R D .
N I P O M O , C A 9 3 4 4 4
W W W . L R B A G G S . C O M
1 . C O N T R O L S
A. Low EQ band control (85Hz): Very low bass, almost felt as much as heard.
B. Notch control and tune knob (98 to 247Hz): Designed primarily to help
with feedback problems. For example, if a particular string is starting to
feedback or produce a booming sound, you can use the notch to cut out the
problem frequency. The tune knob is marked with four positions, each
representing a note on the scale, to help find the problem frequency. Try
boosting the notch control (turn completely clockwise) and sweeping the tune
knob until the feedback is at it's worst. Then turn the notch control back
towards "cut" (counter-clockwise). Cut only enough to kill the feedback.
The notch control can also be used as an EQ knob. A slight cut between D and B
(around 200Hz) can clarify a boomy or muddy tone, and slight boosts in this
range will give a thin-sounding guitar more body and acoustic sound. (see also:
Invert Switch)
C. Midrange control (400Hz to 1.6kHz) and tune knob: Sweeps from the
upper warmth frequencies to the nasal range of sound. Boost at 400 for more
warmth, cut at .8k-1.6k for less nasal quality. Many acoustic guitars have an
excess 1kHz when amplified. A 3 to 6 dB cut is often good here.
D. Presence control (5kHz): Affects "sss" sounds, cymbal sizzle, brightness. Cut
here to remove PA horn "glare" or boost to add life to a dull speaker.
E. Treble control (10kHz): The very highest frequencies, "air" or "frosting".
F: Battery status LED: Stays on when unit is on and then flashes when the
battery is low. The LED will start flashing when the battery reaches 6 volts.
When it reaches 5 volts, it will stop flashing.
G. Volume control: Unlike gain, whose adjustment will affect the character and
personality of the sound, the volume simply controls the amount of signal that
gets out of the box. The Para Acoustic D.I. will likely be the quietest thing in
your signal chain. So for the best system signal to noise ratio, we recommend
that you run the volume as high as you can without causing the PA to distort.
H. External battery access compartment: For quick and easy battery changes.
I. Balanced XLR output: A standard, post EQ/effects, balanced low impedance
output. Plug it into the board with a microphone cable or stage/studio snake. If your board provides 48V phantom power on the XLR cable, the
Para Acoustic D.I. will run on it instead of the battery. It's a good idea to keep a battery in the unit as a backup even when using phantom power. If
phantom power drops, the preamp will automatically switch to the battery and run without interruption.
J. Phantom power LED: Alerts you to the presence of 48V phantom power with a green light.
K. 1/4" output: This is a regular unbalanced output for a standard mono cable. The output signal is the same as on the XLR, allowing you to use
the 1/4" out and the XLR simultaneously for some creative signal routing.
L. Invert switch: Changes the polarity of the signal. When the button is up, the output will be in phase with the input signal. Phase affects the
way that the guitar top is pressurized by the loud speakers. When the two are out of phase with each other, low end feedback will be minimized. If
inverting phase alone does not kill the feedback, use the notch filter. Phase will also affect the way the guitar signal mixes live and on tape
(especially when overdubbing) with other instruments.
M. Effects loop: This jack provides a send-return on a stereo jack for outboard effects that allow you to blend reverb, chorus or other effects in
with a dry signal. Use an insert cable (stereo plug with a Y cable to two mono plugs) to connect the effect. The tip is the "send" and goes to the
input of your effect. The ring is the "return" and comes from the output of your effect, and the sleeve is the ground. You may adjust the amount of