Lr Baggs Para Acoustic Di User Manual
- Lr Baggs Para Acoustic Di Settings
- Lr Baggs Venue Manual
- Lr Baggs Lyric Manual
- Lr Baggs Para Acoustic Di Manual Pdf
- Lr Baggs Para Acoustic Di User Manual Pdf
- Perhaps the 'magic' is due the fact that I use the LR Baggs 'Anthem' mic plus piezo under saddle combo with the Para Acoustic, but it should work with any pickup system and best of all it's wonderful to have full control of my sound again.
- I have an LR baggs Para DI, To be used for acoustic guitar – usually strum, occasional finger-pick. Accompanying vocals Any hints from someone who has.
Overall: The LR Baggs Para Acoustic DI is an awesome preamp for electro-acoustic instruments, and comes with so many valuable features! Since early 2004 I've used it in conjunction with a McSpadden SH12KK Custom mountain dulcimer with custom LR Baggs piezo bridge pickup, and the LR Baggs Para Acoustic DI makes it play like a dream!
Take a Tour of the VenueThe Venue is a sleek-looking piece of gear that will be immediately familiar to users of the ParAcoustic DI or the Baggs Core 1 Reference Monitor. The 5-band EQ section is responsive and powerful, with Bass, Lowmid, Hi-mid, Presence and Treble controls, with the mids controls being particularly robust, allowing you to choose the specific frequencies to cut or boost—from 100Hz– 500Hz in the lows and 500Hz–2.8kHz in the highs. The Bass, Presence and Treble controls are 12dB boost/cut at 90Hz, 3kHz and 10kHz respectively. There is the customary 1/4' instrument input, an XLR out and a line out. The unit requires a 9V battery or a standard DC power supply, and cannot be phantom powered.
The proprietary Garrett Null anti-feedback control is easy and quite effective. The knob allows you to sweep through all the usual suspects (that pesky 60Hz–320Hz range) and eliminate just the offending frequency while doing virtually no damage to your tone. The knob clicks off when you turn it all the way counter-clockwise. When you hear feedback starting to blow up, simply sweep the knob slowly from left to right; when the knob reaches the problem frequency, the feedback just .. stops. That’s it. I’d call that an idiotproof solution that’s tone-friendly, too.
The Venue has Gain and Volume controls, which gives you yet more control over your tone. The Gain should be set so that the LED clip indicator is flashing up to orangeconsistently, and only occasionally into the red. This is important—not enough gain and your tone is wimpy and there’s a danger of generating the dreaded “self-noise.” Too much gain and you may overdrive whatever system you are plugging into. Once the Gain is set appropriately you can bring up the Volume accordingly. According to the manual, “The XLR output is not affected by the volume control, but is affected by all other controls.” Good to know.
Another Gain control, located on the back, works with the Boost, and this is my favorite part. You can set the Boost to make you from 0dB to 9dB louder when you stomp on the switch. I tested it with my bass player and drummer at a recent gig and it just about made me giddy. When it was my turn to solo, stomp, “Wow!” We could all hear every note I played (fortunately, I was having a good night). You can boost a little or a lot, and a little is a lot more than you might think. Frankly, it’s darned impressive.
The pedal also includes effects send and return and a ground/lift. According to the user manual, “The transformer-coupled DI provides full isolation through the DI output when the switch is in the “lift” position to help defeat ground loops that can occur when more than one connection is made to the DI.” Handy.
My only quibble with the tuner is that it’s a little slow to respond and seems to lock up once in a while. This just isn’t okay when you’re trying to keep momentum going during a set. The tuner is really cool looking and brightly lit with big letters (which is a huge plus), and when you activate it the signal to the board is muted, which is a very smart feature. I wish it were quicker to respond, though, because the ease of use makes it a highly desirable function.
The Final Mojo
If you frequently plug into PA systems, this can be a tone-saving device that can give you the option to control your sound completely. The clean boost and feedback control are simply fantastic, and combined with the EQ, Gain and Volume controls, this could become essential gear for acoustic players everywhere. Those crafty elves at Baggs have done it again!
Buy if..
you like the ease of going direct to a PA system, but want more immediate and user-friendly control.
Skip if..
you use a high-end guitar amp as a DI/monitor, or you only want one of the things this pedal can do.
Rating..
Lr Baggs Para Acoustic Di Settings
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W W W . L R B A G G S . C O M
1 . P A C K A G E C O N T E N T S
One (1) Acoustic Timbre Preamp
One (1) faceplate
One (1) Prewired Strapjack Assembly
Two (2) self-stick wire clips
One (1) Ribbon Transducer
Four (4) black flathead screws
2 . O V E R V I E W A N D C A U T I O N S
The Acoustic Timbre preamp is designed for use with the L.R. Baggs Ribbon Transducer pickup only. We can not warranty the unit when it is used
with other pickups.
The installation of this system involves detailed woodworking; therefore we recommend that this system be installed by a professional
dealer/installer. We do not provide installation advice or support for home or hobbyist installations. A metal routing template designed
specifically for this product is available as a separate item. This template only outlines holes for the preamp controls and four mounting screws,
and is mostly recommended for users that intend to use this system without the metal faceplate (leaving the controls unlabeled and protruding
through small holes in the wood for a more discrete appearance).
Installers: please read the instructions carefully before proceeding, and be sure that this product will fit the guitar properly before
making any alterations to the instrument. We will not be responsible for any damage to the guitar or personal injury resulting from installation,
improper installation, use or misuse of the product.
3 . P R E A M P I N S T A L L A T I O N
1. Locate a suitable place on the side of the guitar for the control plate. The area on either side of the waist is usually a good choice. Before
committing to a location, be sure to inspect the inside of the guitar for any obstructions (braces, lining, etc.) that might interfere with the preamp.
The side should curve no more than 1/16” over 3” at the chosen location.
Note: There must be clearance inside the guitar to plug in the pickup cable after the unit is installed.
2. After deciding on the location for the control plate, hold it firmly against the side of the guitar and mark the center of each of the four holes in
the corners of the plate with a pointed object. Cover the drilling areas with masking tape and drill a 1/16” hole in each of these pilot holes.
3. If you will be using the faceplate, create a paper template for the cutting area that is roughly the same shape and size as the white rounded
rectangle on the faceplate beneath the L.R. Baggs logo. If you are uncomfortable cutting without a firm guide, create a paper template and use it
to cut a guide from plexiglas or another suitable material. Installers that prefer to not attach the faceplate should order a metal cutting template
for this product (available separately). To use this template, attach it firmly to the side of the guitar using the #4 x 1/2” sheet metal screws and
spacers (provided with the template).
4. Chuck a 1/8” cutter in a Dremel router (with base) so the shank, not the blade, of the cutter will contact to template when the router base is in
contact with the template in routing position.
5. Ease the router, making a plunge to full depth, into the center of each slot to avoid cutting the template. Then carefully remove all the wood
within the slots using the sides of the template slots as routing guides.
6. Remove the template and drill the four 1/16” holes out to a new size of 1/8”. Be careful here as these holes are near the outside of the plate and
mistakes will not be covered up by it. De-burr the inside and outside of the slots and holes with sandpaper or a file. Remove the masking tape
carefully.
7. We strongly recommend that cross-grain reinforcing braces be added to the inside of the guitar. Scrap spruce or mahogany of approximately
3/16” x 3/8” will do nicely. These should be glued on the inside of the guitar just above and below the preamp box and should extend across the
entire side from lining to lining.
8. Fit the control plate to the curvature (if any) of the side now. If there is a curve in the side, the plate may be bent to fit with the fabrication of a
simple jig. If the side has a 1/16” curve over 3”, cut a 3/8” curve in a piece of 2x3 scrap wood with a band saw. Use this jig, with a piece of paper
between the plate face and the jig, in a vise to bend the plate. Do not bend the plate freehand as this will cause uneven curvature. This step
requires some judgment because the plate is rather resilient and must be over-bent to set it to the right curvature. It is unlikely that your first
attempt will be perfect; modifying the jig is essential to perfecting this.
9. Prepare the guitar for the strapjack by drilling a clean 1/2” hole in the tailblock of the guitar using a step drill. It’s a good idea to mask off the
drilling area to avoid chipping the finish. Remove the strap ring from the end of the jack. There should still be a star washer and locking nut on
the middle of the jack. Put the strapjack into the pre-drilled 1/2” hole using the nut and star washer as a depth guide. The jack should stick out
enough to tighten the strap ring onto the threaded barrel of the jack. Once the depth is set and the barrel is in the hole, screw the strap ring onto
the barrel until the assembly is tight. Use caution when tightening the strap ring so you don’t crack the finish.