User manual ROLAND AD-3

[. . . ] The manual should be saved and kept on hand as a convenient reference. Main Features Using "Acoustic modeling, " the unit converts the output from piezo pickups to the sound of a real acoustic guitar, as captured by a high-quality mic. COSM modeling recreates the important components of a variety of recording situations. Offered are six world-famous acoustic guitars along with a number of top-quality condenser mics. Now you can always obtain the best acoustic sound, whether performing live or recording in your home studio. [. . . ] When the effects are switched off, the volume remains at a fixed level (bypass or mute). STRING ENHANCE knob Allows you to bring out more of the pleasant overtones of the guitar strings. Especially effective with finger picking. POWER indicator This is lit while the power is on. * When the batteries run down, this indicator gets dim. If this happens, replace with new batteries. BODY knob BODY TYPE knob Select the setting that is closest to the straight, unaffected sound of the guitar you are using. This adjusts the sound the body puts out. The basic setting is with the knob at center position. Turning the knob to the right (clockwise) produces a bigger body sound; turn the knob to the left to achieve more of a piezo pickup tone quality. 10) Increasing the BODY setting also raises the output level. If the sound becomes distorted, lower the output volume level with the OUTPUT LEVEL knob. 9 Part Names and Functions BODY TYPE List The AD-3 includes six settings that model the beautiful resonance of these guitars as captured by ideally matched microphones. Guitar 1 2 3 4 5 6 * Martin D-28 Martin 000-28 Gibson J-45 Gibson B-25 GUILD D-40 Jose Ramirez Mic Neumann U87 Neumann U67 Neumann U67 Neumann U87 AKG C12 AKG C12 Description Combination of the exquisite and balanced sound of this early-model Martin through a Neumann U87, the standard in studio condenser mics. Combines the sound of this guitar, with its solid low- and midrange resonance and clear, distinct sound, with the U67 tube condenser mic. 19) 12 Part Names and Functions Rear Panel INPUT jack Connect the output from your acoustic guitar or effects processor here. PHONES jack You can connect headphones here to listen to the sounds. * Connect headphones only after turning on the power. Also be sure to disconnect the headphones before turning off the power. "Connections" (p. 6) * The AD-3 is switched on when a plug is connected to the INPUT jack. The power is turned off when the plug is disconnected from the jack. Be sure to disconnect any plug from this jack whenever the AD-3 is not in use. ELECTRIC GUITAR AMP OUTPUT jack This jack is used for connecting to electric guitar amps. "Connecting to Electric Guitar Amps" (p. 8) UNBALANCED OUTPUT A (MONO)/B jacks These jacks are used for connecting to acoustic guitar amps, multitrack recorders, and other such equipment. When using monaural signals, connect to the UNBALANCED OUTPUT A (MONO) jack. "Connecting to Acoustic Guitar Amps or Multitrack Recorders" (p. 7) Cord Hook Wrap the cable around this hook so that the AC adaptor cable is not pulled out accidentally "Connections" (p. 6). BALANCED OUTPUT A/B jacks Use these jacks to connect to a mixer. Security slot ( "Connecting to Mixers" (p. 6) ) http://www. kensington. com/ STEREO/MONO switch This switches between stereo output (STEREO) and monaural output (MONO). [. . . ] Sound is distorted Are the BODY, EQUALIZER, and OUTPUT LEVEL knobs at suitable settings?Increasing the BODY, EQUALIZER (BASS, MIDDLE GAIN, TREBLE, PRESENCE), and OUTPUT LEVEL knob settings also raises the volume level. In such instances, turn the OUTPUT LEVEL knob to the left (counterclockwise) to reduce the output level. If distortion remains even after lowering the output level with the OUTPUT LEVEL knob Lower the output level of your guitar, effects processor, or other such gear. When playing through a guitar amp, the sound as heard through headphones is almost completely different Is the guitar connected to the ELECTRIC GUITAR AMP OUTPUT jack? [. . . ]