The AC-Driver is an acoustic instrument preamp designed for use on stage, with helpful features to streamline your performance and ensure the best possible tone from your instrument.
The AC-Driver allows you to obtain great sounding results in a short amount of time, with powerful easy-to-use controls that allow you to set your levels and reduce on-stage feedback. An adjustable low cut filter removes excessive low frequencies, while a 180° phase switch helps correct feedback build-up from hot spots on stage. A variable notch filter targets and removes specific problem frequencies, and a mute footswitch provides a way to silently tune on stage or change instruments without any popping or noise in the PA.
Send your acoustic signal to a stage amp and the PA simultaneously with a level control for both outputs. Remove excessive bass frequencies with the Low Cut filter control.
Sondcheck Test: Palmer Acoustic Pocket Preamp
Send a balanced signal directly to the PA or a powered speaker. Activate the mute switch for silent on-stage tuning or to change guitars without waiting for the FOH engineer to mute the channel.
Activate the 180° phase switch to remove hot spots on stage that can cause feedback to occur. If feedback is spiking at certain frequencies, engage the notch filter and slowly adjust the variable notch frequency knob until you eliminate the feedback.
Making a DI’d acoustic guitar sound great is SO difficult. The Radial AC-Driver has taken my acoustic guitar tone to a place I never thought possible.
The Optimal Amplifier For Acoustic Guitar
PZ-Pre Acoustic Preamp The PZ-Pre is a power-packed preamp that lets you switch between two acoustic instruments and feed the PA with a built-in Radial direct box. Piezo optimized for orchestral instruments.
PZ-Deluxe Acoustic Preamp The Radial PZ-Deluxe is a studio quality instrument preamp that jam-packs a full array of features into a compact pedal for live stage use.
PZ-DI Piezo Optimized DI The PZ-DI is a high-performance specialized active direct box designed to accommodate acoustic and orchestral instruments, with a selectable input impedance that can accommodate magnetic pickups or piezo transducers, and a variable low-cut filter.
White Cort Af 30 Acoustic Guitar Amplifier At Rs 14000/piece In Mumbai
JDV Dual-input Active Direct Box The Radial JDV is a class-A direct box with a unique zero negative-feedback circuit that delivers unmatched signal purity for the most demanding recordings.
If you’re frustrated with the sound of your acoustic pickups, you’re not alone. Though there are really only three main types of pickups used on acoustic guitar, they all excel... Read MoreGrâce à nos cookies, nous souhaitons vous proposer une expérience savoureuse sur notre site. Ceci implique par exemple de vous proposer des offres correspondant à vos envies et de sauvegarder vos paramètres. En cliquant sur C'est bon, vous confirmez être d'accord avec leur utilisation pour la sauvegarde de vos préférences et l'analyse statistique et marketing (afficher tout).
One of the inherent dangers in amplifying acoustic instruments is that of feedback. While some manufacturers have attempted physical remedies - thinner bodies and sound-hole covers for instance - these all have a detrimental effect on the sound of the instrument, and the main means of tackling the problem today are electronic.
Can Acoustic Guitars Be Plugged Into Amps?
Most feedback occurs at a specific frequency, typically a ‘howl’ at an identifiable pitch. Most electronic feedback solutions therefore involve some form of EQ to remedy the situation. The standard frequency bands of most equalisers, however, are far too wide to reduce feedback without seriously affecting basic sound quality – that’s what they’re for, after all.
While fixed or manually variable notch filters have their uses, most feedback is unpredictable, occurring at different frequencies depending on the instrument, venue and gain structure. Dedicated feedback elimination works by continually analysing the incoming signal, and then varying the frequency, width and gain reduction of the notch filter in order to eliminate any feedback detected. By this means, the filter frequency can usually be extremely narrow, with little other audible effect on the signal.
Some amps also feature a manually activated notch filter which can be set to reduce the known resonant frequency of your instrument, usually in the region of 120Hz.
Cort Af60 Acoustic Guitar Combo Amp
Another technique for dealing with feedback involves simply inverting the phase of the amplified signal. The reason this works is due to the very nature of feedback: the guitar resonates in response to sound from the speakers - if a certain frequency is highly resonant, it will be heavily present in the amplified signal, which will cause the guitar to resonate even more at that frequency, and so on in a vicious circle. When this happens, it happens very quickly – the effect increases with every cycle until limited by the maximum gain of the amplifier. Inverting the phase of the amplified signal means that any vibration of the guitar body at that frequency is ‘discouraged’ by the amplified signal, because at any given time it is pushing or pulling in the other direction. In the real world, the efficacy of this method depends on many factors including the distance and angle between the guitar and amp, but it remains an interesting technique and is featured on some acoustic amps.
Very low frequency feedback can be suppressed with a simple high-pass filter. This is usually set with a cut-off frequency of around 80Hz to eliminate any low frequency feedback, mains hum and guitar body noise below the guitar’s musical range (the guitar’s open low E string has a frequency of 82.4Hz).
JDV Dual-input Active Direct Box The Radial JDV is a class-A direct box with a unique zero negative-feedback circuit that delivers unmatched signal purity for the most demanding recordings.
If you’re frustrated with the sound of your acoustic pickups, you’re not alone. Though there are really only three main types of pickups used on acoustic guitar, they all excel... Read MoreGrâce à nos cookies, nous souhaitons vous proposer une expérience savoureuse sur notre site. Ceci implique par exemple de vous proposer des offres correspondant à vos envies et de sauvegarder vos paramètres. En cliquant sur C'est bon, vous confirmez être d'accord avec leur utilisation pour la sauvegarde de vos préférences et l'analyse statistique et marketing (afficher tout).
One of the inherent dangers in amplifying acoustic instruments is that of feedback. While some manufacturers have attempted physical remedies - thinner bodies and sound-hole covers for instance - these all have a detrimental effect on the sound of the instrument, and the main means of tackling the problem today are electronic.
Can Acoustic Guitars Be Plugged Into Amps?
Most feedback occurs at a specific frequency, typically a ‘howl’ at an identifiable pitch. Most electronic feedback solutions therefore involve some form of EQ to remedy the situation. The standard frequency bands of most equalisers, however, are far too wide to reduce feedback without seriously affecting basic sound quality – that’s what they’re for, after all.
While fixed or manually variable notch filters have their uses, most feedback is unpredictable, occurring at different frequencies depending on the instrument, venue and gain structure. Dedicated feedback elimination works by continually analysing the incoming signal, and then varying the frequency, width and gain reduction of the notch filter in order to eliminate any feedback detected. By this means, the filter frequency can usually be extremely narrow, with little other audible effect on the signal.
Some amps also feature a manually activated notch filter which can be set to reduce the known resonant frequency of your instrument, usually in the region of 120Hz.
Cort Af60 Acoustic Guitar Combo Amp
Another technique for dealing with feedback involves simply inverting the phase of the amplified signal. The reason this works is due to the very nature of feedback: the guitar resonates in response to sound from the speakers - if a certain frequency is highly resonant, it will be heavily present in the amplified signal, which will cause the guitar to resonate even more at that frequency, and so on in a vicious circle. When this happens, it happens very quickly – the effect increases with every cycle until limited by the maximum gain of the amplifier. Inverting the phase of the amplified signal means that any vibration of the guitar body at that frequency is ‘discouraged’ by the amplified signal, because at any given time it is pushing or pulling in the other direction. In the real world, the efficacy of this method depends on many factors including the distance and angle between the guitar and amp, but it remains an interesting technique and is featured on some acoustic amps.
Very low frequency feedback can be suppressed with a simple high-pass filter. This is usually set with a cut-off frequency of around 80Hz to eliminate any low frequency feedback, mains hum and guitar body noise below the guitar’s musical range (the guitar’s open low E string has a frequency of 82.4Hz).
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