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OWNER’S MANUAL
ACOUSTIC
®
BLENDER
ACOUSTIC INSTRUMENT PREAMP
ACOUSTIC
BASS
®
BLENDER
ACOUSTIC BASS PREAMP
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ACOUSTIC BLENDER SYSTEM
INTRODUCTION: THE BLENDER SYSTEM
Thank you for your purchase of a FISHMAN product. Please read these instructions carefully. If you have any questions or problems, please feel free to call our
PRODUCT INFORMATION LINE at 978-988-9665.
The Acoustic BLENDER is a dedicated 2 channel preamp that addresses the
specific needs of acoustic stringed instrument players. The BLENDER System
combines the sounds from a pickup and instrument-mounted mini-microphone.
There are three basic components to the BLENDER System:
1) MICROPHONE and PICKUP:
A microphone alone is capable of capturing the natural ambience and resonance
of an acoustic stringed instrument. A single piezo pickup delivers a clear, balanced, high output signal with low feedback. Combining the two sounds results
in tone quality and projection in which the sum is greater than the parts. Before
the BLENDER System, there was no simple and practical means to combine a
microphone and pickup for the performing acoustic musician.
With pickup and microphone wired to Tip and Ring respectively, and your instrument connected by a stereo instrument cable to the BLENDER’s STEREO IN
jack, the pickup is controlled by the TRANSDUCER channel, and the microphone
is controlled by the MICROPHONE channel.
(See pages 12-13 for more information on Suggested Input Options.)
By consolidating the two signals plus phantom power, you save both setup time
and aggravation. The stereo instrument cable provides a simple solution to the
hassle of multiple cable runs and outboard phantom power supplies.
MINI-MICROPHONE MOUNTED ON
X-BRACE NEAR SOUNDHOLE
UNDER-SADDLE PIEZO TRANSDUCER
The mini-microphone is conveniently positioned on the instrument with a microphone mount specifically designed for the application. This allows you the
unique opportunity of having a permanent microphone setup, precisely at the
instrument’s "sweet spot". The advantages of this are clear - especially to anyone who has ever had to set up a microphone without a sound check - five minutes before the gig! With the BLENDER System, you can now arrive at the gig,
take your mic’ed instrument out of its case, plug in and play with complete freedom of movement.
2) STEREO INSTRUMENT CABLE:
The microphone and pickup signals are fed into a stereo jack (also called TRS or
Tip / Ring / Sleeve) that is mounted on the instrument. The two signals are then
routed through a stereo instrument cable (again,TRS) to the STEREO IN jack of
the BLENDER. The BLENDER provides low voltage Phantom Power to the minimicrophone through the same cable.
3) The BLENDER: The BLENDER is the brain of the System. The signals from
the instrument are sent to the MICROPHONE and TRANSDUCER channels.
Each channel is optimized for the particular input impedance, level, phase and
equalization needs of both microphone and pickup. The two signals are then
"blended" together and a composite signal can be sent to amplification, recording, signal processing and/or broadcast gear.
NOTE: If your instrument has an onboard battery, and you want to route microphone and pickup signals through a stereo instrument cable, you may need to
install a Fishman SMART SWITCH for the system to operate. (See Page 22)
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ACOUSTIC BLENDER SYSTEM
PREPARING YOUR INSTRUMENT
Before you begin using your Blender, you will need to have a pickup and microphone in place on your instrument.
Here are four common scenarios:
PICKUP WITH POWERJACK
PASSIVE PICKUP
AND MICROPHONE:
If your instrument has a passive piezo
pickup, it’s easy to connect it and a
microphone to the same stereo endpin
jack. Connect the pickup to tip, and the
microphone to ring.
AND MICROPHONE:
If your instrument has a piezo or magnetic
pickup and a Fishman Powerjack, connect
a microphone to the ring by soldering it to
the appropriate terminal on the Powerjack
circuit board.
ACTIVE PICKUP AND MICROPHONE:
If your instrument has an active piezo pickup
- such as the Fishman Acoustic Matrix - you
will need a Fishman Smart Switch to connect
a microphone to the stereo endpin jack for
the system to operate. (See Page 22.)
PICKUP AND MICROPHONE
WITH SEPARATE MONO INSTRUMENT CABLES:
You may choose to route the pickup and microphone through
two separate mono instrument cables.
WARNING: INSTALLATION BY A QUALIFIED PROFESSIONAL REPAIRMAN IS STRONGLY RECOMMENDED. FISHMAN TRANSDUCERS WILL NOT BE RESPONSIBLE FOR ANY DAMAGES TO
YOUR INSTRUMENT DUE TO IMPROPER INSTALLATION.
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ACOUSTIC BLENDER SYSTEM
CONTENTS
QUICK START .......................................................4
FEATURES............................................................5
POWER
INPUT JACKS .......................................................6
FRONT PANEL - MICROPHONE CHANNEL ......................7
FRONT PANEL - TRANSDUCER CHANNEL......................9
FRONT PANEL - MASTER SECTION .............................10
REAR PANEL ......................................................11
SUGGESTED INPUT OPTIONS ............................12
SUGGESTED OUTPUT OPTIONS.........................14
EFFECTS LOOPS ................................................16
QUICK START
You don't have to read this manual to get up and running, although we recommend that you do in order to get the most out of your BLENDER.
Here's what you need to do if you want to "plug in and play".
COMPONENTS
1) ACOUSTIC BLENDER
2) 9 Volt Alkaline Battery
3) Pickup and mini-electret condenser Microphone connected to a
Stereo Jack
4) Stereo Instrument Cable (TRS = Tip / Ring / Sleeve)
5) XLR or 1/4" Mono Instrument Cable
1) Lift the battery compartment lid on top of the BLENDER and install a fresh
9 Volt alkaline battery. Replace the lid.
2) With the stereo cable, connect the instrument to the STEREO IN jack
on the BLENDER front panel.
3) Set all front panel switches to the OUT position. Set both Gain controls
fully counter-clockwise. Set the Output Level to 3:00. Set Bass and Treble
controls to 12:00.
4) Run a cable from one of the MIX outputs on the back of the BLENDER
to your amp or PA system.
5) With the BLENDER Output level at 3:00, adjust both the MICROPHONE
and TRANSDUCER Gain controls to approximately the same volume level.
(TRS = Tip / Ring / Sleeve) See Page 3
PROCEDURE
TROUBLESHOOTING ..........................................17
OPTIONAL ACCESSORIES
SPECIFICATIONS
BLOCK DIAGRAM...............................................18
APPENDIX I: THE MICROPHONE ........................19
APPENDIX II: PHASE..........................................21
APPENDIX III: SMART SWITCH ..........................22
LIMITED WARRANTY ..........................................24
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BATTERY OPERATION
Make note of the following precautions when using the BLENDER under battery power.
The BLENDER has no ON/OFF switch. Under battery power, the BLENDER
is turned on only when the STEREO IN jack is plugged in.
Power is always on when using an AC Adapter
1) To avoid excessive battery drain:
a. Unplug the STEREO IN jack when the the unit is not being used.
b. When using the BLENDER without
sure the Phantom Power is OFF (switch is pushed IN).
Battery life is an estimated 15 hours continuous use.
2) To avoid hazardous TURN ON/OFF TRANSIENTS:
a. Always plug into the STEREO IN jack before turning on your amplifier
or PA System.
b. Always unplug the STEREO IN jack after turning off amplifier
or PA System.
3) Under battery power, the AUX / MIC IN jack will work only when the
STEREO IN jack is plugged in.
(See Page 11).
a mini-electret microphone, be
(See Page 12 #3)
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ACOUSTIC BLENDER SYSTEM
FRONT PANEL
REAR PANEL
FRONT PANEL
1) BATTERY COMPARTMENT: ( See Page 6 )
2) MICROPHONE GAIN: ( See Page 7 )
3) MICROPHONE BASS CONTROL: ( See Page 7 )
4) MICROPHONE TREBLE CONTROL: ( See Page 7 )
5) PHANTOM POWER OFF SWITCH: ( See Page 7 )
6) BASS CUT SWITCH: ( See Page 7 )
7) MICROPHONE PHASE SWITCH: ( See Page 8 )
8) MICROPHONE TRIM CONTROL: ( See Page 8 )
9) AUX / MIC IN: ( See Page 6 )
10) STEREO IN: ( See Page 6 )
11) TRANSDUCER GAIN CONTROL: ( See Page 9 )
12) TRANSDUCER BASS CONTROL: ( See Page 9 )
13) TRANSDUCER TREBLE CONTROL: ( See Page 9 )
14) TRANSDUCER TRIM CONTROL: ( See Page 9 )
15) TRANSDUCER PHASE SWITCH: ( See Page 9 )
16) BATTERY LOW LED: ( See Page 10 )
17) HEADPHONES OUTPUT: ( See Page 10 )
18) MUTE SWITCH: ( See Page 10 )
19) OUTPUT LEVEL CONTROL: ( See Page 10 )
FEATURES
REAR PANEL ( See Page 11 )
20) AC ADAPTER INPUT
21) 1/4" MIX OUTPUT
22) XLR MIX OUTPUT
23) RECESSED GROUND LIFT
24) XLR TRANSDUCER OUTPUT
25) 1/4" TRANSDUCER OUTPUT
26) MIX EFFECTS LOOP
27) TRANSDUCER EFFECTS LOOP
28) MICROPHONE EFFECTS LOOP
29) 1/4" MICROPHONE OUTPUT
30) XLR MICROPHONE OUTPUT
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ACOUSTIC BLENDER SYSTEM
BATTERY POWER
Make note of the following precautions when using the BLENDER under battery power.
The BLENDER has no ON/OFF switch. Under battery power, the BLENDER is turned on only when the
STEREO IN jack is plugged in.
Power is always on when using an AC Adapter (See Page 11).
1) To avoid excessive battery drain (Battery life is an estimated 15 hours continuous use):
a. Unplug the STEREO IN jack when the the unit is not being used.
b. When using the BLENDER without a mini-electret microphone, be sure the Phantom Power is OFF
(switch is pushed IN).
2) To avoid hazardous TURN ON/OFF TRANSIENTS:
a. Always plug into the STEREO IN jack before
b. Always unplug the STEREO IN jack after
3) Under battery power, the AUX / MIC IN jack will work only when the STEREO IN jack is plugged in.
turning on your amplifier or PA System.
turning off amplifier or PA System.
(See Page 12 # 3)
BATTERY COMPARTMENT
To replace the battery (See Page 10) lift the battery compartment lid on the top of the BLENDER
and install a 9 Volt alkaline battery.
INPUT JACKS
STEREO IN
The STEREO IN jack is a TRS (Tip / Ring Sleeve) input that can accept two discrete signals through
a stereo instrument cable.
The STEREO IN jack can function in two modes:
1) MICROPHONE and TRANSDUCER CHANNELS OPERATION (Stereo Cable): Two signals from your instrument
(For example: Internal microphone and pickup) are routed through a stereo instrument cable to the STEREO IN jack.
The Ring signal goes to the MICROPHONE channel and the Tip signal goes to the TRANSDUCER channel.
2) TRANSDUCER CHANNEL ONLY OPERATION (Mono Cable): One signal from your instrument is routed through
a mono instrument cable to the STEREO IN jack. This signal goes to the TRANSDUCER channel.
AUX / MIC IN
Accepts a mono signal from a microphone or pickup. This signal is controlled by the the MICROPHONE channel.
The AUX / MIC IN jack can provide 4.5 Volt Phantom Power to a mini-condenser microphone.
This input can accept either magnetic or piezo pickups. Piezo signals will have a slight roll off at lower frequencies.
The AUX / MIC IN jack is an alternative to the Ring terminal of the STEREO IN jack.
Sometimes, using a stereo instrument cable for both of your signals is not practical. The AUX / MIC IN jack allows
you the option of sending two signals through separate mono instrument cables to both the AUX / MIC IN jack and
the STEREO IN jack.
AUX/MIC IN OVERRIDE: If you are sending two signals through the STEREO IN jack and you plug a third signal
into the AUX/MIC IN, the signal appearing at the RING of the STEREO IN jack will be replaced (overridden) by
the signal appearing at the AUX / MIC IN jack.
(See page 13 - #6)
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ACOUSTIC BLENDER SYSTEM
FRONT
PANEL
MICROPHONE
CHANNEL
GAIN CONTROL
Controls the volume of the MICROPHONE Channel.
BASS and TREBLE CONTROLS
Controls the Bass and Treble for the MICROPHONE Channel.
These are boost / cut shelving tone controls. Setting them at 12:00 yields a flat response.
PHANTOM POWER OFF SWITCH
Pushing this switch IN shuts OFF the Phantom Power - for applications that use a dynamic microphone or pickup.
The OUT position provides 4.5 Volt Phantom Power to the Ring of the STEREO IN jack
OR the Tip of the AUX / MIC IN jack.
BASS CUT SWITCH
Pushing this switch IN rolls off bass frequencies from the MICROPHONE Channel.
This can be helpful in eliminating excessive boominess; especially in larger-bodied instruments.
In an amplified band situation, the Bass Cut may minimize microphone leakage from a bass guitar or a kick drum.
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ACOUSTIC BLENDER SYSTEM
PHASE SWITCHES
Compensate for Phase differences that often occur between instrument, microphone, pickup and speaker.
HOW TO USE THE BLENDER’S PHASE SWITCHES
1. GET THE MICROPHONE PHASE ALIGNED WITH THE SOUND SYSTEM
Determine your position on stage.
Adjust the BLENDER output Level to 3:00 and the Transducer Channel Gain fully counter-clockwise.
Adjust the MICROPHONE Channel Gain to just below the threshold of feedback. Play a sustained note or chord on
your instrument while flipping the MICROPHONE Channel Phase switch. Listen to and compare each position.
Find the Phase switch position that yields the least low frequency (instrument cavity resonance) feedback.
If you decide to move more than a few feet from your playing position, you may need to repeat this test.
2. GET THE PICKUP IN PHASE WITH THE MICROPHONE
Having done part one of this test, raise the level of the TRANSDUCER Channel Gain control to suit your taste.
Play a sustained note or chord on your instrument while flipping the TRANSDUCER Channel Phase switch.
Listen to and compare each position. When the pickup and microphone are in Phase, the sound is full with lots
of deep bass. When out of Phase, the sound is thin with less bottom end.
(See Page 21)
3. MAKE NOTE OF THE RELATIVE POSITION OF BOTH PHASE SWITCHES
Once you have the BLENDER Phase aligned, note and memorize the relative position of both Phase switches.
They will be either in the same position, or one in and one out.
When you set up in a different venue, the Phase of the house sound system and room acoustics can contribute to
different Phase relationships compared to your previous gig. You will also find that the Phase issue depends a lot on
the exact performance setting; it tends to be a bigger problem in small rooms and less of a problem in large outdoor
setups.
To determine if there is a Phase difference at a new venue, play a sustained note or chord and invert both Phase
switches at once. Listen to and compare each position. The proper Phase switch position yields the least low frequency (instrument cavity resonance) feedback.
See Page 21 for more information on Phase.
TRIM CONTROL
Sets the MICROPHONE Channel sensitivity for optimum signal strength before clipping.
To attain the best signal to noise ratio, start with the control fully clockwise and play your loudest note or chord.
If you hear distortion, lower the control with a small slotted screwdriver until the distortion disappears.
The Trim control can also be used to calibrate the MICROPHONE and TRANSDUCER Gain controls. If there is a
disparity between the signal strength of the two channels, use the Trim control to "normalize" the levels.
Try setting the Trim controls this way:
1) Set the Output Level to 3:00.
2) Set the MICROPHONE and TRANSDUCER Channel levels to 12:00.
3) Play a note or chord on you instrument and lower the MICROPHONE or TRANSDUCER Trim control
until both levels are equal, or are balanced to suit your taste.
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ACOUSTIC BLENDER SYSTEM
FRONT
PANEL
TRANSDUCER
CHANNEL
GAIN CONTROL
Controls the volume of the TRANSDUCER Channel.
BASS and TREBLE CONTROLS
Controls the Bass and Treble for the TRANSDUCER Channel.
These are boost / cut shelving tone controls. Setting them at 12:00 yields a flat response.
TRIM CONTROL
Sets the TRANSDUCER Channel sensitivity for optimum signal strength before clipping.
To attain the best signal to noise ratio, start with the control fully clockwise and play your loudest note or chord.
If you hear distortion, lower the control with a small slotted screwdriver until the distortion disappears.
The Trim control can also be used to calibrate the MICROPHONE and TRANSDUCER Gain controls.
If there is a disparity between the signal strength of the two channels, use the Trim control to "normalize" the levels.
Try setting the Trim controls this way:
1) Set the Output Level to 3:00.
2) Set the MICROPHONE and TRANSDUCER Channel levels to 12:00.
3) Play a note or chord on you instrument and lower the MICROPHONE or TRANSDUCER Trim control
until both levels are equal, or are balanced to suit your taste.
PHASE SWITCHES
Compensate for Phase differences that often occur between instrument, microphone, pickup and speaker.
Refer to Page 8 for more information on How to use the BLENDER’s Phase Switches.
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ACOUSTIC BLENDER SYSTEM
FRONT
PANEL
MASTER
SECTION
BATTERY LOW SWITCH / INDICATOR
With the STEREO IN jack plugged in, push this switch IN to check your battery.
If the LED lights up when you push the switch in, you should replace your battery.
HEADPHONES OUTPUT
This sends a line-level mixed signal to 32
This is the BLENDER’s only line level output.
This output will send a mono
but a composite of the MICROPHONE and TRANSDUCER Channels appearing in both the left and right channels
of your headphones.
The signal produced is powerful enough to drive many power amps. To drive a power amp, split the signal
with a Stereo Y Cable (available from Fishman). Send either (or both) of the mono outputs to your
power amp input(s).
DO NOT insert a mono plug into the Phones jack. It will short out the headphone amplifier circuit.
mixed signal to a pair of headphones. The signal is not a stereo image,
Ω
headphones or a power amp input.
MUTE SWITCH
Shuts off all signals to the main outputs of the BLENDER and allows you to disconnect your cable from the
BLENDER or from your instrument silently.
It does not
Effects Send and tune your instrument in silence with the Mute switch in.
DURING BATTERY OPERATION:
Under battery power, the Mute switch does NOT silence the harmful turn on/off transients that occur when
plugging in and unplugging the STEREO IN jack.
NOTE: The Mute switch does not normally affect the Phones jack. Should you want to have the Mute affect the
Phones jack, the BLENDER can be modified by Fishman or by a qualified technician.
affect the Phones jack or the Effects Sends. You may connect an electronic tuner to the TRANSDUCER
• Always plug into the STEREO IN jack before
• Always unplug the STEREO IN jack after turning off your amplifier or PA System.
• When changing instruments, always unplug the cable at the instrument’s output jack,
not at the BLENDER’s STEREO IN jack.
turning on your amplifier or PA System.
OUTPUT LEVEL
Controls the overall volume of the TRANSDUCER, MICROPHONE and MIX outputs as well as the MIX Effects Send.
This does not affect the MICROPHONE or TRANSDUCER Effects Sends.
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ACOUSTIC BLENDER SYSTEM
AC ADAPTER INPUT
USE ONLY the FISHMAN Model 910-R or the ROLAND PSA Series Regulated AC Adapters.
The BLENDER is turned on at all times when using the AC adapter. Use of the AC adapter will prevent any battery drain.
WARNING: DO NOT daisy-chain your AC adapter in parallel with other devices. The BLENDER will malfunction in
this manner.
MIX OUTPUTS
The 1/4” MIX output provides an unbalanced, instrument-level signal of the two channels combined.
It is primarily used as a send to an instrument amplifier.
The XLR MIX output provides a balanced, instrument-level signal from the two channels combined.
It is primarily used as a send to a PA System or Recording Console.
REAR
PANEL
RECESSED GROUND LIFT SWITCH
Used to eliminate hum that may occur when connecting the BLENDER to the XLR input of other devices.
Use a small screwdriver to push in the switch.
TRANSDUCER OUTPUTS
The XLR TRANSDUCER output provides a balanced instrument-level signal from the TRANSDUCER Channel only.
The 1/4” TRANSDUCER Output provides an unbalanced instrument-level signal from the TRANSDUCER Channel only.
EFFECTS LOOPS
The MIX EFFECTS LOOP allows you to interface blended MICROPHONE and TRANSDUCER Channel signals with
outboard signal processors and effects such as equalizers, compressors, volume pedals, and reverb units. The MIX
Send is affected by all Front Panel controls except the Mute switch. The MIX Return is affected only by the Mute switch.
The TRANSDUCER EFFECTS LOOP allows you to interface the TRANSDUCER Channel signal with outboard effects
and signal processors. The TRANSDUCER Send is affected by the Bass, Treble and Trim controls. It is excellent for
use with electronic tuners. The TRANSDUCER Return is affected by the TRANSDUCER Channel Gain, Phase,
Output Level, and the Mute switch.
The MICROPHONE EFFECTS LOOP allows you to interface the MICROPHONE Channel signal with outboard effects
and signal processors. The MICROPHONE Send is affected by the Bass, Treble and Trim controls and the Bass Cut
switch. The MICROPHONE Return is affected by the MICROPHONE Channel Gain, Phase, Output Level, and the
Mute switch.
MICROPHONE OUTPUTS
The 1/4” MICROPHONE output provides an unbalanced instrument-level signal from the MICROPHONE Channel only.
The XLR MICROPHONE output provides a balanced instrument-level signal from the MICROPHONE Channel only.
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ACOUSTIC BLENDER SYSTEM
SUGGESTED INPUT OPTIONS
1) INTERNAL MICROPHONE AND PICKUP
Pickup goes to Tip, microphone goes to Ring.
Pickup and microphone signals are sent through a stereo
instrument cable to the STEREO IN jack.
Pickup signal is controlled by TRANSDUCER Channel.
Microphone signal is controlled by MICROPHONE Channel.
The Phantom Power should be turned ON (switch pushed OUT).
NOTE: If your instrument has an onboard battery, and you want to route microphone
and pickup signals through a stereo instrument cable, you may need to install a
Fishman SMART SWITCH for the system to operate. (See Page 22)
2) PICKUP ALONE
Single pickup is sent through a mono instrument cable to the
STEREO IN jack.
The signal is controlled by the TRANSDUCER Channel.
Under battery power, turn the Phantom Power OFF (switch pushed IN)
to save battery life.
3) MINI-MIC ALONE
Microphone signal is sent through a mono instrument cable to the
AUX / MIC IN jack.
The signal is controlled by the MICROPHONE Channel.
The Phantom Power is ON (switch is OUT).
NOTE: Under battery power, the STEREO IN jack must be plugged in
to turn on the BLENDER.
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ACOUSTIC BLENDER SYSTEM
4) PIEZO AND MAGNETIC PICKUP
A) Signal from piezo pickup is sent through a
mono instrument cable to the STEREO IN jack.
This signal is controlled by the TRANSDUCER
Channel.
B) Signal from magnetic pickup is sent through a mono
instrument cable to the AUX / MIC IN jack. This signal
is controlled by the MICROPHONE Channel.
Phantom Power must be turned OFF ( switch pushed IN ).
NOTE: Both signals may be routed through a stereo instrument
cable. (See example #1)
5) UNDER-THE-SADDLE PICKUP
AND SURFACE-MOUNT PIEZO
PICKUPS
A) Signals from both pickups are sent through a
stereo instrument cable to the STEREO IN
jack.
B) Under-saddle pickup signal (Tip) is sent to the
TRANSDUCER Channel.
C) Surface-mount pickup signal (Ring) is sent to the
MICROPHONE Channel.
Phantom Power must be turned OFF (switch pushed IN).
NOTE: Both signals may be routed through two mono instrument
cables.
NOTE: If your instrument has an onboard battery, and you want to route
both pickup signals through a stereo instrument cable, you may need to
install a Fishman SMART SWITCH for the system to operate.
(See Page 22)
6) PICKUP AND DYNAMIC MIC
A) Signal from pickup is sent through mono
instrument cable to the STEREO IN jack.
B) Signal from dynamic mic (possibly for vocals)
is sent through a mono instrument cable to the
AUX / MIC IN jack.
Phantom Power must be turned OFF (switch pushed IN).
NOTE: Any signal appearing at the Ring of the
STEREO IN jack (such as a mini-mic) will be
overridden by a signal appearing at the AUX / MIC
IN jack.
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ACOUSTIC BLENDER SYSTEM
SUGGESTED OUTPUT OPTIONS
1) 1/4" MIX OUTPUT JACK
CONNECTED TO INSTRUMENT AMPLIFIER
Connect the 1/4” MIX output to the input of your instrument
amplifier.
The amp will see a blended signal - both microphone and pickup.
2) XLR MIX OUTPUT JACK
CONNECTED TO PA SYSTEM
Connect the XLR MIX output to the input of your PA System.
The PA will see a blended signal - both microphone and pickup.
This is a great way to control exactly what the soundman
has to work with and what the audience will hear.
3) XLR MIX AND TRANSDUCER OUTPUTS
CONNECTED TO PA ...
TRANSDUCER SENT TO STAGE MONITORS
Connect the XLR MIX output to the input of your PA System.
The Mains will see a blended signal - both microphone and pickup.
Send only the transducer signal to the stage monitors.
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Having the transducer signal on stage without the microphone
signal can help control feedback.
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ACOUSTIC BLENDER SYSTEM
4) USING MULTIPLE OUTPUTS
All of the Acoustic BLENDER’s outputs
can be used simultaneously.
This offers virtually any combination of
signal routing and interfacing options to
accommodate a wide variety of performance and recording situations.
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ACOUSTIC BLENDER SYSTEM
EFFECTS LOOPS
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EFFECTS LOOPS
The BLENDER has three Effects Loops; one each for the MICROPHONE,
TRANSDUCER and MIXED signals.
The Sends can be used as additional outputs and the Returns can be used
as alternate inputs.
The TRANSDUCER EFFECTS Send provides a perfect output signal
for electronic tuners.
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ACOUSTIC BLENDER SYSTEM
TROUBLE SHOOTING GUIDE
SYMPTOM TYPICAL CAUSE SOLUTION
AUX / MIC IN JACK ONLY WITH BATTERY POWER
NO SIGNAL WHEN USING
DISTORTED OR NO MIC SIGNAL
WITH ACTIVE PICKUP
(BATTERY ON INSTRUMENT)
BY THE INSTRUMENT’S ONBOARD PREAMP
NO SIGNAL
WITH BATTERY POWER
NO SIGNAL
WITH AC POWER
MICROPHONE CHANNEL DEAD
WITH MINI-MIC
CONNECTED TO STEREO IN JACK
MIC IS DEAD AND PICKUP APPEARS
IN MICROPHONE CHANNEL
STEREO IN JACK MUST BE PLUGGED IN FOR POWER
TO BE ON WHEN USING BATTERY POWER
MIC IS GROUNDED-OUT
INSERT A 1/4” PLUG OR UNUSED
INSTRUMENT CABLE INTO THE STEREO IN JACK
INSTALL A FISHMAN SMART SWITCH
OR USE SEPARATE CABLES
FOR MIC AND PICKUP
MUTE SWITCH IN
LOOSE BATTERY COMPARTMENT TERMINALS
DEVICE APPEARING AT MIX EFFECTS RETURN
IS BREAKING THE SIGNAL PATH
AC ADAPTER IS DAISY-CHAINED TO OTHER DEVICES
MUTE SWITCH IN
DEVICE APPEARING AT MIX EFFECTS RETURN IS
BREAKING THE SIGNAL PATH
PHANTOM POWER IS OFF ( SWITCH IS IN ) TURN PHANTOM POWER ON ( SWITCH IS OUT )
WHEN SENDING MIC SIGNAL THROUGH STEREO IN
JACK, ANY SIGNAL CONNECTED TO THE AUX / MIC IN
JACK OVERRIDES THE MIC
DEVICE APPEARING AT THE MIC EFFECTS RETURN IS
BREAKING THE SIGNAL PATH
MIC AND PICKUP ARE WIRED TO STEREO OUTPUT
JACK BACKWARDS
( MIC TO TIP AND PICKUP TO RING )
SET MUTE SWITCH TO OUT POSITION
REMOVE BATTERY AND RE-TENSION TERMINALS BY
PULLING THEM UP WITH YOUR FINGER
REMOVE PLUG FROM EFFECTS RETURN
REMOVE OTHER DEVICES
FROM BLENDER’s POWER SUPPLY
SET MUTE SWITCH TO OUT POSITION
REMOVE PLUG FROM EFFECTS RETURN
DISCONNECT SIGNAL FROM AUX / MIC IN JACK
REMOVE PLUG FROM MIC EFFECTS RETURN
WIRE PICKUP TO TIP AND MIC TO RING OF STEREO
OUTPUT JACK
PIEZO / MAGNETIC PICKUP OR DYNAMIC
MIC DEAD OR LOW LEVEL IN MIC CHANNEL
NOISE OR DISTORTION
FROM EITHER CHANNEL
MECHANICAL NOISE FROM INSTRUMENT CABLE TIGHTEN ALL PLUG HARDWARE
DISTORTION FROM EXTREMELY
‘HOT’ SIGNALS SUCH AS EXTERNAL PICKUP
INPUT CLIPS WITH TRIM CONTROL ALL THE WAY DOWN
USE OF AN UNREGULATED POWER SUPPLY WILL
CAUSE THE BLENDER TO HUM UNDER AC POWER
HUM
PIEZO HIGH FREQUENCY LOSS
PHANTOM POWER IS ON
( SWITCH IS OUT )
LOW BATTERY
TRIM CONTROL(S) SET TOO HIGH
MECHANICAL NOISE FROM INSTRUMENT
POORLY SHIELDED OR UNSHIELDED CABLE
INSTRUMENT CABLE IS TOO LONG
TURN OFF PHANTOM POWER
( SWITCH IS IN )
PLUG INTO STEREO IN JACK AND PUSH IN BATTERY LOW
SWITCH; IF LED LIGHTS UP REPLACE BATTERY
LOWER TRIM CONTROL(S)
UNTIL DISTORTION DISAPPEARS
LISTEN TO INSTRUMENT ACOUSTICALLY
TO ISOLATE NOISE
CONSULT FISHMAN
TECH SUPPORT LINE AT 978-988-9665
USE ONLY FISHMAN 910-R
OR ROLAND PSA SERIES AC ADAPTERS
USE ONLY QUALITY FULLY SHIELDED
INSTRUMENT CABLES
USE ONLY 15’ OR SHORTER INSTRUMENT CABLES
WITH PASSIVE PICKUP
17
Page 18
ACOUSTIC BLENDER SYSTEM
TRANSDUCER
INPUT
STAGE
BASS &
TREBLE
CONTROLS
BUFFER
BUFFER
PHASE
PHASE
OUTPUT
LEVEL
TRANSDUCER
GAIN
MICROPHONE
GAIN
BASS &
TREBLE
CONTROLS
TRIM
TRANSDUCER
EFFECTS
SEND
MICROPHONE
EFFECTS
SEND
MIX
EFFECTS
SEND
TRANSDUCER
EFFECTS
RETURN
MICROPHONE
EFFECTS
RETURN
MIX
EFFECTS
RETURN
TRIM
4.5 V
PHANTOM
POWER
1/4"
STEREO
INPUT
1/4"
AUX /MIC
INPUT
MICROPHONE
INPUT
STAGE
HEADPHONE
AMP
HEADPHONE
1/4" OUTPUT
JACK
MUTE
MIX
MUTE
MUTE
1/4"
TRANSDUCER
OUTPUT
1/4"
MICROPHONE
OUTPUT
GROUND
LIFT
MICROPHONE
BALANCED
OUTPUT
MIX
BALANCED
OUTPUT
1/4"
MIX
OUTPUT
GROUND
LIFT
GROUND
LIFT
TRANSDUCER
BALANCED
OUTPUT
BUFFER
OPTIONAL ACCESSORIES SPECIFICATIONS
• A/C ADAPTER: FISHMAN 910-R regulated 9V power supply.
• CROWN GLM-200 MINI-MIC: Ships without jack; ready to be wired to the jack of your
choice. Soldering and assembly required.
• UNIVERSAL MIC MOUNT: Allows you to mount a mini-mic to your instrument.
• INTERNAL MIC MOUNT: Allows you to mount a mini-mic to the X-brace of your guitar.
• GUITAR MIC ASSEMBLY: Mounts to the X-brace of your guitar. Includes a mini-mic,
internal mic mount and stereo endpin jack. Soldering and assembly required.
• BASS MIC ASSEMBLY: Mounts to the bridge foot of an acoustic bass.
Includes pre-wired mini-mic, mic mount and a stereo bass jack.
• STEREO ENDPIN JACK
• STEREO BASS JACK: Mounts on the A and D strings between bridge and tailpiece.
• TRANSDUCERS: We make a full line of quality transducers for many types of acoustic
stringed instruments.
• BP-100-M: Bass pickup and mini-mic pre-wired to stereo bass jack.
• V-200-M: Violin pickup and mini-mic pre-wired to a Carpenter-style output jack.
• UNIVERSAL RACK TRAY: Allows you to mount the BLENDER in a 19” rack.
• MIC STAND ADAPTER: Allows you to mount the BLENDER on any microphone stand.
• 15” STEREO CABLE
• PADDED CARRY BAG
• STEREO Y CABLE: 1/4” stereo male to (2) 1/4” mono female.
• SMART SWITCH: If your instrument has an onboard battery, and you want to route
microphone and pickup signals through a stereo instrument cable, you may need to
install a Fishman SMART SWITCH for the system to operate. (See Page 22)
Nominal Input Level: -20 dBV
Input Overload: (20 Hz - 20 kHz) -14dBV
Input Stage Impedance:
Transducer: 10 Megohms
Microphone without Phantom Power: 1.0 Megohms
Microphone with Phantom Power: 2.2 kilohms
Phantom Power: 4.5 Volts, 2 mA
Output Type: Electronically Balanced
XLR and unbalanced 1/4"
Output Impedance: 220 Ohms
Nominal Output Level: -11 dBV
Output Overload: 8 dBV
Effects Loop Nominal Levels:
Transducer Channel: -3.5 dBV
Microphone Channel: 0 dBV
Effects Loop Send Impedance: 1 kilohm
Return Impedance: 47 kilohms
Headphone Output Power: 125mW @ 1% THD
(32 ohm headphones)
Bass Control Range: ± 8 dB Shelving
Treble Control Range: ± 13 dB Shelving
Front Panel Trim Gain Range: 10 dB
Overall THD: .2 % at 1 kHz, - 14 dBV input
Signal to Noise Ratio: 81 dB (A-weighted,
referred to nominal -20 dBV input)
Dual Power Supply: 9V regulated, or single
9V alkaline battery (estimated 15
hours continuous use)
Current Draw: 30 m Amps
Dimensions: 8.5” X 1.75” X 7”
Weight: 2 lbs 3 oz
All specifications subject to change without notice
18
BLOCK DIAGRAM
Page 19
ACOUSTIC BLENDER SYSTEM
APPENDIX I: THE MICROPHONE
A variety of microphones can be used with the Acoustic BLENDER. However, the Crown
GLM-200 is Fishman’s microphone of choice for the BLENDER System. It is a mini-electret condenser microphone with a hyper-cardioid response pattern. Its high SPL rating
(130 dB), small size and crystal clear "rising" frequency response make it ideal for
close-mic'ing acoustic stringed instruments. Fishman offers the GLM-200 optimized
specifically for use with the BLENDER System.
GLM-200
RESPONSE PATTERN
The BLENDER provides 4.5 Volts of Phantom Power to the GLM-200 via the MICROPHONE channel. Phantom Power is sent through either the Ring of the STEREO IN
jack (for stereo cable use) or the Tip of the AUX/MIC IN jack (for mono cable use).
A small zener diode is included with all GLM-200 Crown microphones. It is pre-wired
to both the Bass and Violin Microphone Assemblies. It is included separately with all
other kits. It will prevent harmful electric spikes from damaging the microphone.
NOTE: The zener diode MUST be wired to the output of the GLM-200.
installed without the zener diode are not covered under warranty.)
needed when a SMART SWITCH is installed.
The GLM-200's small size allows it to be conveniently mounted in or outside the sound chamber of most
stringed instruments. The microphone, with a (TRS) stereo jack included, can be attached to the instrument using one of the following mounting systems:
FREQUENCY RESPONSE CURVE
GLM-200
(Microphones
However, it is not
GMA - GUITAR MICROPHONE ASSEMBLY
The microphone is mounted in the sound hole with a clip that attaches to the X-brace
under the instrument's soundboard. The jack is run through the instrument's endpin
hole. Soldering and some assembly is required.
ONE STEREO CABLE
TWO MONO CABLES
BMA - BASS MIC ASSEMBLY
The microphone is held in a isolation collar to reduce low frequency microphon-
ics which are common with bowed instruments. The mount attaches to a bridge
foot with an adhesive backed nylon clip. The jack (pre wired to Tip) mounts
between the A&D strings. Also available with a pre-wired pickup (BP-100-M).
V-200-M PICKUP AND MINI-MIC
The microphone is held in an isolation collar to reduce low frequency microphonics
which are common with bowed instruments. The mount is integrated into a Carpenter-
style jack that attaches above the instrument’s chin rest.
UNIVERSAL MICROPHONE ASSEMBLY
For mandolin, banjo, dulcimer, harp. A small alligator clip at one end holds the microphone. At the
other end, a set of firm gripping rubber-covered jaws attach to the instrument's housing.
19
Page 20
ACOUSTIC BLENDER SYSTEM
USING OTHER MICROPHONES
The BLENDER is also compatible with other manufacturers’ mini-electret microphones. Consult the manufacturer for specific minimum power requirements,
wiring configuration and instrument mounting systems (the Fishman microphone
mounts are dedicated to the Crown GLM series).
Dynamic microphones (such as the SM 58) may be used with the BLENDER.
You'll need a low to high impedance adapter in the AUX/MIC IN jack. Turn off the
Phantom Power (switch is in) for this application.
POSITIONING THE MICROPHONE
It’s worth taking the time to experiment with the placement of the Crown
GLM-200. Here are some suggestions to help you get started:
To address Cavity Resonance Feedback:
1) POSITION THE MICROPHONE away from the opening on non-flat-top
instruments. This works well in low volume settings.
2) TURN DOWN BASS CONTROL on MICROPHONE channel.
3) PUSH IN BASS CUT SWITCH on MICROPHONE channel.
4) INVERT PHASE SWITCHES on both channels.
5) OUTBOARD EQUALIZATION: This works well in higher volume settings.
An external equalizer (such as the FISHMAN Dual Parametric D.I.) may be
used through the BLENDER’s MICROPHONE channel EFFECTS LOOP.
See FIG. 1
INTERNALLY MOUNTED MICROPHONE (flat top guitars)
Start with the microphone centered in the
soundhole, slightly below the top. Position the
face of the microphone (marked “FRONT”)
toward the sound chamber of the instrument.
Tilting the microphone as much as 90° may
help reduce boominess.
EXTERNALLY MOUNTED MICROPHONE
(violin, bass, cello, arch-top guitar).
Start with the microphone centered halfway between a bridge foot and F-hole.
Position the face of the microphone (marked FRONT) towards the instrument.
Tilting the microphone as much as 90° may help reduce boominess. Placing the
microphone directly over an F-hole will produce a deep, woody tone. However,
the microphone will feedback at the instrument's cavity resonance. This can be
easily remedied by notching out the feedback with an external equalizer (see
below). Placing the microphone over the soundboard will produce a tight, focused
tone with more midrange emphasis but less overall volume.
HIGH FREQUENCY FEEDBACK
Occurs when the microphone's rising response creates a feedback loop with a
high frequency driver in your speaker system. This feedback usually starts
above 1.5 kHz, peaks at 4 kHz and subsides at 9 kHz. There are several
approaches to minimizing HIGH FREQUENCY FEEDBACK:
1) STRATEGIC POSITIONING: This works best in low to medium volume
settings. The simplest solution for this type of feedback is to keep the
microphone out of the path of the loudspeaker.
(See Pages 8 & 21)
(See Page 16)
a. PARAMETRIC EQ: We suggest cutting 5 dB at the instrument's cavity
resonance with a .5 octave bandwidth (Q).
b. GRAPHIC EQ (although less precise and much noisier) may also be
used. Cut 5 dB at the instrument's cavity resonance with 1/3 octave
cuts on either side of the center frequency.
You can do this by:
a. Avoid standing directly in front of your amp.
b. Send separate MIX and TRANSDUCER signals to your soundman and
have only the TRANSDUCER signal sent to your stage monitor.
ADDRESSING FEEDBACK
LOW FREQUENCY CAVITY RESONANCE
All stringed instruments’ sound chambers are tuned to resonate at an optimum
frequency, in the instrument’s lowest octave. Placing a microphone directly over
the opening of the instrument may result in feedback at this "cavity resonance".
Typical resonances are:
Guitar; 95-105 Hz
Bass; 65-75 Hz
Violin; 275-300 Hz
Cello; 125-135 Hz
2) TURN DOWN TREBLE CONTROL on MICROPHONE channel.
3) REVERSE PHASE SWITCHES on both channels.
4) OUTBOARD EQUALIZATION: This works well in higher volume settings.
An external equalizer (such as the FISHMAN Dual Parametric D.I.) may be
used through the BLENDER’s MICROPHONE channel EFFECTS LOOP.
See FIG. 2
a.PARAMETRIC EQ: We suggest cutting 5 dB at 4 kHz, with a 1.5 octave
bandwidth (Q).
b. GRAPHIC EQ (although less precise and much noisier) may also be
used. Cut 3 dB at 1.2 kHz. Gradually increase the amount of cut to
-9 dB at 4-5 kHz. Above 5 kHz, gradually decrease the amount of cut to
-3 dB at 10 kHz.
20
Page 21
ACOUSTIC BLENDER SYSTEM
APPENDIX II: PHASE
WHAT IS PHASE?
Phase is the relationship between two signals or sound waves, originating from the same
instrument.
For our purposes, Phase relationships are expressed as being either
phase”. In phase
istics of an instrument. A simple way to determine the quality of Phase (in or out) of two
sounds is to compare phase switch settings at low volumes.
tends to enhance, while
out of phase
tends to suppress the natural character-
“in phase”
or
“out of
IN PHASE
In phase
is when the waveforms
of two signals or sounds originating from the same instrument
are similarly aligned in time.
Similar phase is like looking at
yourself in a mirror; your reflection directly follows your movement.
HIGH VOLUME LEVELS
At high volume levels, when a mic'ed instrument and speaker are
from the speaker will excite the instrument's sound chamber, creating a feedback loop at the
instrument's lowest octave. This "cavity resonance" feedback can be dealt with by putting the
mic'ed instrument and speaker
A. PUTTING THE CAVITY RESONANCE OUT OF PHASE TO REDUCE FEEDBACK.
Inverting the MICROPHONE channel PHASE switch will put the mic'ed instrument and speaker
out of phase with each other, cancelling the low frequency feedback (not recommended for
bass instruments).
A typical guitar has a cavity resonance of about 100 Hz. This is the frequency that generally
feeds back when a mic'ed guitar and speaker are in phase. 100 Hz has a wavelength of about
11 feet. phase inverts 180° for every 1/2 a frequency's wavelength. In this case, 1/2 the wavelength is about 5 1/2 feet.
OUT OF PHASE
Out of phase
forms of two signals or sounds
originating from the same instrument are aligned such that the
upper peak of one wave occurs
at the same moment in time as
the lower peak of the other.
of phase
self in a live video monitor; the
image you see is similar, but the
perspective is shifted. When
you move to the right, the image
appears to move to your left.
is when the wave-
Out
is like looking at your-
in phase,
the sound pressure
out of phase
If you move from your position on stage more than a few feet, you may have to invert the
phase switch again to maintain an
and speaker. Here's why:
or by adding outboard equalization.
out of phase
relationship between the mic'ed instrument
WHAT ARE THE BLENDER'S PHASE SWITCHES FOR?
The phase switches are useful for two reasons:
A. Due to the interactive and changing nature of phase, acoustic amplification depends on
maintaining optimum phase relationships between amplified instruments, sound systems and
venues.
B. Since an industry standard for polarity has never been established for all sound equipment, the phase switches compensate for any unintentional phase differences that might
occur between components.
APPLICATIONS
When amplifying acoustic instruments with a microphone/pickup combination, there are two
crucial phase relationships:
ACOUSTIC PHASE - The relationship between the sound waves of a mic'ed acoustic instrument and the speaker system.
ELECTRONIC PHASE - The relationship between pickup and microphone signals.
The PHASE switch on the BLENDER's MICROPHONE Channel in effect electronically "moves" your
instrument's position relative to the speaker by inverting the phase 180° every time you flip it.
If you set your MICROPHONE channel PHASE switch to eliminate cavity resonance
phase)
mic'ed guitar/speaker relationship at 100 Hz back
feedback.
B. USING AN OUTBOARD EQUALIZER TO REDUCE FEEDBACK
Notching out instrument cavity resonance with an outboard equalizer patched through the
Microphone channel effects loop
problem completely. The advantages to using notching equalization are:
• The physical distance from the speaker will no longer be a factor for potential
low frequency feedback.
• The mic'ed instrument/speaker can remain
and balanced response.
This is the preferred method for bass, since the mic'ed instrument and speaker can remain
phase,
1. ACOUSTIC PHASE
In any situation where the mic'ed instrument faces a loudspeaker, there will be an interactive
phase relationship between the two. This usually occurs with stage amps, side fill and floor
monitors at close distances.
LOW VOLUME AMPLIFICATION
At low volumes, when a mic'ed instrument and speaker are at similar levels and are
the sound is full and solid, with the lower frequencies emphasized.
When a mic'ed instrument and speaker are
cancel out to some extent. The resulting sound is somewhat unnatural and unbalanced compared to
in phase.
out of phase
at low levels, the bass frequencies
in phase,
2. ELECTRONIC PHASE
Once the mic'ed instrument is phase aligned with the sound system, the pickup signal can be added.
When a microphone and pickup are at similar levels and are
solid, with the lower frequencies emphasized.
When a microphone and pickup are
extent. The resulting sound is somewhat unnatural and unbalanced compared to
It is especially important for the microphone and pickup to be
the fullest and most natural sound.
and then move 5 1/2 feet towards or away from the speaker, you will effectively put the
(See Pages 16 & 23) will eliminate the low frequency feedback
preserving low frequency content. (See Page 20)
out of phase
in phase;
in the line of fire for low frequency
in phase,
maintaining a more natural
in phase,
the sound is full and
the bass frequencies cancel out to some
in phase
when recording to attain
(out of
in
in phase.
21
Page 22
ACOUSTIC BLENDER SYSTEM
APPENDIX III: THE FISHMAN SMART SWITCH
If your instrument has an active pickup/preamp and you are
going to route electret microphone and pickup signals
through a single stereo cable, you may need to install a
SMART SWITCH for the system to operate.
WHAT DOES THE SMART SWITCH DO?
The Smart Switch takes over the preamp power switching duty and frees up the
RING terminal on the output jack for the microphone signal. The Smart switch
takes its cue by electronically sensing phantom power, sent from the Blender and
in turn switching on the preamp.
WHAT IS A SMART SWITCH?
The SMART SWITCH is a voltage sensing electronic switch.
A SMART SWITCH must be installed with certain pickup/preamp/microphone configurations due to the physical limitations of the Stereo (TRS) jack used on the instrument.
WHY DO I NEED A SMART SWITCH?
Most instrument mounted preamps have no on-off switch. Instead, they rely on a
"switching" stereo jack that turns the preamp on when a 1/4" plug is inserted.
The actual switching is performed by the plug: it shorts the negative battery wire
(RING connection) to ground. Similar in function to the input jack on a "stomp
box" pedal, the switching jack can extend battery life since the preamp is turned
off with the plug removed. The standard wiring configuration is as follows:
TIP= Pickup Signal carrier
In cases where the mic is not needed, the Smart Switch will know to turn on the
preamp with a mono phone plug inserted.
Pretty smart, eh?
WHO NEEDS A SMART SWITCH?
The following Fishman pickup/preamp systems will require a SMART SWITCH to
be installed in conjunction with the Fishman/Crown GLM-200 Microphone:
Acoustic MATRIX Natural
Acoustic MATRIX Hot
RING= Negative Battery wire
SLEEVE= ground
Acoustic MATRIX Professional
Adding the Fishman/Crown GLM-200 microphone to a switching jack configuration creates an electronic version of musical chairs in which the microphone signal and negative battery wire are both vying for the same RING terminal on the
stereo jack. Attempting to connect both the microphone and Battery wire to the
RING terminal will ground out the microphone.
Other manufacturers’ preamps may also require a SMART SWITCH. Contact the
Fishman’s PRODUCT INFORMATION LINE at 978-988-9665 for assistance.
NOTE: The SMART SWITCH is NOT required when using a Fishman POWERJACK endpin preamp in conjunction with the Fishman/Crown GLM 200 mic.
22
AGP-2 and ABGP Onboard
Guitar Preamps
Page 23
ACOUSTIC BLENDER SYSTEM
NOTES
23
Page 24
LIMITED WARRANTY
The FISHMAN ACOUSTIC BLENDER®and ACOUSTIC BASS BLENDER
®
is warranted to function for a period of
90 days from the date of purchase. If the unit fails to function properly within the warranty period, free repair and
the option of replacement or refund in the event that FISHMAN TRANSDUCERS is unable to make repair are FISHMAN TRANSDUCERS’ only obligations. This warranty does not cover any consequential damages or damage to the
unit due to misuse, accident, or neglect. FISHMAN TRANSDUCERS retains the right to make such determination on
the basis of factory inspection. Products returned to FISHMAN TRANSDUCERS for repair or replacement must be
shipped in accordance with the Return Policy, as follows. This warranty remains valid only if repairs are performed
by FISHMAN TRANSDUCERS. This warranty gives you specific legal rights and you may also have other rights
which may var y from state to state.
RETURN POLICY
To return products to FISHMAN TRANSDUCERS, you must follow these steps...
1) Call FISHMAN TRANSDUCERS at 978-988-9199 for a Return Authorization number.
2) Enclose a copy of the original Bill of Sale as evidence of the date of purchase, with the product in its original
packaging and a protective carton or mailer.
3) Clearly label the outside of the shipping carton with the Return Authorization number.
4) Ship the carton prepaid to:
FISHMAN TRANSDUCERS
®
340-D Fordham Road Wilmington MA 01887 USA
Phone 978-988-9199 • Fax 978-988-0770
www.fishman.com
MODEL #
SERIAL #
DEALER
DATE OF PURCHASE
009-065-003 2-99
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