www.radialeng.com
JD-7 Injector
Guitar Signal Distribution and Routing System
Owner’s manual
Radial Engineering Ltd.
1638 Kebet Way, Port Coquitlam BC V3C 5W9
tel: 604-942-1001 · fax: 604-942-1010
www.radialeng.com email: info@radialeng.com
Radial JD-7 owner’s manual v2.0 July 2006 Part#: R870 1015 00
Radial Engineering Ltd.
1638 Kebet Way, Port Coquitlam BC V3C 5W9
tel: 604-942-1001 · fax: 604-942-1010
www.radialeng.com email: info@radialeng.com
Radial JD-7 owner’s manual v2.0 July 2006 Part#: R870 1015 00
www.radialeng.com
Table of Contents: Page
Concept & introduction. ............................ .............. ..............1.
Power connections, connecting guitars and amps ..................2.
Input section, ‘Drag’ control....................... .............. ..............3.
Output section, effects loops....... .............. .............. ..............4.
Rear panel, balanced low Z input & output, labeling ...............5.
Remixing description and diagram............. .............. ..............6.
JD•7 questions and answers ...... .............. .............. ..............7.
JD•7 specifications & dimensions ............................ ..............8.
JD•7 Setup Saver........ .............. ...........................Back Cover.
JD•7 Owner’s manual
Set-up Saver
Guitar:
[ ] Input A
[ ] Pad
[ ] Input B
INJECTOR
7
7
INPUT-1 DRAG INPUT-2
Push Select for Ch 2 instrument input & rear panel XLR input
INSTRUMENT INPUTS
SELECT
CLIP
8dB PAD
1
ON ON ON ON ONON
DIRECT OUT ISOLATED OUT ISOLATED OUT ISOLATED OUT ISOLATED OUTISOLATED OUT
2 3 4
GROUND
LIFT 180º
POLARITY
On [ ]
On [ ]
Lift [ ]
180º [ ]
Amplifier:
Channel 1 [ ] - 2 [ ]
Bright [ ]
Treble boost [ ]
Mid boost [ ]
Amplifier:
Channel 1 [ ] - 2 [ ]
Bright [ ]
Treble boost [ ]
Mid boost [ ]
Microphone:
5
5
5
6
4
3
2
1
0
Input Gain Treble mid bass presence master
6
4
7
3
2
8
9
1
10
4
7
3
2
8
9
1
10
0
0
5
6
4
7
3
2
8
9
1
10
0
Microphone:
5
5
5
6
4
3
2
1
0
Input Gain Treble mid bass presence master
6
4
7
3
2
8
9
1
10
4
7
3
2
8
9
1
10
0
0
5
6
4
7
3
2
8
9
1
10
0
Note:
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
Note:
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
6
7
8
9
10
6
7
8
9
10
>>>>>>>>>> CAUTION <<<<<<<<<<
PLEASE READ BEFORE CONNECTING ELECTRONIC DEVICES TO YOUR JD7!
Caution must be used when connecting electronic equipment to the JD7. The JD7 bridges all electronic
equipment connected to it so faulty wiring or incorrect grounding of any of the equipment may cause a
shock hazard to be present and/or damage to the JD7 or other connected equipment. Because grounding
schemes differ between manufacturers, it is important to check for correct polarity, in particular with older
amplifiers using 2-prong ungrounded A/C cords. If the polarity is reversed on an ungrounded amplifier
there may be a potential of 120V present between the amp chassis and ground. Radial Engineering takes
no responsibility for this or how the JD7 is connected or used. It is the users full responsibility to ensure that
proper electrical polarity is maintained on all equipment connected to the JD7 and that proper building
electrical codes have been followed wherever the JD7 is being used.
To reduce opportunity for shock hazard or damage to the JD7 or connected equipment, plug the ¼”
connectors into the amplifiers first and then to the JD7. This is especially important when using old
amplifiers that do not have 3-prong plugs as the possibility exists to touch the chassis ground with the
connector plug tip when the plug is inserted into the jack.
Cautions for amplifiers with ungrounded 2-prong A/C cords: Before connecting any input to an
ungrounded amplifier, power the amp up and listen to the residual hum. If the amp has a two-position
ground polarity reverse switch, set the switch in the position that produces the least residual hum from the
speakers. If there is no polarity switch, reverse the A/C plug at the outlet to find the least residual hum.
To ensure an ungrounded amplifier does not present a shock hazard: Test for voltage potential by
connecting a voltmeter between the amplifier chassis and the JD7 chassis. If voltage is present, reverse
the amplifier’s A/C supply polarity and test again.
Note that due to this potential problem, damage to the JD7 or other connected equipment caused by
improper A/C polarity is not covered under warranty.
RADIAL LIMITED THREE YEAR TRANSFERABLE WARRANTY
Radial Engineering Ltd. ("Radial") warrants this product to be free from defects in material and workmanship and will remedy any
such defects free of charge according to the terms of this warranty. Radial will repair or replace (at its option) any defective component(s) of
this product (excluding finish and wear and tear on components under normal use) for a period of three (3) years from the original date of
purchase. In the event that a particular product is no longer available, Radial reserves the right to replace the product with a similar product
of equal or greater value. To make a request or claim under this limited warranty, the product must be returned prepaid in the original
shipping container (or equivalent) to Radial or to an authorized Radial repair centre and you must assume the risk of loss or damage. A copy
of the original invoice showing date of purchase and the dealer name must accompany any request for work to be performed under this
limited warranty. This limited warranty shall not apply if the product has been damaged due to abuse, misuse, misapplication, accident or as
a result of service of modification by any other than an authorized Radial repair centre.
THERE ARE NO EXPRESSED WARRANTIES OTHER THAN THOSE ON THE FACE HEREOF AND DESCRIBED ABOVE. NO
WARRANTIES WHETHER EXPRESSED OR IMPLIED, INCLUDING BUT NOT LIMITED TO, ANY IMPLIED WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE SHALL EXTEND BEYOND THE RESPECTIVE WARRANTY
PERIOD DESCRIBED ABOVE OF THREE YEARS.
RADIAL SHALL NOT BE RESPONSIBLE OR LIABLE FOR ANY SPECIAL OR INCIDENTAL OR CONSEQUENTIAL DAMAGES OF LOSS
ARISING FROM THE USE OF THIS PRODUCT. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO
HAVE OTHER RIGHTS, WHICH MAY VARY DEPENDING ON WHERE YOU LIVE.
Loop Ch. 5
Effect:
5
6
4
3
7
3
2
2
8
A
1
9
1
10
0
Note:
Loop Ch. 6
Effect:
5
6
4
3
7
3
2
2
8
A
1
9
1
10
0
Note:
Date:
Sound:
Track:
GROUND
LIFT 180º
POLARITY
On [ ]
Lift [ ]
GROUND
LIFT
POLARITY
180º [ ]
180º
5
LOOP
On [ ]
180º
Lift [ ]
6
180º [ ]
LOOP
EFXEFX
GROUNDGROUND
LIFTLIFT
POLARITYPOLARITY
180º
Equipped
On [ ]
©
Auxiliary
Output
5
6
4
4
7
3
2
8
B
C
1
9
0
10
0
6
6
4
3
7
2
8
D
1
9
0
10
5
6
4
7
8
9
10
7
3
2
2
8
A
9
1
10
0
Effect:
5
5
Note:
Amplifier:
Microphone:
Note:
5
6
4
4
7
3
2
8
B
C
1
9
0
10
0
6
6
4
3
7
2
8
D
1
9
0
10
5
6
4
7
8
9
10
7
3
2
2
8
A
9
1
10
0
Effect:
5
5
Note:
Amplifier:
Microphone:
Note:
Amplifier:
Channel 1 [ ] - 2 [ ]
Bright [ ]
3
2
Treble boost [ ]
Mid boost [ ]
Amplifier:
Channel 1 [ ] - 2 [ ]
Bright [ ]
3
2
Treble boost [ ]
Mid boost [ ]
Amplifier:
Channel 1 [ ] - 2 [ ]
Bright [ ]
3
2
Treble boost [ ]
Mid boost [ ]
5
6
4
4
7
3
3
2
8
B
C
1
9
1
0
10
0
6
6
4
3
7
2
8
D
1
9
0
10
5
6
4
7
8
9
10
7
3
2
A
9
1
10
0
Effect:
5
5
Note:
Channel 1 [ ] - 2 [ ]
Bright [ ]
3
2
Treble boost [ ]
Mid boost [ ]
5
6
4
4
7
3
3
2
8
B
C
1
9
1
0
10
0
6
6
4
3
7
2
8
D
1
9
0
10
5
6
4
7
8
9
10
7
3
2
A
9
1
10
0
Effect:
5
5
Note:
Channel 1 [ ] - 2 [ ]
Bright [ ]
3
2
Treble boost [ ]
Mid boost [ ]
Balanced out
Line in [ ] Mic in [ ]
Pad [ ]
Effect: Program:
3
2
Polarity reverse [ ]
EQ In [ ]
Microphone:
5
5
5
6
4
1
0
Input Gain Treble mid bass presence master
6
4
7
3
2
8
9
1
10
4
7
3
2
8
9
1
10
0
0
5
6
4
7
3
2
8
9
1
10
0
Microphone:
5
5
5
6
4
1
0
Input Gain Treble mid bass presence master
6
4
7
3
2
8
9
1
10
4
7
3
2
8
9
1
10
0
0
5
6
4
7
3
2
8
9
1
10
0
Microphone:
5
5
5
6
4
1
0
Input Gain Treble mid bass presence master
4
3
2
8
1
0
5
4
1
0
Input Gain Treble mid bass presence master
4
3
2
8
1
0
5
4
1
0
Input Gain Treble mid bass presence master
5
4
1
0
Trim High Freq Mid 1 Freq Mid 2 Bass
6
4
7
3
2
8
9
1
10
5
6
7
8
B
9
10
6
7
3
2
8
9
1
10
5
6
7
8
B
9
10
6
7
3
2
8
9
1
10
6
7
3
2
8
9
1
10
4
7
3
2
8
9
1
10
0
0
5
6
4
4
3
7
3
2
2
8
C
1
9
1
4
0
3
2
1
4
0
4
0
0
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
4
4
3
7
2
8
C
1
9
0
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
Effect:
5
6
7
8
2
D
9
10
Note:
5
5
6
4
7
3
2
8
9
1
10
0
Effect:
5
6
7
8
2
D
9
10
Note:
5
5
6
4
7
3
2
8
9
1
10
0
5
5
6
4
7
3
2
8
9
1
10
0
Note:
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
6
4
7
7
3
2
8
9
10
8
9
1
10
0
Note:
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
6
4
7
7
3
2
8
9
10
8
9
1
10
0
Note:
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
8
A
9
1
10
0
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
8
A
9
1
10
0
6
4
7
3
2
8
9
1
10
0
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
3
2
2
8
B
1
9
1
10
0
5
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
3
2
2
8
B
1
9
1
10
0
5
5
6
4
7
3
2
8
9
1
10
0
5
6
4
7
3
2
8
9
1
10
0
5
6
6
4
7
7
3
2
8
9
10
5
4
C
0
6
7
9
10
5
4
C
0
6
7
9
10
5
6
10
8
9
1
10
0
5
6
6
4
7
3
7
2
8
8
D
9
1
9
10
0
10
5
6
4
7
3
2
8
8
9
1
10
0
5
6
6
4
7
3
7
2
8
8
D
9
1
9
10
0
10
5
6
4
7
3
2
8
8
9
1
10
0
5
6
4
7
7
3
2
8
9
8
9
1
10
0
tel: 604-942-1001 · fax: 604-942-1010 email: info@radialeng.com web: www.radialeng.com
Radial Engineering Ltd. 1638 Kebet Way, Port Coquitlam BC Canada V3C 5W9
JD-7 Owner ’s ManualRadial Engineering Ltd.
BALANCED IN
GND LIFT
IN B
IN A
15 dB
LEVEL
PAD
SELECT
‘DRAG’
Block Diagram
BUFFER
BUFFER
BUFFER
BUFFER
BUFFER
BUFFER
BUFFER
BUFFER
OVERLOAD
F/X ON
SND
F/X ON
SND
RTN
RTN
GND LIFT
GND LIFT
GND LIFT
GND LIFT
PHASE REV
PHASE REV
GND LIFT
PHASE REV
GND LIFT
PHASE REV
PHASE REV
PHASE REV
JD•7Specifications
Introduction
Radial JD7 Injector Guitar Signal Distribution and Routing System
Concept: Gaining a Creative Edge . . .
Congratulations on your purchase of the Radial
JD7 guitar distribution and routing amplifier. You
now own one of the most powerful creative tools
ever devised for the professional guitar player. We
are confident that you will quickly go well beyond
the scope of this manual as you develop new and
creative ways to use this device!
As you read this, keep one thing in mind: The
Radial JD7 Injector was designed to enhance the
SPECIFICATIONS
Instrument inputs: Selectable A/B ¼” inputs w/8dB pad on input ‘B’
Balanced inputs: XLR balanced line level input w/level control.
D.I.
OUT 7
ON
ON
ON
ON
ON
OUT 6
ON
OUT 5
ON
OUT 4
ON
OUT 3
ON
OUT 2
ON
Instrument outputs: 2 x ¼” Class-A direct coupled outputs, 5 x ¼” Jensen
Ground lifts: Ground lifts on outputs 2 thru 6.
Polarity reverse: 180º reverse on all isolated outputs.
Effect loops: 2 separate loops, ¼” send / receive on channels 5 & 6
Input section: Position A – hi-Z input (1mega Ohm).
Output section: 1 & 7 – Direct coupled and grounded outputs.
Output Type On-Off LED Ground 180º Effect
Chan 1 Direct • •
Chan 2 Isolated • • • •
Chan 3 Isolated • • • •
Chan 4 Isolated • • • •
Chan 5 Isolated • • • • •
Chan 6 Isolated • • • • •
Chan 7 Direct (rear)
Record Isolated • •
Transformer isolated outputs, mic level isolated balanced XLR out.
Position B – Hi-Z input (1 mega Ohm) with 8dB pad
Drag control amp and pickup compensation circuit
Overload LED indicator
Balanced low-Z(600 Ohm) XLR input w/ variable trim and clip LED.
2 ~ 6 – Jensen Transformer isolated outputs.
Balanced low-Z(600 Ohm) ‘direct record’ out @ -20dB (mic level).
switch indicator lift switch polarity loop
Direct out – ¼” Isolated out ¼” Balanced i/o - XLR
Linearity from 20Hz to 20kHz: +/- 0.02dB +/- 0.3dB +/- 0.5dB
Harmonic distortion @1kHz: < 0.05% < 0.05% < 0.1%
Inter-modulation distortion: <0.2% <0.25% <0.5%
ON
ON
OUT 1
DIMENSIONS
Construction: 14 AWG welded steel construction, blue baked enamel finish
Power: 15VDC external power supply, UL-CSA approved.
Dimensions: 19" rack mount1RU, chassis 17.5”w x 6”d x 1.75”h
Shipping box: 22”w x 10”d x 4.5”h (55.9cm x 25.4cm x 11.4cm).
Shipping weight: 8lbs / 3.63kg.
Power supply connector ‘lock’.
(44.5cm x15.25cm x 1.75cm).
creative spirit during the recording process.
Experiment and have fun! Start with simple set-ups
and combinations before you go hog-wild. You
will quickly find that small changes such as
reversing the polarity to one amp versus another
will dramatically change the way your guitar sits in
a mix.
As your configurations become more complex, try
different combinations and keep track of what you
Introduction:
JD7 Block Diagram
The Radial JD7 is a guitar signal
distribution amplifier. It has been
optimized to retain the original sound of
the instrument so that the connection is
the same as if the guitar was plugged
directly into the amp. The JD7 is also a
‘unity gain’ device. This means what you
put in - you get out... only more!
Once the guitar is connected, you may
route the guitar signal to one or as many
of the outputs as desired. A myriad of
signal paths and combinations are
ava i l a b l e . For a d d e d flexibility,
switchable effect device routing is
available, as is direct-to-record output
for redistribution of the recorded clean
IN B
guitar signal to the amplifiers for remixing during the record production
stage.
IN A
The JD7 is not limited to electric guitars;
it may also be used with instruments
such as bass, keyboards, acoustic guitars
or any other signal. The operative idea
with the JD7 is to 'expand the creative
process' by taking full advantage of the
equipment you already own.
BALANCED IN
GND LIFT
15 dB
RETURN
RETURN
GND LIFT
GND LIFT
GND LIFT
GND LIFT
PHASE REV
PHASE REV
GND LIFT
PHASE REV
GND LIFT
PHASE REV
PHASE REV
PHASE REV
D.I.
OUT 7
ON
ON
ON
ON
ON
ON
ON
OUT 6
ON
OUT 5
ON
OUT 4
ON
OUT 3
ON
OUT 2
ON
OUT 1
BUFFER
BUFFER
BUFFER
LEVEL
BUFFER
BUFFER
PAD
SELECT
BUFFER
‘DRAG’
BUFFER
BUFFER
OVERLOAD
SEND
SEND
8
1
Radial Engineering Ltd. JD-7 Owner ’s ManualRadial Engineering Ltd. JD-7 Owner’s Manual
Connections
Questions & Answers
Connecting the power:
For lowest insertion noise keep the power supply unit away from any audio connections. Plug the power adapter cord
into the rear 15VDC input on the rear. The JD7 does not have a power on-off switch for two reasons: (a) the Class-A
circuit will sound better once the unit has gained electrical and thermal stability, and (b) on-off transients can devastate
speakers down the line if 'popped' by switching on at full volume. Always switch amplifiers on last.
Power supply and DC supply lock: The JD7's power supply input is outfitted with a handy cable lock. Simply unscrew
the lock, pass the DC supply cable through the hole and tighten. This will keep the DC supply jack safely in place and
prevent accidental unplugging.
Connecting guitars and amplifiers:
Make sure all of the channel output switches are set to the 'off' position (LED light out) before making connections. Turn
all guitar amplifier levels down to eliminate connection 'popping'. Caution must be observed when connecting older and
non-grounded (2-prong) amplifiers. Please read the CAUTION notice at the beginning of this manual regarding
equipment connection.
Ch. 6 Loop sent to & from multi effect processor
Guitar A to
Input-A
Ch. 1 Direct out to main guitar amplifier (Ch. A)
Front
Ch. 4 output
to chorus,
to amp # 1
(Ch. B)
Guitar B to
Input-B
en g i n e e r i n g
Radial Engineering
Division of CableTek Electronics Ltd.
Port Coquitlam, British Columbia
Rear
INJECTOR
15VDC
™
400mA
INSTRUMENT INPUTS
INPUT-1 DRAG INPUT-2
CLIP
SELECT
7
7
Push Select for Ch 2 instrument input & rear panel XLR input
Ch. 2 output to
amp modeler
Ch. 5 Loop sent to & from pedal board
EFFECT LOOP · CHAN 5
EFFECT LOOP · CHAN 6
6
5
RETURN RETURNSEND SEND
2 3 4
1
DIRECT OUT ISOLATED OUT ISOLATED OUT ISOLATED OUT ISOLATED OUTISOLATED OUT
ON ON ON ON ONON
8dB PAD
Ch. 3 output
to amp # 2
(Ch. A)
LIFT 180º
GROUND
POLARITY
BALANCED LINE INPUT BALANCED LINE OUTPUT
GROUND GROUNDLEVEL 180º
PUSH LIFT PUSH LIFT REV
LIFT 180º
GROUND
POLARITY
stereo
chorus
Ch. 4 output
to chorus,
to amp # 2
(Ch. B)
180º
LIFT
GROUND
POLARITY
to amplifier #3
TRANSFORMER ISOLATEDACTIVE INPUT
5
LOOP
Ch. 5 output
Ch. 7 Output to Rockman
AUXILIARY
www.radialeng.com
7
Made in Canada
DIRECT
6
LIFTLIFT
180º
180º
LOOP
©
Equipped
GROUNDGROUND
POLARITYPOLARITY
EFXEFX
(Ch. A)
Ch. 6 output
to amplifier #3
(Ch. B)
Balanced Direct Out
To mix/record Ch. 5
Radial JD•7 Questions and Answers:
Q: Can I use all the JD•7 outputs to my amps at the same time?
A: Yes. The JD•7 is a high-impedance, unity gain distribution amplifier. This means that it takes the original signal and then amplifies it
so that the output signal to each connected amp is the same as if only one amp was connected.
Q: Whenever I have tried to connect more than one amp together in the past, I have experienced all kinds of hum and noise. How
does the JD•7 get around this problem?
A: The problem you were experiencing in the past was caused by what is commonly known as a ground loop. Each amplifier is different
and as such, has different chassis voltages referenced to ground. When you connect these together these voltages combine to cause noise
and hum. The Radial JD•7 is equipped with isolation transformers on most of the outputs. These electrically isolate the amplifiers from
each other thus solving the ground loop problem.
Q: I have tried many A+B boxes but they always change the sound of my guitar. Why?
A: If you simply Y-jack the output of your guitar, the signal going to each amp is cut in half or to be more precise, you will experience a
3dB loss at the input. You loose punch, dynamics and drive which makes your guitar sound lifeless and thin. Most A+B boxes are simple
passive devices that cause this problem. The next level AB box uses inexpensive drive circuits (opamps and IC's) to step-up the power so
that you do not experience the power loss. These circuits are cheap to build and unfortunately sound like it. They are brittle and unnatural
and ruin the sound of the guitar.
Q: Will the JD•7 change the sound of my guitar?
A: The JD•7 is as perfect as perfect can be! The JD•7 has been designed to reproduce your guitar as faithfully as technology will allow.
In other words, although nothing is perfect, the JD•7 is as close to perfect as possible. The JD•7 does not employ any opamps or ICs it is
100% discreet Class-A. This is what audiophiles insist on for best reproduction. Further, the JD•7 uses the worlds finest Jensen
Transformers. The best circuit with the best components produces the best results!
Q: Can you explain Drag control?
A: After we built the 1 JD•7 prototype, we knew it was exceptionally accurate. It was perfect. In fact it was too perfect. The problem
was that it did not sound right. After many hours of testing, we found that there was a relationship between the guitar and the amplifier
that was being lost. When a guitar is connected to an amplifier, the amplifier's input section, tubes and transformers combine to create a
load on the pick-up. This 'loading effect' combined with the type and length of cable further causes a noticeable tonal change, especially
on lower output single coil or vintage humbucking pick-ups. Although subtle, the change is more than tonal; it has to do with the feel and
grind of the guitar. This was the problem: When the guitar was connected through the JD•7, the natural loading and resistance was lost.
The guitar no longer saw the amplifier; it was seeing the perfect input on the JD•7 while the amp was seeing the JD•7's perfect output.
The relationship was lost. The amp was no longer 'dragging' down the pick-up. Drag control recreates this effect by allowing the
musician to adjust with the guitar's impedance and resistance before it is sent out to the amplifiers. Drag is subtle yet absolutely
awesome!
Q: Can I use a foot switch to control the JD•7?
A: We do not provide a foot switch however you can connect the JD•7 to a custom switching system and it will work fine. I am sure that
the Radial Design Team will one day produce a foot controllable system for live use.
Q: Can I control the level going to each amplifier independently?
A: Yes. We have a device that you can purchase called the Radial Trim-Set. [hyperlink] It has 3 inputs, volume controls, and an amplifier
Drag offset circuit. You simply connect the Trim-Set between the output of the JD•7 and the amplifier and you can now fine-tune your
amp input levels in the comfort of your chair!
Q: I notice that there are two effect outputs on the JD•7. Can these be used as extra outputs?
A: Yes. Maybe we should have called the JD•7 the JD10… The effect loop outputs on channels 5 and 6 are always engaged. Depressing
the loop switch on the channel front panel turns the 'receive' on. This means that you can use these outputs for other devices such as
guitar tuners.
st
2
To mix/record Ch. 1
Making connections:
A typical routing example.
To mix/record
Ch. 2
To mix/record
Ch. 3
To mix/record
Ch. 4
Q: Can I use any amp with the JD•7?
A: Yes of course. However please keep in mind that in order to keep noise down and to avoid getting a shock, you should always use
properly designed equipment with 3 prong plugs. The 3 ground plug is there for safety and using older 2-pronged amplifiers can be
rd
both dangerous and noisy.
To prevent noise, we recommend that channel-1 always be connected to a relatively new amplifier with proper grounding. This is where
the JD•7 derives its ground. You must make sure that any old amplifiers be set to the correct electrical polarity. Read the owner's manual
on this matter as this will not only protect you from shock, but it will also reduce noise.
Q: Is the balanced out on the JD•7 line level?
A: No. It is mic level. The output is about the same as what you would get from a direct box. This allows the JD•7 to be used in a
concert or recording splitter snake system. The JD•7 balanced output should be connected to a mic preamp or mixer mic input.
Q: Where can I buy a JD•7?
A: The Radial JD•7 is a professional box sold through professional audio and recording outlets. Please contact Radial Engineering for the
name of a dealer near you.
JD-7 Owner ’s ManualJD-7 Owner ’s Manual Radial Engineering Ltd.Radial Engineering Ltd.
7
Re-mix
Inputs
The re-mix function
INSTRUMENT INPUTS
INPUT-1 DRAG INPUT-2
INJECTOR
7
7
Push Select for Ch 2 instrument input & rear panel XLR input
™
e n g i n e e r i n g
Radial Engineering
Division of CableTek Electronics Ltd.
Port Coquitlam, British Columbia
For Re-Mix - Connect the guitar and amplifiers as usual. Take
direct output from balanced XLR male output to mixer and
recorder. Record the dry track.
Input Section:
The JD7 has two inputs allowing a
second guitar to be used without having
to reconnect instruments. Input clipping
‘Drag’ control
Channel-1 on-off switch
Channel-1 on/off indicator
Channel-1 output
Direct coupled
is monitored with a red LED indicator.
Under normal use, a typical electric
2 3 4
1
DIRECT OUT ISOLATED OUT ISOLATED OUT ISOLATED OUT ISOLATED OUTISOLATED OUT
CLIP
SELECT
15VDC
400mA
ON ON ON ON ONON
8dB PAD
EFFECT LOOP · CHAN 6
6
GROUND
EFFECT LOOP · CHAN 5
5
RETURN RETURNSEND SEND
LIFT 180º
POLARITY
LIFT 180º
GROUND
POLARITY
BALANCED LINE INPUT BALANCED LINE OUTPUT
GROUND GROUNDLEVEL 180º
PUSH LIFT PUSH LIFT REV
5
180º
LIFT
GROUND
POLARITY
LOOP
TRANSFORMER ISOLATEDACTIVE INPUT
6
180º
AUXILIARY
7
DIRECT
LIFTLIFT
LOOP
GROUNDGROUND
POLARITYPOLARITY
EFXEFX
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Made in Canada
©
Equipped
180º
guitar should not cause the LED to
illuminate. If you have a very high input
level and it does illuminate, either turn
down the level or reconnect using input-
2. This input is outfitted with a
switchable 8dB pad.
Second instrument input
Input-2 is dual function. It is used for a
second guitar and to access the rear XLR
female input jack. This is a switching
jack with front panel priority. When the
Input selector switch
Primary guitar input
8dB pad for Input-2
Overload LED indicator
front 1/4” input jack is used (has a jack
connected), it becomes active. When it is
JD7 Instrument inputs, Channel-1 & Channel-2 outputs.
not used, the rear XLR female input jack
becomes active when the selector is depressed. See the ‘Balanced Low-Z output and input’ section in this manual for
Replay the dry track, sending the signal to the XLR female input
on the JD7. Select ‘INPUT-2’ by depressing the ‘Select’ switch on
the front panel to turn on the XLR input. Adjust input level to
suit. Now, play back the track through your amplifiers while
trying different settings. This way, you can monitor different
sounds before committing final track to tape.
details on using these features.
™
Drag Control: Drag control is a simple yet extremely musical function that allows you to simulate the way your guitar
reacts when connected directly to your amplifier.
After many months of listening tests, we found that the particular sound of a guitar is in fact made up of the way the
amplifier’s input section ‘sees’ or loads down the guitar. This effect depends greatly on the type of guitar pick-ups
and is compounded by the guitar cable used. For instance, a low output single coil pick-up has less ‘drive voltage’
than a humbucking pick-up and is therefore more prone to these effects, while active guitars and basses (and
Recorded Guitar
keyboards) will be virtually unaffected.
e n g i n e e r i n g
Radial Engineering
Division of CableTek Electronics Ltd.
Port Coquitlam, British Columbia
INJECTOR
INPUT-1 DRAG INPUT-2
7
7
Push Select for Ch 2 instrument input & rear panel XLR input
15VDC
™
400mA
INSTRUMENT INPUTS
CLIP
SELECT
EFFECT LOOP · CHAN 6
6
1
ON ON ON ON ONON
8dB PAD
EFFECT LOOP · CHAN 5
5
RETURN RETURNSEND SEND
2 3 4
DIRECT OUT ISOLATED OUT ISOLATED OUT ISOLATED OUT ISOLATED OUTISOLATED OUT
LIFT 180º
GROUND
POLARITY
GROUND GROUNDLEVEL 180º
PUSH LIFT PUSH LIFT REV
LIFT 180º
GROUND
POLARITY
BALANCED LINE INPUT BALANCED LINE OUTPUT
TRANSFORMER ISOLATEDACTIVE INPUT
5
180º
LIFT
GROUND
POLARITY
180º
LOOP
AUXILIARY
7
DIRECT
6
Drag control lets you ‘dial-in’ the natural relationship between your guitar and amplifiers with a simple, yet very
musical one dial interface.
To start, set the Drag control to 12 o’clock, which is about normal for a PAF humbucker. A Strat to a Twin sounds
‘normal’ at about 10 o’clock. To add Drag for a darker sound, turn counter-clockwise. For less Drag, turn the knob
the other way. Once you have found the sound that best matches your set-up, leave the control where it is. There is
no ‘plastic’ finger knob on the JD7 as Drag will normally not be used once you have your set-up dialed in. You will
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find that the JD7 will quickly become a centerpiece in your studio and you will be using it all the time. We made the
Drag control hard to adjust so that it will not be changed inadvertently.
This is not to say that you cannot use Drag control. In fact, the more you play with it, the more you will hear the
subtleties that make the function both unique and musical. Opening up the Drag (clockwise) will give your sound
more ‘air’ while going counterclockwise will darken the tone. Use your ears!
180º
LIFTLIFT
LOOP
GROUNDGROUND
POLARITYPOLARITY
EFXEFX
©
Equipped
An important note about grounding:
Since guitar circuits are high-gain and high impedance, RF noise, hum and buzz are easily induced. Connecting
equipment with different grounding schemes often results in ground loops and more noise. The Radial JD7 addresses
these problems by employing a floating ground architecture which requires an earth ground. This is accomplished via
the Channel-1 output. Channel-1 provides an electrical ground from the JD7 chassis to the primary guitar amplifier,
therefore always connect Channel-1 to a guitar amp with a 3-prong grounded A/C power cord to enable a proper
ground and keep noise out. If a Channel-1 connection is not desired, another ground path is necessary to minimize
noise. This can be achieved by grounding chassis to chassis using a ground lug and wire attached to (eg.) one of the
chassis assembly screws.
6
3
JD-7 Owner ’s ManualJD-7 Owner ’s Manual Radial Engineering Ltd.Radial Engineering Ltd.
Outputs
Rear Panel
Output Section - Channel-1 direct out:
The direct out connects to the normal guitar amplifier. This also provides the usual ground path for the guitar. An on-off
channel output activation switch is provided. This would be the first connection made.
Channel-2 thru Channel-6 primary amp drivers:
Adjacent to channel 1 are five transformer isolated outputs. These outputs feature Jensen Transformers to ensure signal
integrity and provide electrical isolation to eliminate 60 cycle ground hum caused by ground loops. A ground lift switch
is available to allow JD7-to-amp grounding to be lifted at any output. Many older vintage amplifiers use the chassis as
the neutral. These are often a source of noise when integrated within a system. Lifting the ground can often help reduce
noise. A polarity reverse switch is provided as an added creative option and for 'voice coil alignment' when combining
mic'd amplifiers with direct signals.
Channel-1, 2, 3 and 4 front panel output jacks, switches & LEDs.
Channel-1 output
Direct coupled
Channel-1 on/off indicator
Channel-1 on-off switch
Ground lift
Channel on/off active indicator
On-off switch
Channel output - Transformer isolated
Polarity reverse - 180º
Channel-5 & Channel-6 signal routing and effect loops:
Channel-5 and 6 are identical to channel-2, 3 and 4 with the addition
of a switchable effect loop circuit for each channel. Connections
are made on the back panel with normalling jacks so that if the 'loop’
button is depressed, it will have no effect unless a cable has been
inserted.
As the effect loop jacks are not transformer isolated, it is a good idea
to power all your effects and the amplifier used with this channel
from the same power bar. This will reduce susceptibility to induced
noise . The transformer isolated output will then allow you to
combine different signal paths without added noise. The effect loop
provides guitar level outputs for use with standard guitar effects.
Using line level devices such as those normally used with mixers
may require you to turn up the effect’s input which could increase
background noise.
Channel-5 front panel output jack, switches & LED.
Effect loop bypass switch
Channel-6 effect loop rear panel send/return.
Channel-7 rear panel auxiliary output:
This output is identical to the Channel-1 direct output and is used
to drive tuners, alternate amplifiers, the 2 channel on an already
nd
Channel-7 - Rear panel 1/4” output jack,
Balanced (recording) XLR output & switches.
connected amplifier, to drive monitors, etc, etc... in fact, we
would love to hear how you’ve used this output in a creative way!
Balanced low Z output and input:
These important connections allow the clean unaltered guitar
signal to be routed to the low impedance input of a mixer and
then sent directly to the recorder. This way, you can perform
with a wild and distorted sound while recording the original
Polarity reverse Pin 2 / Pin 3
Ground Lift - Pin 1
Balanced out
clean sound for future playback through the JD7 and your amps
and effects. This opens the door to a whole new creative process!
By 'injecting' the clean guitar signal into your rig at guitar levels,
you can sit back in the comfort of the control room chair and
Balanced (recording) XLR intput, level &
ground lift switch.
audition a variety of sounds before committing one to tape.
Hookup is simple. Connect the output from the XLR-male to
your mixing console or recording device. A ground lift is
supplied should the need arise. Once the track is recorded, return
the signal to the JD7's XLR female input. Select the rear input by
depressing ‘SELECT’ on the front panel ‘Instruments Inputs’
section. Input-2 is a switching jack, which means the front panel
1/4” jack has priority over the rear XL-F jack if a plug is inserted,
thus, if something is connected to the front 1/4” jack, there will
Ground Lift - Pin 1
Balanced out
Input level adjust
be no signal input at the rear XLR. Adjust the level potentiometer and make sure the overload LED on the front panel
does not light-up. If it does, back off the input level by turning the level potentiometer counter-clockwise. Use the
JD7 as usual. Try different combinations until you get the sound you are looking for and then press record. Instant
magic! You not only get to play the track but also get to produce it too! Please see ‘Re-mix Function’ section
illustration elsewhere in this manual for more details.
Of course you can also use the balanced out instead of a direct box. This features an active input and transformer
coupled output for the best of both worlds... and yes, a Jensen transformer is provided of course, just like on other
renowned Radial DI’s!
Ch.-7 out
Label marking zones:
The Radial JD7 panel has been silk screened with white label areas for identifying your routing. These can be a
lifesaver during those hectic studio sessions where simplifying equipment routing would be a big help.
Use only erasable pens such as a dry/wet erase or wax markers. Test a small corner on a back label for eraseability
before marking the front. Note that different markers will affect the white enamel finish in different ways.
Front panel label marking example.
Twin Line-6 PodMarshall StackMesa-Boogie
4
Using the effects loops is essentially the same as if you were
connecting effects directly between your guitar and amplifier.
Begin by inserting the effects with the JD7 channel output turned
off and the 'loop' button out (inactive). Test your guitar amp
connection by turning on the output. Then, depress the loop insert
switch to insert the effects. Adjust the levels to unity gain so that
when the effects are in, the level coming out of the amplifier is the
same whether the loop is in or out. You can always increase the
output as needed.
Effect loop output
to guitar effect.
Effect loop input
from gutar effect.
Set-up charts:
Attached you will find a master ‘set-up saver’ that you can use to record your amplifier and effect pedal settings for
future reference. These charts will come in handy when trying to re-create a certain ‘magical’ sound you’ve
discovered. We suggest you photocopy extra copies of these handy sheets.
5
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