Tech 21 Acoustic FLY RIG User Manual

POWER REQUIREMENTS

Utilizes included 9V DC, 100-240V universal auto-switching power
supply, 200mA, center negative.

NOTE: See page 2 for instructions how to change the prong
assembly.

Tech 21 Model #DC9.

For replacements, contact your local dealer/distributor, or Tech 21.
Maximum power consumption: approx 100mA.

ARNINGS:

W

* There are no user-serviceable parts inside. Attempting to repair unit is

not recommended and may void warranty.

* Missing or altered serial numbers automatically void warranty. For

your own protection: be sure serial number labels on the unit’s back
plate and exterior box are intact, and return your warranty
registration card or register online.

Note: This equipment has been tested and found to com­ply with the limits for a Class B digital device, pursuant to
part 15 of the FCC Rules. These limits are designed to pro-

vide reasonable protection against harmful interference in a
residential installation. This equipment generates, uses and can radiate
radio frequency energy and, if not installed and used in accordance with
the instructions, may cause harmful interference to radio communica­tions. However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause harmful interfer­ence to radio or television reception, which can be determined by
turning the equipment off and on, the user is encouraged to try to cor­rect the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that
to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

WARRANTY:

ONE YEAR LIMITED. PROOF OF PURCHASE REQUIRED.

Manufacturer warrants unit to be free from defects in materials and
workmanship for one (1) year from date of purchase to the original
purchaser and is not transferable. This warranty does not include dam­age resulting from accident, misuse, abuse, alteration, or incorrect cur­rent or voltage. If unit becomes defective within warranty period, Tech
21 will repair or replace it free of charge. After expiration, Tech 21 will
repair defective unit for a fee.

REPAIRS:

ALL REPAIRS for residents of U.S. and Canada: Call Tech 21 for
Return Authorization Number. Manufacturer will not accept

packages without prior authorization, pre-paid freight (UPS preferred)
and proper insurance.

FOR PERSONAL ASSISTANCE & SERVICE:

Contact Tech 21 weekdays 10:00 AM to 5:00 PM, EST: 973-777-6996.

Hand-built in the U.S.A. using high-quality components
sourced domestically and around the globe.

T: 973-777-6996 • F: 973-777-9899
E: [e-mail] • W: tech21nyc .com
©2017 Tech 21 USA, Inc.

OWNER’S MANUAL

TECH 21, THE COMPANY

Tech 21 was formed by a guitarist possessing the unusual combination
of a trained ear and electronics expertise. In 1989, B. Andrew Barta
made his invention commercially available to players and studios around
the world. His highly-acclaimed SansAmp™ pioneered Tube Amplifier

mulation in professional applications for recording direct and per-

E
forming live, and created an entirely new category of signal processing.
There have since been many entries into this niche, yet SansAmp contin­ues to maintain its reputation as the industry standard.

With a full line of SansAmp models, Tech 21 also offers effect pedals
and MIDI products, as well as “traditional” style amplifiers for guitar

nd bass. Each product is thoughtfully and respectfully designed by B.

a
Andrew Barta himself with the player in mind. Our goal is to provide
flexible, versatile tools to cultivate, control, refine and redefine your
own individual sound. Tech 21 takes great pride in delivering consistent
quality sound, studio to studio, club to club, arena to arena.

PRODUCT OVERVIEW

The Acoustic Fly Rig is more than a pedalboard. In a single pedal. And no
board. Less than 13 inches long and weighing just over 20 oz., this sleek,
compact unit embodies an entire rig. At its heart is the all-analog
SansAmp, which makes it possible to go direct to a PA or mixer. For ef­fects, you have the essentials and fun stuff, too: a compressor, a powerful
boost, a tap tempo delay/chorus and reverb. No crackling patch cables,
dying batteries or ground loops. No stinkin’ van, heavy flight cases, cable
spaghetti, and no dead weight.

THE INS AND OUTS

1/4” INPUT: 1megOhm instrument level. For normal operation, sig­nal level to Input should be close to that of a standard guitar (approxi­mately -10dBm / 250mV).

1/4” UNIVERSAL OUTPUT: Unbalanced low Z output. This
output can be connected to High Z amplifiers (or effects) as well as Low
Z mixer and computer inputs. Output level is unity gain when pedal is in bypass
mode. It also drives long cables without loss of signal integrity, even in bypass.

ALANCED XLR OUTPUT & GROUND CON-

B
NECT SWITCH: Balanced low Z output. When the

Ground Connect switch is engaged, the ground connects.
Disengaged, the ground of your stage system and other inter­connected gear is lifted (isolated) from the ground of the
mixing console.

GOOD TO KNOW BEFORE YOU START

ALL-ANALOG IN-LINE SIGNAL PATH

With the Acoustic Fly Rig, you can relax. For fly gigs across the globe,
jamming at the local hang, and last minute sessions, you’ll be the first one
ready to go. You can stop stressing over what to pack and agonizing over
what to leave behind. You can stop dreading cheesy backline loaners and
being at the mercy of a revolving cast of soundpeople. Just pop your
Acoustic Fly Rig into your guitar case and head for the door. (Be sure to
wipe that smile off your face when the rest of the band shows up sweat­ing and out of breath.)

APPLICATIONS

For LIVE PERFORMANCES DIRECT to the P.A. and
DIRECT RECORDING. All of the tone shaping you need is already

incorporated into the SansAmp section of the pedal. The Acoustic Fly
Rig automatically converts your instrument signal to Low Z allowing
you to plug into a variety of inputs that would normally load down
your guitar’s signal. It can be plugged into mixers (live and studio),
workstation/recorders, and even directly into the sound card on a
computer.

As a PRE-AMP for Guitar or Bass. You can connect the
Acoustic Fly Rig in-line to your amp just as you would a standard pedal.
If the pre-amp of your amplifier is imparting too much of its own char­acter on the pedal, plug into the low level input and set the pre-amp as
clean and neutral as possible.

Also, be aware that most tube amps have a tone stack. When every­thing is on max, they tend to cut the mid-range. So don’t be surprised
to find that the flattest sound is achieved with bass and treble at mini­mum, and mid at max. Since most tube amp passive tone stacks work in
a similar fashion, we recommend this as a good starting point and ad­justing to taste.

You can also plug into the effects loop return (if the amp has one). This
will disable the entire pre-amp of the amp for a more accurate repre­sentation of the Acoustic Fly Rig’s sound.

1

SET LEVEL CONTROLS FOR UNITY GAIN

Set the level controls so you have the same volume coming from your
speaker/monitor whether the pedal is active or in bypass. This ensures
the next device in the signal chain won't get slammed by a much hotter
signal than what would normally come from the instrument. Similarly,
you wouldn't want a drop in volume, either, which would force the next
device to struggle for enough signal.

CLIP WARNING

The EFX section provides a built-in clip warning in the E. Level control.
Like a VU meter, the E. Level LED will flash red to warn you if the
Acoustic Fly Rig is being overloaded. To check the cause, shut off all
the effects. Play your instrument. If the clip warning stays lit, lower the
level of your instrument, as it may be sending too hot a signal. Other­wise, when those sections are engaged, trim the corresponding Level
control accordingly (Comp, Boost, SansAmp).

Bear in mind that occasional blinks (peaks) are okay and can be expected
when you dig into your strings, but it should not be continuously lit.

UNIVERSAL POWER SUPPLY

The Acoustic Fly Rig is shipped with a US prong assembly. To change
the prong assembly, be sure the power supply is

UNPLUGGED.

Press the PUSH switch to release the
prong assembly. Slide the assembly up
(about halfway) to align the side tabs of
the prong assembly with the slots of
the power supply housing. Then pull up
to remove the assembly. Choose the
new prong assembly, align the side tabs
with the slot of the housing and slide
down until it clicks into position.

NOTE: You cannot slide the
prong assembly all the way out
or in.

2

GUIDE TO FUNCTIONS and CONTROLS

HASE FLIP

P

Reverses the input of the guitar signal to help combat feedback. When
out, the output is in phase with the input. When in, the output is re-
versed. If your instrument feeds back, try positioning the switch in to
reverse the phase. If the feedback remains, return the Phase Flip switch
to the out position before proceeding with diagnosing the cause. (Refer
to Noteworthy Notes on pages 7-8.)

(in order of signal flow)

COMP Section

Utilizes old school, all-analog, FET-based technology from the ‘50s and
‘60s, which is inherently warmer, more transparent and more musical
than other methods of compression.

A single, continuously variable control allows you to dial in just the
right amount of compression you need. A little goes a long way, from
soft and barely noticeable to super squashy, infinite sustain.

LEVEL: Adjusts the output level of the Comp section.

BOOST

Independent Boost for solos, up to approx. 12dB.
Includes a wide mid-range boost for improved
clarity.

SANSAMP Section

SANSAMP ON: Engages the all-analog SansAmp technology which

enables the Acoustic Fly Rig to run directly into mixers of recording
desks and PA systems. Sweepable, semi-parametric, active EQ controls
provide professional grade tweakability for any situation.

NOTCH: Sweepable from 70Hz to 350Hz. To engage, push the corre­sponding switch in. It is designed to diminish the sensitivity for feedback,
caused by the resonating, low acoustical frequency of your guitar. Effec­tive, yet gentler than most notch filters, it should not adversely alter
the tone. For an average size and weight acoustic guitar, a setting of
150Hz should be adequate. Different models and sizes, however, may
require further adjustment.

VOLUME: Adjusts the output level of the unit when the SansAmp
section is engaged. This control has an exceptionally wide range for
maximum compatibility with a variety of equipment.

LOW and HIGH: On-board post-EQ section gives you full control,
like having a studio mixing board at your fingertips. Unlike passive tone
controls that only cut, these active shelving EQs cut or boost
from unity gain at 12 o’clock, with pivot point at 1kHz.

MID and MID SHIFT: Sweepable, semi-parametric EQ controls
range from 150Hz to 3.2kHz, ±15dB, respectively. With the Mid Shift
control, you can select the center frequency of the mid-range (Mid)
control. Note: If you set Mid Shift at 12 o’clock, Mid operates as a tra­ditional mid-range control.

±

18dB

LOW PASS FILTER: Sweepable from 1.5kHz to 20kHz, rolls off un­desirable frequencies and artifacts.

3

4

EFX Section

REVERB

Dedicated Reverb function emulates the rich ambiance of open spaces.
This single, continuously-variable control provides a smooth, full sweep
to easily dial in the amount of reverb desired. Choose from small room
or large hall via the SM/LG function switch:
Out position = SM. In position = LG.

DLA/CH FUNCTION SWITCH: Choose between delay and
chorus. The delay is voiced for the sounds of a vintage tape echo. The
chorus is tailored for acoustic guitar using a pitch shift effect, which elim­inates the need for speed and depth controls.
Out position = DLA. In position = CH.

THER GOODIES

O

CHROMATIC TUNER: The TAP/TUNER footswitch engages the

hromatic tuner. Simply hold the footswitch down to engage the tuner,

c
which will simultaneously mute the signal path. The LED in the tuner
window will then light up. If the green light is on, you’re in tune. If you’re
not, the red arrows serve as indicators:

Arrow points up = Flat. Raise the pitch.
Arrow points down = Sharp. Lower the pitch.

As you get closer to being in tune, the arrow will
blink faster and turn off when you are in tune. The
green light then comes on and you’re good to go.

HEADPHONE: Switches the 1/4-inch output into headphone mode
to drive both sides and provide higher powered output.

NOTE: Be sure to disengage when going
direct to a mixing board or amplifier, as
it will easily clip the signal.

TIME: In DLA mode, Time controls the amount of delay. This pro-

vides a smooth, full sweep, ranging from 1 millisecond up to 750 mil­liseconds. At 12 o’clock, Time is approximately 200 milliseconds. You
can easily dial in the exact amount of delay desired with one turn of
the knob. Turning the Time control while playing will transpose the
pitch of your guitar note, just like a vintage analog delay.
NOTE: In CH mode, Time is inactive.

REPEATS: In DLA mode, this feeds back the delayed signal to the
input of the delay circuit to generate the number of repeats. At mini­mum (7 o’clock), you will hear one repeat. As you increase the setting,
the repeats will follow accordingly until they are almost infinite.
NOTE: In CH mode, Repeats is inactive.

CHORUS: In CH mode, a detuned voice creates the effect of 2 or
more instruments in unison.

E. LEVEL: Adjusts the output level of the EFX section only. Also
provides a clip warning (see page 2).

TAP TEMPO: Dedicated footswitch makes it simple to just tap in
the delay tempo you want during your performance. Tap Tempo will
override the Time setting (and conversely, turning the Time knob will
override the Tap Tempo). The Tap Tempo works in Bypass so you can
set it ahead of time. A special feature of the Tech 21 Tap Tempo is that
it will not change the pitch of your guitar tone when you change the
pace from faster to slower or slower to faster. This provides a seam­less transition for on-the-fly adjustments if your drummer drifts.

5

6

NOTEWORTHY NOTES

1) Guitars with on-board pre-amps. Set the tone controls on
your guitar flat and start with the guitar’s volume level halfway. Turn up
the guitar volume until you see the clip light flashing in the E. Level con­trol. Lower the guitar volume accordingly until the clip light stops flash­ing. If you get to max volume on your guitar without the clip light
flashing, you’re good to go. Then balance the guitar’s level with the Vol­ume control of the SansAmp section.

Be aware that if the output of your guitar is too high, it can cause distor­tion. If your guitar is at full volume and the Acoustic Fly Rig’s Volume is
set low and you encounter distortion, back off the volume of the guitar
and bring up the Volume of the SansAmp section as needed. If you still
have distortion and want to avoid smacking yourself in the head when
you contact us, check the battery in the pre-amp of the guitar.

2) Compression. If the output of your guitar is very high, even low
compression settings will sound very compressed. Also, be aware that
higher settings can contribute to feedback.

3) EQ and Distortion. Be mindful that when Mid is in a high boost
position, it can contribute to distortion. For a cleaner sound, try cutting
back on the Mid control.

4) Reverb. Too much reverb can contribute to feedback. We recom­mend using just enough to give you a full sound, but not so much that
you lose definition.

5) Feedback Checkpoints.

a) After setting the tone controls to your liking, turn up the

Volume of the SansAmp section incrementally. If feedback starts

to creep in before you reach the desired level, push the Phase
Flip switch in to reverse the phase. If that doesn’t correct the
problem, return the Phase Flip switch to the out position.

b) Engage the Notch switch and turn the Notch control from

low to high to find the spot where the offending frequency
ceases. Then increase your volume as desired.

c) Check the COMP setting. Since higher settings can contribute to

feedback, disengage the COMP section to see if it stops. To elim­inate the problem before it starts, you can artificially generate
compression feedback and use the Notch filter to locate the
frequency; then decrease COMP as desired.

d) Check the Reverb setting. Again, higher settings can contribute

to feedback.

9) Tech 21 pedals have exceptionally low noise levels.

However, they may amplify noise emanating from the input source. To
minimize noise, we recommend active electronic instruments have the
volume set so that the clip light barely comes on when in Bypass, and
have the tone controls positioned flat. If you need to boost, do so
slowly and sparingly. Also check for pickup interference by moving
your guitar or turning the volume off. Be aware single coil magnetic
pickups are more likely to generate noise.

10) Placement notes: The Acoustic Fly Rig can be treated as an
amplifier or pre-amp when it comes to setting up your signal chain:

lace the following effects BEFORE the Acoustic Fly Rig:

P

haser/Vibe, Overdrive, Wah.

P

Place the following effects AFTER the Acoustic Fly Rig:

Delay, EQ, Flanger, Phaser (yes, after is good, too), Pitch Shifter, Reverb.

11) Buffered bypass eliminates the shortcomings associated with
“true bypass” (pops and clicks, and high-end loss when multiple pedals
are connected together), as well as signal loss associated with other
types of switching circuits.

12) Custom actuators. All Tech 21 pedals feature smooth, cus­tom, silent-switching actuators.

6) Using the Acoustic Fly Rig with headphones. Settings
may sound brighter through the headphones, so simply adjust the con­trols accordingly. Remember to disengage the switch when going direct
to a mixing board or amplifier, as it will easily clip the signal.

7) Tech 21 controls are unusually sensitive and tend to per­form well beyond what would be considered “normal.” So you need
not set everything at max to get maximum results. For instance, to
brighten your sound, rather than automatically boosting High all the
way up, try cutting back on Low first.

8) To find the best settings for interacting with your other gear,
you may need to use radically different settings for each individual way
you use it. You need not be discouraged or suspect something is wrong
with the unit. If you’ve got your sound, you’ve simply found the right bal­ance to complement each individual piece of gear. We recommend you
start with the tone controls at 12 o’clock and cut or boost as necessary.

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