Tech 21 Fly Rig 5 Owner`s Manual

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POWER REQUIREMENTS
Utilizes included 9V DC, 100-240V universal auto-switching power supply, 200mA minimum, center negative.
NOTE: See page 7 for instructions how to change the prong assembly for countries other than the US.
Tech 21 Model #DC9.
For replacements, contact your local dealer/distributor, or Tech 21. Maximum power consumption of the Fly Rig: approx 150mA.
ARNINGS:
* 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
provide 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. International residents should contact our local distributor, which can be found on the Support page of our website.
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: info@tech21nyc.com • W: tech21nyc.co m ©2019 Tech 21 USA, Inc. (rev 9 /19 )
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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 perform-
E ing 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 and bass. Each product is thoughtfully and respectfully designed by B. An­drew Barta himself with the player in mind. Our goal is to provide you with 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
Each Tech 21 Fly Rig is much more than a pedalboard. In a single pedal. And no board. Less than 13 inches long and weighing just over 20 oz., each sleek, compact unit embodies an entire rig. At the heart, is the all­analog SansAmp, which makes it possible to go direct to a PA or mixer. For effects, you have the essentials and the ability to add some fun stuff, too. What you don’t have are crackling patch cables, dying batteries or ground loops. No stinkin’ van, heavy flight cases, cable spaghetti, and no dead weight.
With a Tech 21 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 overheating at the mere thought of your touring rig going down. Just pop your Fly Rig into your guitar case or backpack 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
As a PRE-AMP or STOMPBOX with a guitar amp.You can connect the Fly Rig 5 in-line just as you would a standard distortion 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 pre­amp as clean and neutral as possible. As most amps tend to be on the bright side, you may need to start with High in the Blonde SansAmp section below 12 o’clock and adjust as necessary.
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 of your amplifier (if the amp has one). This will disable the entire pre-amp of the amp for a truer representation of the pedal’s sound.
For DIRECT RECORDING or DIRECT to PA. All of the tone shaping and cabinet emulation needed is already incorporated into the SansAmp sections of the pedal. It can be plugged into mixers (live and studio), workstation/recorders, and even directly into the sound card on a computer.
GOOD TO KNOW BEFORE YOU START
SIGNAL FLOWS RIGHT TO LEFT
FLY RIG 5 v2
The original Fly Rig, introduced in 2014, was a true game-changer for players in all categories, from touring pros to bedroom hobbyists. At a time when pedalboards were expanding and backs were breaking, the innovative Fly Rig enabled players to slim down without sacrificing great tone, and travel without fear of baggage surcharges and dreaded mys­tery backlines.
Going beyond being just a multi-effects unit, the all-analog SansAmp™ technology enables any Tech 21 Fly Rig to be an actual “rig.” You can run directly into mixers of recording desks and PA systems, as well as aug­ment your existing amplifier set-up. Always seeking to improve our offerings and listening to customer feedback, we’ve incorporated some new features to follow the same form factor as later Fly Rigs, such as the Bass, Acoustic, and Paul Landers Signature PL1.
The Fly Rig 5 v2 retains the same SansAmp heart, but adds a few twists and turns. New features include an independent reverb with choice of room size, switchable pre/post Boost, an effect loop, a tuner, and an XLR Output.
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THE INS AND OUTS
1/4” INPUT: 1megOhm instrument level. For normal operation, sig-
al level to Input should be close to that of a standard electric guitar
n (approx -10dBm / 250mV). The input is designed with the same sensi­tivity and loading characteristic as a tube amp.
GUIDE TO FUNCTIONS and CONTROLS
SANSAMP Sections
he SansAmp technology enables the Fly Rig 5 to run directly into mixers
T
f recording desks and PA systems, as well as augment your existing am-
o
lifier set-up. It can also be used to enhance previously recorded tracks.
p
!! WARNING !! DO NOT RUN THE SPEAKER OUT-
PUT OF ANY AMP directly into a Fly Rig/SansAmp
input. Severe damage will result.
1/4” UNIVERSAL OUTPUT: Unbalanced 1kOhm Low Z instru-
ment level output. This output can be connected to High Z guitar 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.
BALANCED XLR OUTPUT & GROUND CONNECT 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.
NOTE: Both outputs can be used simultaneously. For example, 1/4" Out to your amp and XLR Out to PA mixer, which is one instance where the Ground might need to be disengaged.
LEVEL CONTROLS
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.
PLEXI/CALI SansAmp Section
rovides the dirtier side of the Fly Rig. You have a choice of a roaring
P
lexi tone with its muscular crunch, detailed mids and mule-kick low
P
nd or you can engage the Cali switch (in position) for the chunk of a
e
70s high gain amp tone inspired by the then-boutique shop over on the
est Coast. Each mode can be dialed in to your liking with dedicated
W
rive, Tone and Level controls.
D
DRIVE: Adjusts the overall amount of gain and overdrive, similar to when the output sec­tion of a tube amp is being pushed. Highly interactive with the level of your guitar. For in­stance, you can clean up the amount of distortion by decreas­ing the guitar’s volume (except in very extreme settings) without having to change the setting on the pedal. Conversely, you can in­crease the amount of distortion by simply increasing the guitar’s volume.
TONE: Adjusts the hi-end content. At max, it’s flat. As you reduce the setting, it will decrease the high end.
LEVEL: Adjusts the output level of the Plexi/Cali SansAmp section. This control has an exceptionally wide range for maximum compatibil­ity with a variety of equipment.
BLONDE SansAmp Section
RELATIONSHIP OF THE LEVEL CONTROLS
Be aware that the “last” level in the signal path will determine the over­all output level:
Plexi/Cali and no Boost: Plexi/Cali Level Plexi/Cali and/or Blonde and no Boost: Blonde Level Plexi/Cali and Pre-Boost: Plexi/Cali Level Plexi/Cali and/or Blonde and Pre-Boost: Blonde Level Plexi/Cali and/or Blonde and Post-Boost: Post-Boost Level
The Delay Level control only affects the mix level of the delay, not the overall output level.
REVERB LEVEL CONTROL SERVES AS A CLIP WARNING
The Reverb control has a built-in clip warning. Like a VU meter, it will flash red to warn you if the Fly Rig is being overloaded.
You can then trim the corresponding control accordingly: Plexi/Cali SansAmp Level, Boost Level or Blonde SansAmp Level. 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.
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The Blonde SansAmp section of the Fly Rig 5 v2 has the tonality of the Blonde Character Series pedal. It includes 3-band active EQ, Level and Drive controls. To dirty things up, you have the flexibility of using the Drive control, the Boost function, or you can add grit from the Plexi/Cali section. Or all three. Each method achieves different tones.
DRIVE: Adjusts the overall amount of gain and overdrive, similar to when the output section of a tube amp is being pushed. The first half of the rotation will increase the volume as well as the overdrive.
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LOW, MID, 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 controls cut and boost. At 12 o’clock, they are flat. LOW is tuned to ±12dB @ 80 Hz. MID is tuned to ±12dB @ 500 Hz. HIGH is tuned to ±12dB @ 3.3 kHz.
LEVEL: Adjusts the output level of the unit when the Blonde SansAmp section is engaged. This control has an exceptionally wide range for maximum compatibility with a variety of equipment.
Level Tip: When running the Fly Rig 5 Output directly to the PA, set the SansAmp Levels fairly high to achieve the best signal-to-noise ratio.
SPEAKER SIMULATION
Speaker simulation is an integral part of the SansAmp circuitry. It is de­signed for a smooth, even response as would be achieved by a multiply­miked cabinet, without the peaks, valleys, and notches associated with single miking. The shape of the speaker curve will not adversely effect or interfere with the frequency response of your own cabinet. The speaker simulation works in tandem with the EQ controls to custom tailor the overall sound.
If desired, you can defeat the speaker simulation by disengaging the speaker switch (up position). NOTE: The speaker simulation defeat function will only affect the 1/4” output. It will not defeat the signal going through the XLR Output.
PRE/POST BOOST
Switchable Pre/Post Boost to beef up drive and distortion or increase the overall volume to punch up fills and solos.
Out position = Pre-Boost up to 20dB In position = Post-Boost up to 12dB
EFX Sections
DELAY
The delay is voiced for the sounds of a vintage tape echo.
TIME: Controls the amount of delay. This single, continuously-vari­able control provides a smooth, full sweep, ranging from 28 millisec­onds up to 1,000 milliseconds. At 12 o’clock, Time is approx 300 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.
REPEATS: 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.
Repeats Tip: When using the Delay in front of an amp, the amp will compress the signal and the repeats will become more pronounced. Therefore, you will most likely need to have the setting lower than you would when running through an effects loop. For instance, you may find a Repeats setting at 10 o’clock through an effects loop will yield 3 repeats. However, through the front of an amp, you may find a setting of 8 o’clock will give you the same results.
DRIFT Switch: Adds a random, unpredictable element to the mod­ulation that is more true to a vintage tape echo.
8TH Switch: Changes quarter notes to dotted 8ths. Out position = Quarter notes. In position = Dotted 8ths.
LEVEL: Adjusts the output level of the Delay section only.
DUAL-FUNCTION TAP/REVERB FOOTSWITCH:
Engages the Tap Tempo function just by tapping it. Holding it down for half-second will engage/disengage the Reverb function.
TAP TEMPO: Simply 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 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.
REVERB
Reverb features a single, continuously-variable control. It provides a smooth, full sweep to easily dial-in the amount of reverb desired. Choose between “rooms” via the Size switch:
Out position = Small room In position = Large room
Also functions as a clip warning (see page 3).
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THER GOODIES
O
CHROMATIC TUNER
he BLONDE/TUNER footswitch engages the chromatic tuner. Simply
T hold the footswitch down for half-second to engage the tuner, 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. When you’re finished tuning, simply hold the footswitch for half-second to disengage.
EFFECT LOOP
Post-SansAmp, pre­effects to patch in external effect ped­als. Connect the input of your effect to Send; output of your effect to Return.
Hookup diagram utilizing the 4-cable method:
OTEWORTHY NOTES
N
1) Using the Fly Rig 5 with a Power Engine 60. Simply con­nect the 1/4” output of the Fly Rig 5 to the 1/4” input of the Power Engine 60. Be aware the Power Engine 60 utilizes a ground independ­ent transformer, which may pick up hum from the auto-switching power supply. Therefore, the XLR input of the Power Engine 60 should be grounded. You can make your own grounding plug by modi­fying a male XLR connector by soldering Pin 1 to Pin 3 and inserting into the XLR input of the Power Engine 60 per the diagram below. NOTE: If you’re not into soldering, a Tech 21 grounding plug is avail­able for purchase. Please see our website Accessories page for details.
2) Using the Fly Rig 5 with a Power Engine Deuce Deluxe.
Simply connect the 1/4” output of the Fly Rig 5 to the 1/4” input of the Power Engine Deuce Deluxe.
3) 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.
UNIVERSAL POWER SUPPLY
The included power supply is provided with a U.S. prong assembly in­stalled. To change the prong assembly to one of the included Euro­pean, UK or Australia/New Zealand styles, be sure the power supply is unplugged and follow these instruc­tions:
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.
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4) 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.
5) 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 pickups are more likely to generate noise.
6) Placement notes: The Fly Rig can be treated as an amplifier or pre-amp when it comes to setting up your signal chain:
Place the following effects BEFORE the Fly Rig:
Phaser/Vibe, Overdrive, Wah.
Place the following effects in the Effect Loop of the Fly Rig:
Delay, EQ, Flanger, Phaser, Pitch Shifter, Reverb.
7) 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.
8) Custom actuators. All Tech 21 pedals feature smooth, custom, silent-switching actuators.
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