Tech 21 Sansamp Para Driver DI User Manual

•Utilizes standard 9V alkaline battery (not included). NOTE: Input jack

LEVEL TREBLE MID BASS DRIVE

BLEND

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4

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MID SHIFT

750Hz

3kHz

160Hz

POWER REQUIREMENTS

activates battery. To conserve energy, unplug when not in use. Power
Consumption: approx. 5mA.

•USE DC POWER SUPPLY ONLY! Failure to do so may damage the

unit and void warranty. DC Power Supply Specifications:

-9V DC regulated or unregulated, 100mA minimum;

-2.1mm female plug, center negative (-).

Optional factory power supply is available: Tech 21 Model #DC2.

WARNINGS:

• 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.

ONE YEAR LIMITED WARRANTY. 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.

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 from 9:00 AM to 5:00 PM, EST.

MADE IN THE U.S.A.

E: info@te ch21nyc. com • www.tech21nyc.com
©20 14 Tech 2 1 USA, Inc.

T: 973-777- 6996 • F: 97 3-777-98 99

SansAmp Para Driver DI (v2)

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 Emulation in
professional applications for recording direct and performing 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. Tech 21 takes great pride in delivering
consistent quality sound, studio to studio, club to club, arena to arena.

PRODUCT OVERVIEW

For recording and live performances, the SansAmp Para Driver DI offers
detailed tone shaping for any signal source in a convenient direct box format.
Our exclusive, 100% analog circuitry eliminates the unnatural harmonics of
piezo pickups. SansAmp Para Driver DI gives your instrument a natural
warmth and presence as if you were miking it through a tube pre-amp.

SansAmp Para Driver DI functions as a pre-amp, a stomp box, as a standard
direct box with EQ (when the Blend is at minimum), and as a standard trans­parent direct box (when in bypass) to convert the instrument signal to a low
impedance balanced output. This prevents signal loss and sound quality deteri­oration caused by long cable lengths. When you engage the SansAmp circuitry

via the on-board footswitch, it gives you the sound and responsiveness of a
miked-up pro stage rig --direct into a recording console or P.A. system. You
can also simultaneously plug straight into a power amp or conventional amp.

APPLICATIONS

WITH AN INSTRUMENT AMP:

•As a Pre-Amp: Run 1/4” Output of the Para Driver directly into the power
amp input, a.k.a. “effects return” (if applicable), of an amp, which will bypass
the amp’s tone-coloring pre-amp section and defeat the amp’s master volume.
So, be sure your instrument’s volume is off, BEFORE you turn on the amp. If
a power amp input is not available, use the cleanest channel with the amp’s
EQ flat and maximum headroom. For best results, keep the Para Driver’s
Level close to unity gain to not overload the amp’s input (which could yield
undesirable distortion).

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•As a Stomp Box: Run the 1/4” Output into the front input of your amp.
For best results, keep SansAmp Para Driver DI’s Level close to unity gain so
as not to overload the amp’s input, which could yield undesirable distortion.

TO DRIVE A POWER AMP: Run the 1/4” Output or XLR Output to the

corresponding input of a power amp, and adjust your stage volume with the
Level control of SansAmp Para Driver DI.

NOTE: When running into the power amp input of an amp or a power amp
alone, make sure to set the Output Level Switches as follows:

If using 1/4-inch: +10dB engaged (in position).
If using XLR: -20dB disengaged (up position).

If you are so inclined, this is the time to crank it --as long as the power amp
volume is close to or at max.

FOR RECORDING DIRECT OR DIRECT TO P.A. SYSTEM:

Plug the XLR or 1/4” Output directly into the input of a mixer/DAW. Work with
the input trim control on the mixer/ recorder and be sure not to overload its
input. If the Level of the Para Driver is below 12 o’clock and is overloading the
board, use the respective output level switch to reduce the output:

If using 1/4-inch: +10dB disengaged (up position).
If using XLR: -20dB engaged (in position).

Bear in mind full-range systems yield a wide frequency response. Therefore,
we suggest you start with the EQ levels at 12 o’clock and then increase/
decrease to taste.

WITH INSTRUMENTS:  Use with acoustic, electric and bass guitars,

and upright bass, as well as keyboards, violin, drums, sax, harmonica, and even
vocals. But don’t stop here. Try your own experimentation.

WITHOUT INSTRUMENTS:

-Insert SansAmp Para Driver DI in your mixing board and use it as an out­board processor to warm up a particular channel.

-Put direct in-line from the microphone to the mixer.

-Enhance existing tracks in the mix-down process.

-Use as a speaker/mic simulator to record your favorite effects/stomp boxes
directly (see Sample Settings).

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GUIDE TO CONTROLS

DRIVE: adjusts the overall amount of gain and overdrive, similar to when the

output section of a tube amp is being pushed. For fatter, more robust clean
sounds, increase Drive until it starts to distort, then gradually decrease until it
disappears.

BASS & TREBLE: These active tone controls cut or boost

unity gain at 12 o’clock. Bass is 80 Hz. Treble is 3.2kHz.

±

12dB from

MID SHIFT & MID

Sweepable, semi-parametric EQ controls range from 160 Hz to 3 kHz, ±16dB,
respectively. With Mid Shift, you can select the center frequency of the mid­range control (MID), enabling you to notch out specific frequencies that may
be causing your acoustic guitar to feed back. You can achieve various unique
sounds by boosting MID and selecting different frequencies with Mid Shift -­such as the “Money for Nothing” sample setting. Note: If you set Mid Shift at
1kHz, MID operates as a traditional mid-range control.

BLEND controls the ratio of your direct instrument signal and the SansAmp

Tube/Microphone Emulation. In most cases, you will probably have this set at
maximum (100% SansAmp). If you should want to hear some of the distinct
timbre of a piezo pickup, or reduce the amount of “compression,” you can
simply adjust accordingly by turning the Blend control counter clockwise.
At minimum, the SansAmp circuitry is bypassed. However, all the other con­trols remain active. The unit then functions as a standard DI with EQ.

LEVEL adjusts the output level of both the 1/4” and XLR outputs.

RUMBLE FILTER

Engaged (in position), it removes unwanted sub-sonic frequencies that cause
boominess and audible handling noises associated with acoustic guitars. Also
complements other instruments, such as electric guitar, for a snappier, more in­your-face sound. Note: When Blend is at minimum, there will be no effect.

AIR

Engaged (in position), adds top-end clarity and sparkle to acoustics. Also com­plements other instruments, as well as vocals, for more definition and more open
sound. Note: When Blend is at minimum, there will be no effect.

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THE INS AND OUTS

Follow Standard Audio Procedure to avoid unwanted and potentially speaker-

damaging “pops” when connecting or disconnecting any equipment:

Always mute mixing board and/or turn down amp volume 

BEFORE plugging or unplugging!

IMPORTANT:  TURN ON FIRST. TURN OFF LAST.

INPUT: 1/4”, 4.7megOhm, instrument level. Switches battery power on/off.

To avoid battery drain, unplug when not in use. (DON’T FORGET TO MUTE!)

PARALLEL OUTPUT: 1/4” unbalanced direct output is “hard-wired” to

the Input jack. Instrument signal passes through, UNEFFECTED, to the input of
your stage amplification system. NOTE: The impedance of the 1/4” Input will
change and assume the impedance of the equipment the Parallel Output is
connected to. If that equipment has a lower impedance (i.e., vintage effects,
tuners, etc.), it will cause the signal to diminish. To avoid signal degradation,
we recommend not using the Parallel Output when a high impedance is
required (for instance, for piezos).

BALANCED XLR OUTPUT: Balanced 600-Ohm low Z output. Sends

effected or uneffected signal to mixing console/recorder, depending on the ori­entation of the Footswitch.

XLR Output Level Switch: -20dB pad to match the output to

equipment with different input level requirements. Disengaged (up position),

the output is 0dB. Engaged (in position), the output is -20dB.

1/4” OUTPUT: Unbalanced 1KOhm low Z output. Sends effected or

uneffected signal to amp rig or power amp, as per the orientation of the
Footswitch.

1/4” Output Level Switch: +10dB boost to match the output to

equipment with different input level requirements. Disengaged (up position),

the output is -10dB. Engaged (in position), the output is 0dB.

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