•Utilizes standard 9V alkaline battery (not included). NOTE: Input jack
LEVEL TREBLE MID BASS DRIVE
BLEND
PHA
N
T
O
M
&
G
R
O
U
N
D
C
O
N
N
E
C
T
X
L
R
+1
0
dB
1
/
4
“
I
N
P
U
T
O
U
T
P
A
R
A
L
L
E
L
O
U
T
P
U
T
-
2
0
dB
X
L
R
R
U
M
BL
E
F
IL
T
E
R
A
IR
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).
1
•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).
2
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.
3
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.
4
FOOTSWITCH, with corresponding LED indicator: Engages/disengages
the circuitry. Active, LED will be on. Tonality and gain structure are affected as
determined by the setting of the controls. Delivers effected signal through the
XLR Output and 1/4” Output. Inactive, LED will be off. SansAmp Para Driver
DI functions as an active transparent direct box and will not sonically alter the
instrument signal.
PHANTOM POWER
Allows you to “tap into” the power of a suitably equipped mixer. As the 3conductor XLR sends the audio signal to the input of a mixer, the mixer sends
voltage back to the unit via the same 3 wires, eliminating the need for an
external power supply. Consult your mixer’s owner’s manual for set-up
instructions. For live and studio use, let the engineer know your SansAmp Para
Driver DI is phantom power operable.
PHANTOM & GROUND CONNECT SWITCH: When engaged,
the ground connects and unit will accept phantom power through the XLR
Output. Disengaged, the ground of your stage system and other interconnected gear is lifted (isolated) from the ground of the mixing console.
With a mixer only: If you are plugging your instrument into the Para Driver
and taking the XLR Output to a mixer --and you don’t have any other
grounded equipment connected in the setup-- you will have to
push the switch in to connect the ground and engage the phantom power.
With a mixer and amp: If you’re going to the mixer via the XLR and using
the 1/4” Output or Parallel Output to feed an amp (with its own AC ground),
you should have the switch disengaged (in the up position) to be in “Ground
Lift” mode. If you experience hum and/or buzz with the switch in either position, there is probably a problem with the AC outlets you are plugging into.
NOTE: If using vintage equipment without proper grounds, take extra care
connecting it to modern grounded equipment. The inadequacies of the ground
in vintage gear could result in damaging anything it is connected to.
NOTE: While operating under phantom power, we recommend keeping a 9V
alkaline battery installed at all times to avoid the previously mentioned “pops”
when lifting the ground (see page 4).
5
SPEAKER SIMULATION
Speaker simulation is an integral part of the SansAmp circuitry. It is specifically
designed for a smooth, even response as would be achieved by a multiplymiked cabinet --without peaks, valleys, and notches associated with single miking-- and will complement any type of speaker cabinet system.
NOTEWORTHY NOTES & CONSIDERATIONS
1) SansAmp Para Driver DI is very responsive. Our controls are
unusually sensitive and you need not set everything at max to get maximum
results. For instance, to brighten your sound, try cutting back on the Bass first,
rather than automatically boosting Treble all the way up.
Be aware that boosting Treble and Bass increases the high and low frequency
content without changing the overdrive structure. However, boosting the Mid
and the Mid Shift controls will increase the amount of saturation. (Refer to the
Sample Setting for Sparkle Electric Guitar.) By taking the time to familiarize
yourself with how the EQ controls interact, you will be able to achieve the
proper mix of frequencies that best suits your needs in any venue.
2) The noise level is exceptionally low. However, it may amplify noise
emanating from the input source. To minimize noise going into SansAmp Para
Driver DI, we recommend active electronic instruments have the volume set
at unity gain/maximum and tone controls positioned flat. If you need to boost,
do so slowly and sparingly.
3) Compressors or limiters may not be necessary. Our unique
circuitry emulates the warm, natural, gentle compression of tubes. This limits
transient peaks for an even meter reading, so that outboard units typically are
not needed.
4) Using effects. One of the key attributes of SansAmp is the responsive-
ness to the dynamics and nuances of your playing technique. Therefore, it is
best to have your instrument plugged directly into the SansAmp and place
effects after the SansAmp. If, however, you prefer to place an effect before
SansAmp, be sure to set the output level of the effect at unity gain with the
output level of the instrument.
6
SAMPLE SETTINGS SAMPLE SETTINGS
ACOUSTIC
GUITAR I
ACOUSTIC
GUITAR II
ACOUSTIC
GUITAR III
MID-BOOST
GUITAR
CHAMP
®
MONEY FOR
NOTHING
SPARKLE
ELEC GUITAR
SCHENKER
Samples Settings are guides to get you started.
Levels will vary depending on the actual
instruments and/or amps used.
Note: Rumble Filter and Air were
not engaged (out position) in the
making of the Sample Settings.
SAMPLE SETTINGS SAMPLE SETTINGS
DEEP TUBE
BASS
SVT
®
BASS
JACO BASS
LEAD BASS
UPRIGHT
BASS
ACTIVE BASS
SIMULATOR
ELECTRIC
VIOLIN
CLEAN BOOST
SAMPLE SETTINGS SAMPLE SETTINGS
ELECTRIC
PIANO
HAMMOND®
ORGAN
HIP-HOP
DRUMS
KICK DRUMS
SNARE DRUM
STOMP BOX
(COMPRESSOR)
DIRECT - CLEAN
STOMP BOX
(DISTORTION)
DIRECT - ROCK
STOMP BOX
(DISTORTION)
DIRECT - METAL
®Registered trademarks. Names of Samples Settings
are intended for descriptive purposes only.
CUSTOM SETTINGS CUSTOM SETTINGS
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