DOCSLIB.ORG

Audio Engineering 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Audio Engineering 1 (AE) Audio Engineering 1 AE 200. Audio Engineering II. 3 Hours. (AE) AUDIO ENGINEERING In AE 200, students build upon their audio knowledge and experience obtained in Audio Tech. I, through classroom studies and hands-on Courses recording and mixing. Students foster their knowledge by investigating AE 100. Audio Engineering I. 3 Hours. audio fundamentals, signal flow, common recording technologies, and This course surveys the fundamental concepts of audio production. studio operation procedures. In the lab, students learn microphone, It introduces students to sound and psycho-acoustics, the principles console, and session management techniques by recording live of audio consoles and signal routing, and essential technologies such performers. In personal labs, students hone mixing and recording skills. as loudspeakers, microphones, and signal processing. Throughout the A minimum of C+ must be earned for all required Audio Engineering course, students develop a common vocabulary relating to the audio courses in the Music Production, Post Production, and Live Sound industry, concepts, and career options. Lab work includes mixing and Production concentrations. Prerequisite(s): AE 103 and AE 104. signal flow exercises. A minimum of C+ must be earned for all required AE 201. Applied Audio Engineering II. 3 Hours. Audio Engineering courses in the Music Production, Post Production, and In the studio, students learn microphone, console, and session Live Sound Production concentrations. management techniques through the recording of live performers. AE 101. Applied Audio Engineering I. 2 Hours. In personal labs, students hone mix skills through weekly mixing of This course is the lab segment for AE 100 Audio I, which introduces prerecorded material. In order to continue in the Audio Engineering and/or acoustics and psycho-acoustics, the principles of audio consoles Live Sound Program, students must earn a grade of “C+” or higher in this and signal routing, and essential technologies such as loudspeakers, course. Prerequisite(s): AE 103 and AE 104. microphones, and signal processing. Throughout the course students AE 202. Intro To Music Production. 3 Hours. develop a vocabulary of common audio definitions, concepts, and career This course helps students achieve an understanding of the ideas and options. Lab work includes mixing and signal flow exercises. A minimum principles behind the theory and the structure of music. Harmony, melody, of C+ must be earned for all required Audio Engineering courses in rhythm, and form are explored, coupled with theory and ear training the Music Production, Post Production, and Live Sound Production exercises, and composition projects. A minimum of C+ must be earned concentrations. for all required Audio Engineering courses in the Music Production, Post AE 102. Music Structure and Style for Audio. 3 Hours. Production, and Live Sound Production concentrations. Prerequisite(s): This course fosters an appreciation of various musical genres and AE 104. their typical forms, stylistic components, and instrumentation. Through AE 203. Sound Reinforcement Techniques I. 3 Hours. regular music listening and analysis, students develop their abilities to This course reinforces live sound knowledge and skills through hands communicate in professional music environments. Emphasis is made on on experience. Topics include digital console operation, microphones, critical listening skills that highlight the recording and mixing techniques mixing workflows, wireless audio technologies, and advanced signal common in music production. A minimum of C+ must be earned for flow concepts. Participation in performance events is required, including all required Audio Engineering courses in the Music Production, Post concerts, video productions, sporting events, and variety shows. A Production, and Live Sound Production concentrations. minimum of C+ must be earned for all required Audio Engineering AE 103. Intro To Live Sound Production. 3 Hours. courses in the Music Production, Post Production, and Live Sound This course introduces the concepts and practices of live sound Production concentrations. Prerequisite(s): AE 103. engineering. In the lab, students learn analog console functionality AE 221. Intro to Post Production. 3 Hours. and how to properly set up a system for a live event. In the lecture, This course explores the fundamentals of editing video as a complement students receive a survey of live sound essentials including console to the audio portion of students' work. From file management to operation and gain structure, microphone usage, electrical fundamentals, compression schemes and from editing on a timeline to distribution monitor engineering, and the basics of system design. A minimum of C+ methods, students examine various facets of video, including must be earned for all required Audio Engineering courses in the Music commercials, films, live productions, and television shows. The course Production, Post Production, and Live Sound Production concentrations. also looks at how certain aspects of audio post production integrate Prerequisite(s): AE 100 and (AE 101 or EP 122). with variations of video, including a snapshot of Foley work, ADR, SFX AE 104. Pro Tools 1. 3 Hours. mixing, and surround sound editing. A minimum of C+ must be earned Pro Tools I offers an introduction to the most widely used application for all required Audio Engineering courses in the Music Production, Post for music and post production in the world today. The course provides Production, and Live Sound Production concentrations. the foundational skills necessary for basic recording, mixing and editing AE 275. Event Production Technology. 3 Hours. within the Pro Tools environment. Students learn file structure, edit This course explores the multidisciplinary nature of live event production. functions, time scale and ruler views, session configuration, recording The fundamentals of stage lighting, theatrical and entertainment rigging, and managing audio, importing audio and QuickTime movie files, MIDI and video projection are explored, with a weekly emphasis placed basics, software based mixing, virtual instruments, region groups, looping on event safety and methods for working effectively in a large, multi- audio, and the use of plug-ins. A minimum of C+ must be earned for department production crew. Across the semester, students become all required Audio Engineering courses in the Music Production, Post familiar with stage and production terminology, common job titles and Production, and Live Sound Production concentrations. Prerequisite(s): their associated responsibilities, and complete mock load-ins and strikes AE 100 and AE 101. in a variety of event scenarios. AE 299. Topic/. 1-6 Hour. This course listing is intended to provide the opportunity for faculty to offer courses of interest in Communications Technology that would not normally be part of the University curriculum. 2 (AE) Audio Engineering AE 300. Technical Foundations of Audio Systems. 3 Hours. AE 324. Pro Tools II Post. 3 Hours. This course explores advanced audio theory including gain staging, This course builds intermediate Pro Tools skills in audio post production. loudness, electricity fundamentals, power, and grounding. It also Students learn the components of a HDx system, advanced mixing and addresses concerns in the design and interconnection of digital and editing options, the use of alternate production tools, time operations, analog audio equipment. A minimum of C+ must be earned for all alignment techniques, writing and editing automation, recording and required Audio Engineering courses in the Music Production, Post comping multiple takes, elastic audio, virtual instruments, MIDI, and beat Production, and Live Sound Production concentrations. Prerequisite(s): detective. Students complete hands-on projects involving editing and AE 200 and AE 201 and AE 203. mixing audio for video in the Pro Tools environment. A minimum of C+ AE 301. Hybrid Mixing Techniques. 3 Hours. must be earned for all required Audio Engineering courses in the Music In this course, students create music and post-production mixes, building Production, Post Production, and Live Sound Production concentrations. technical and listening skills. A culminating cartoon project applies Prerequisite(s): AE 300 and AE 301 and AE 311. learned mix and recording skills in a complex post-production project. AE 330. Internship. 3 Hours. A minimum of C+ must be earned for all required Audio Engineering This experiential course is a supervised work experience with courses in the Music Production, Post Production, and Live Sound participating employers for Communications Technology students. It Production concentrations. Prerequisite(s): AE 200 and AE 201 and provides for the application of classroom learning in a professional work AE 203. environment. Prerequisite(s): (Major= Communications Technology – AE 302. Electronic Music Technology. 3 Hours. Live Sound Technology or Major=BS Communications Technology - The course covers the practices and principles of analog and digital Audio Engineering or Major=BS Communications Technology – Video sound synthesis, sequencing, sampling, and MIDI. Use of both hardware Production or Major=BS Communications Technology- WebMedia) and and software devices are employed and students learn techniques (College Level=Senior). Each student will find, will choose, or will be to create music tracks with various controllers and synthesized provided with an internship site. The site chosen
Load more

Recommended publications
  • Universal Audio 4-710D User Guide
    Model 4-710d Four-Channel Tone-Blending Mic Preamplifier Universal Audio Part Number 65-00051 Revision A Universal Audio, Inc. Customer Service & Tech Support: +1-877-MY-UAUDIO Business, Sales & Marketing: +1-866-UAD-1176 www.uaudio.com Notices This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio Model 4-710d. Disclaimer The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. Copyright © 2011 Universal Audio, Inc. All rights reserved. This manual and any associated software, artwork, product designs, and design concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Trademarks 4-710d, 710, Twin-Finity, 4110, 8110, SOLO/110, SOLO/610, 2-610, LA-610, LA-2A, 2-LA2, LA-3A, 6176, 1176LN, 2-1176, 2192, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. Other company and product names mentioned herein are trademarks of their respective companies FCC Compliance This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) the device must accept any interference received, including interference that may cause undesired operation.
    [Show full text]
  • Model ST-PH1 Phono Preamplifier
    ® STICK-ON SERIES Model ST-PH1 Phono Preamplifier ANYWHERE YOU NEED A... · Stereo or Mono Phono Preamplifier. · Preamplifier with Balanced or Unbalanced Output · Preamplifier with Hi or Low-Impedance Output · Accurate, Low Noise Preamplification You Need The ST-PH1! The ST-PH1 is part of a group of products in the STICK-ON series from Radio Design Labs. The durable bottom adhesive permits quick, permanent or removable mounting nearly anywhere or it may be used with RDL’s STR-19A or STR-19B racking adapter for rack mounting! The ST-PH1 gives you the advantages of a high quality, low-noise phono preamplifier with a big plus, you can put it where you need it! The ST-PH1 is a stereophonic phono preamplifier. Each of the channel circuits is identical. The ST-PH1 has standard 47 kW impedance unbalanced phono cartridge inputs. Each output drives either a balanced or unbalanced line. Equalization follows the RIAA curve. The output is capable of driving into either high or low impedance loads. The output may be connected either balanced or unbalanced. The ST-PH1 features superior circuitry, which produces the unsurpassed pure clarity for which Radio Design Labs products are known! Some features are: · Input matched to standard cartridges used in the industry. · Impeccable audio quality. · Ultra-low distortion and noise. · Output levels adjustable (Independent adjustment for left and right channels). · Ample headroom at operating level. · Outputs short circuit protected. · Positive connections via barrier block, no audio connectors to wire. Although some equipment has phono inputs, optimum system performance is obtained when phonographs are preamplified as close to the turntable as possible, and then the line level signals are fed to the next piece of equipment in the chain.
    [Show full text]
  • V55 Di-Re-Preamplifier Loud Or Excessive Clicks Or Pops
    AVALON V55 QUICK SET-UP OPERATING GUIDE PHASE (switch) BOOST (+dB) TONE (shape) HI (switch) Reverses the polarity of Trims input gain Ten postion Passive HIGH ALL (3) input sources Line : -2dB to +38dB Passive Tone Bank™ cut filter Instrument : +2dB to +42dB 1-6 for music contour -3dB @ 3.7kHz SIGNAL Mic HiZ : +20dB to +60dB High pass filters eliminates noise Mic LoZ : +26dB to +66dB HF lift ~ LF cut and fret buzz Peak capture (scale calibrated for Mic LoZ) (see graphs) Bi-color LED Blue = 0dB POWER Red = +20dB Bi-color LED Blue = AC ON Red = +48v ON PAD (switch) Resistive attenuator for ALL (3) inputs TONE (switch) Line : -13dB Activates the Instrument : -10dB Passive Tone Bank™ Microphone : -15dB INPUT MODE INSTRUMENT V55 Dual Channel DI-RE-PREAMPLIFIER Selects INPUT source 1/4” unbalanced Line : XLR~1/4” TRS jack RTS phone jack METER Instrument : 1/4” TRS jack (front) 10 meg.ohm high-Z Professional VU meter Microphone HiZ & LoZ : XLR ideal for keyboards, -30dB to +18dB wide scale Mic LoZ + 48v phantom power ON synthesizers, drum machines, 0VU = 0dB = 0.775v RMS passive & active acoustic, V55 WHEN SWITCHING FROM LO-Z MIC INPUT TO bass and electric guitars LO-Z +48V (PHANTOM POWER) INPUT, ALWAYS MAKE SURE THE BOOST CONTROL Note: For best sonic performance, IS SET TO THE MINIMUM GAIN POSITION allow thirty minutes for warm-up. AND REDUCE MONITOR LEVEL TO AVOID V55 DI-RE-PREAMPLIFIER LOUD OR EXCESSIVE CLICKS OR POPS. www.avalondesign.com Avalon Design is a division of Avalon Industries, Inc.
    [Show full text]
  • Twin-Servo™ Microphone Preamplifier
    RADIAL 500 SERIES smart sheet TWIN-SERVO™ MICROPHONE PREAMPLIFIER Order No. R700 0111 10 The Jensen Twin-Servo™ utilizes Deane Jensen’s iconic 990 op-amp design to deliver the most exceptional mic preamp built in the 500 series format. The circuitry boasts two 100% discrete 990 op-amps cascaded in tandem to deliver 60dB of gain, with incredibly low noise and phase distortion, and an ultra-wide 0.2Hz-150kHz frequency response. Jensen input and output transformers provide massive amounts of headroom, with clean and transparent operation suitable for the most critical recording applications. A 21-detent gain control makes for easy session recalls, with a 10-segment LED meter for accurate signal management. 48V phantom power, a 180° polarity reverse, high-pass fi lter and -15dB pad are also provided, all with individual LED indicators to verify settings at a glance. When it comes to high performance mic preamps, nothing beats the Jensen Twin-Servo. OMNIPORT - When used with a Radial Workhorse power rack the omniport is assigned as a unbalanced 220K ohm instrument input. FEATURES 10 SEGMENT METER - Custom designed circuit for greater VU meter accuracy. • Ultra-low noise preamp with over 60dB of gain • Built in high-pass fi lter and 180° polarity reverse DUAL-GANG POT - Simultaneously controls the dual 990 op- amp topology for optimal gain at all levels. • Dual Jensen transformers for maximum head- room 180° - Inverts pins 2 and 3 at the output to help phase align microphones when two channels are in stereo use. APPLICATIONS HPF - Gentle high-pass fi lter may be inserted into the signal • Perfect for recording any source path to reduce excessive low frequency content and control • Transparent and detailed operation resonance.
    [Show full text]
  • THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M
    THE DYNAMIC RANGE POTENTIAL OF THE PHONOGRAPH By Ronald M. Bauman his article describes a new transmission standards of even lower added to the quietest passages by the approach for analyzing the quality than our current CD standards. cartridge-preamplifier combination dynamic range of the phono- Unless these standards are dramatical- should be essentially inaudible. graphic playback system, in which the ly upgraded (in terms of information Similarly, the cartridge-preamp sys- cartridge and preamplifier are treated content), we may never have a source tem should be able to clearly repro- as an integrated system. I analyzed of music for our homes that sounds ducd the loudest sounds on record the dynamic range potential of several better than the phonograph. without distortion, compression, or combinations of phono cartridges and Are analog records inherently better clipping. preamplifier amplifying devices and in some sense? Your ears may already The same should be true of CD compared the results to CDs. be telling you that analog can sound playback. The quietest passages Additionally, I speculate about the better than today's digital. I will should be reproduced without added drawbacks of frequency domain char- provide quantitative reasons this may noise or distortion of the rnusic acterizations of musical audio compo- be so. caused by amplitude steps, or sam- nents and suggest that the time pling intervals that are too coarse, or domain may be a more natural frame Qualitative Requirements by filter phase shifts and ringing. The of reference for audio instrumentation The subtlety of detail in the grooves of loudest peaks encoded, as for analog development.
    [Show full text]
  • Front of H Ouse M Ixing Consoles
    Front of House Mixing Consoles Mixing House of Front 4 BUS MIXING CONSOLE WITH USB I/O & 24BIT DIGITAL EFFECTS Safety Instructions/Consignes de sécurité/Sicherheitsvorkehrungen WARNING: To reduce the risk of fire or electric shock, do not expose this unit to rain or moisture. To reduce the hazard of electrical shock, do not remove cover or back. No user serviceable parts inside. Please refer all servicing to qualified personnel.The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. Important Safety Instructions 1. Please read all instructions before operating the unit. 2. Keep these instructions for future reference. 3. Please heed all safety warnings. 4. Follow manufacturers instructions. 5. Do not use this unit near water or moisture. 6. Clean only with a damp cloth. 7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong.
    [Show full text]
  • PR-101 STEREO PREAMPLIFIER Headphone Amp ASSEMBLY MANUAL
    PR-101 STEREO PREAMPLIFIER Headphone Amp ASSEMBLY MANUAL © 2015-2017 AkitikA LLC All rights reserved Revision 1p10 February 22, 2017 Page 1 of 21 Table of Contents Table of Contents ................................................................................................................ 2 Table of Figures .................................................................................................................. 3 Section 1: About This Manual ............................................................................................ 4 Who Should Attempt this Project? ................................................................................. 4 Tools you’ll need ............................................................................................................ 4 Helpful Tools .................................................................................................................. 4 Project Overview ............................................................................................................ 4 Important Safety Notes ................................................................................................... 5 About Components ......................................................................................................... 5 Recommended Solder ..................................................................................................... 5 Warranty ........................................................................................................................
    [Show full text]
  • Clarett 2Pre Usb Technical Specifications
    User Guide www.focusrite.com Version 1.2 TABLE OF CONTENTS OVERVIEW . 3 Features . 4 Box Contents . 5 System Requirements.........................................................5 Getting Started . 6 Software Installation ..........................................................6 Hardware Features . 7 Front Panel ....................................................................7 Rear Panel . 8 Connecting your Clarett 2Pre USB...............................................9 Computer audio setup ...........................................................9 Audio Setup in your DAW........................................................10 Connecting Clarett 2Pre USB to loudspeakers . 10 Examples of Usage . 12 1. Recording a solo artist........................................................12 2. Using the optical connections..................................................14 3. Using the Clarett 2Pre USB as an on-stage mic pre-amp . 15 FOCUSRITE CONTROL - OVERVIEW . 16 CLARETT 2PRE USB TECHNICAL SPECIFICATIONS . 17 Performance Specifications . 17 Physical and Electrical Characteristics..........................................18 TROUBLESHOOTING . 19 COPYRIGHT AND LEGAL NOTICES . 19 2 OVERVIEW WARNING: Excessive sound pressure levels from earphones and headphones can cause hearing loss. WARNING: This equipment is only compatible with USB Type 2.0, 3.0 or 3.1 ports, or Thunderbolt 3 ports. More information regarding the compatibility of computer serial ports can be found at https:// support.focusrite.com/hc/en-gb/articles/115002287829-USB-port-clarification-and-compatibility
    [Show full text]
  • Comparing the Cost of Preamplifiers to Their Sonic Fidelity and Frequency Output
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Spring 5-20-2016 Comparing the Cost of Preamplifiers ot Their Sonic Fidelity and Frequency Output Jackson O. Hunter California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Part of the Audio Arts and Acoustics Commons Recommended Citation Hunter, Jackson O., "Comparing the Cost of Preamplifiers ot Their Sonic Fidelity and Frequency Output" (2016). Capstone Projects and Master's Theses. 548. https://digitalcommons.csumb.edu/caps_thes/548 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Hunter 1 Jackson Hunter Professor Sammons MPA 475 20 May 2015 COMPARING THE COST OF PREAMPLIFIERS TO THEIR SONIC FIDELITY AND FREQUENCY OUTPUT More than ever, too many times, audio engineers get caught up in the hype of big name brands and large price tags. However, the popularity of a brand, as well as the cost of its gear does not always equate to quality hardware. The microphone preamplifier is a perfect example of this disparity between price tags and brand names and performance of the equipment. The goal of this paper is to make one second guess the intrinsic idea that things that cost more and have a solid brand reputation actually sound better.
    [Show full text]
  • Tech 21 Power Engine Deuce Deluxe
    – STEVE SATTLER Tech 21 Power Engine Deuce Deluxe ech 21’s Power Engine Deuce Deluxe Power Engine Deuce Deluxe you can use your With all that interconnectivity being possible, is a full-range, flat response (FRFR) imagination and use your legacy preamplifiers the Power Engine Deuce Deluxe’s 200 watts Tamplifier that has been devised end to and effect processors in new and creative ways. are more than loud enough for most stage end to be a flexible tool for working musicians. The XLR input and output connections on applications without running into the house PA. This is (no pun intended) a true 21st century the Power Engine Deuce Deluxe allow you to You can take the Power Engine Deuce Deluxe piece of technology. connect it directly into your house PA or studio to your next band practice or club gig and have Tech 21 has a long history of product mixing board in a variety of mono and stereo no problem keeping up with your drummer. innovation, and with their SansAmp pretty configurations. For stage use, this means you Keep in mind, the Power Engine Deuce much invented the market for professional can chain multiple Power Engines together in Deluxe is not a traditional guitar amplifier even tube emulation guitar preamplifiers. The Tech left/right mono or stereo output, main stage though it looks and, to a certain extent, acts like 21 Power Engine Deuce Deluxe continues or monitor configurations. You can also, for one. All of the tone-shaping controls are there in that tradition of innovation and offers up a example, take the “dry” line output of any solid to help dial in the gain stage of whatever signal wide range of usable features for the gigging state guitar amplifier and run 100% “wet” out of path you input.
    [Show full text]
  • Soundcraft GB Series Brochure
    TYPICAL SPECIFICATIONS Frequency Response Mic/Line Input to any output, 20Hz - 20kHz ...................................... <1dB THD + N Mic sens. -30dBu, +20dBu at all outputs @1kHz .......................... <0.006% Noise Measured RMS, 22Hz to 22kHz Bandwidth Mic E.I.N. @ unity gain,150Ω source impedance........................... -128dBu Mix Output, 40 inputs routed to mix .............................................. <-82dBu Group & Centre Outputs ................................................................ <-83dBu Aux Outputs (GB2 Groups only) ..................................................... <-80dBu Matrix Outputs............................................................................... <-89dBu GRAHAM BLYTH Graham Blyth, Soundcraft’s co-founder and Technical Crosstalk Input Channel Mute......................................................................... <-97dB Director, has taken the well established and classic (@1kHz, typical) Input Fader cut-off........................................................................... <-95dB Pan isolation ................................................................................... <-75dB Soundcraft microphone preamplifier to a new level of Mix route isolation........................................................................... <-97dB performance, resulting in the new GB30 preamp which Group route isolation....................................................................... <-97dB boasts extraordinary clarity with exceptionally controlled Adjacent channel crosstalk.............................................................
    [Show full text]
  • Theta Pre Amp Pedal
    INTRODUCTION Congratulations on your purchase of the THETA Preamp Pedal. The THETA Preamp Pedal was designed to provide the maximum possible over the top performance. With a front end preamplifier, a full complement of pre and post gain tone, over the top screaming gain, more than any preamplifier or pedal available plus a full Decimator II G-String noise reduction system. The THETA Preamp Pedal can be used as a dual channel preamplifier with both a clean preamp and distortion channel or with the front end preamp overdriving the distortion for massive high gain. Both Clean and Distort sections provide noise reduction with a full implementation of Decimator II G-String noise reduction allowing the use of extremely high gain with absolutely no noise. The THETA Preamp Pedal also incorporates ISP proprietary “dynamic gain modulation” providing a dynamic feel similar to a tube amplifier with a tube rectifier. Please read this manual carefully for a through explanation of the THETA Preamp Pedal and its functions. IMPORTANT SAFTEY INSTRUCTIONS Please read the following very carefully before operating this unit Read ALL instructions carefully before using this unit. Keep these instructions for future reference. Heed all warnings and follow all instructions. Do not use this unit near water, in the rain, or where there is moisture. If this warning is ignored a serious electrical shock or death may occur. Do not attempt to service this unit. No user serviceable parts inside. Refer servicing to qualified, ISP approved personnel. Servicing is required when the unit is damaged in any way, such as power adaptor is damaged, liquid has been spilled into the unit, the unit has been exposed to rain or moisture, does not operate normally, or has been dropped.
    [Show full text]