Fishman GLM-200 User guide

L i m i t e d W a r r a n t y

The FISHMAN Pocket Blender is warranted to function for a period of One (1)

Year from the date of purchase. If the unit fails to function properly within the warranty period, free repair and the option of replacement or refund in the event that FISHMAN is unable to make repair are FISHMAN’s only obligations. This warranty does not cover any consequential damages or damage to the unit due to misuse, accident, or neglect. FISHMAN retains the right to make such determination on the basis of factory inspection. Products returned to FISHMAN for repair or replacement must be shipped in accordance with the Return Policy, as follows. This warranty remains valid only if repairs are performed by

FISHMAN. This warranty gives you specific legal rights and you may also have other rights which may vary from state to state.

Return Policy

To return products to FISHMAN TRANSDUCERS, you must follow these steps...

1. Call FISHMAN TRANSDUCERS at 978-988-9199 for a Return Authorization

Number (“RAN”).

2. Enclose a copy of the original Bill of Sale as evidence of the date of purchase, with the product in its original packaging and a protective carton or mailer.

3. FISHMAN TRANSDUCERS’ technicians will determine whether the item is covered by warranty or if it instead has been damaged by improper customer installation or other causes not related to defects in material or workmanship.

4. Warranty repairs or replacements will be sent automatically free of charge.

5. If FISHMAN TRANSDUCERS determines the item is not covered by warranty, we will notify you of the repair or replacement cost and wait for your authorization to proceed.

F I S H M A N T R A N S D U C E R S

340-D Fordham Road Wilmington MA 01887 USA

Phone 978-988-9199 • Fax 978-988-0770 www.fishman.com

Rev 2 • 4-11-02 • 009-010-001

®

U s e r G u i d e

Pocket Blender

Acoustic Instrument Preamp

®

P o c k e t B l e n d e r

Thank you for choosing the Fishman Pocket Blender. Our goal is to provide you with acoustic amplification products that will simply let you sound your best. With our long-standing commitment to quality, you can feel confident that your Fishman gear will produce great sound and trouble-free performance for years to come. Please take a few minutes to read this guide and familiarize yourself with the system. Your satisfaction is very important to us. If you have any questions or comments, please contact us at [email protected] or by phone at 978-988-9665.

C ONTENTS

Introduction ......................................................................

1 2

Install pickup/Microphone on the instrument ...................

1 3

Quick Start .......................................................................

1 4

Features ...........................................................................

1 5

Power Options ..................................................................

1 6

Front Panel

Microphone Channel ............................................

1 6

Transducer Channel ............................................

1 7

Master Section .....................................................

1 8

Rear Panel .......................................................................

1 8

Suggested Input Options ................................................. 10

Suggested Output Options .............................................. 12

Outputs/Effects Loops ..................................................... 13

Trouble Shooting ............................................................. 14

Optional Accessories ....................................................... 15

Specifications ................................................................... 15

Block Diagram ................................................................ 16

Appendix - The Microphone ........................................... 17


High Frequency Feedback

The microphone's rising response can create a feedback loop with a high frequency driver in your speaker system. This feedback usually starts above 1.5 kHz, peaks at 4 kHz and subsides at 9 kHz. There are several approaches to minimizing high frequency feedback:

1. Strategic Positioning: This works best in low to medium volume settings. The simplest solution for this type of feedback is to keep the microphone out of the path of the loudspeaker.

You can do this by:

a. Avoid standing directly in front of your amp.

b. Send separate mix and transducer signals to your soundman and have only the transducer signal sent to your stage monitor.

2. Turn down the treble control on microphone channel.

3. Reverse phase switches on both channels.

4. Insert an outboard equalizer after the Pocket Blender's output (i.e.):

a. EQ with sweepable frequencies: The Fishman Pro EQ Platinum has sweepable frequencies to let you dial out high freq. feedback.

b. Parametric EQ: We suggest cutting 5 dB at 4 kHz, with a 1.5 octave bandwidth (Q).

c. Graphic EQ: Cut 3 dB at 1.2 kHz. Gradually increase the amount of cut to -9 dB at 4-5 kHz. Above 5 kHz, gradually decrease the amount of cut to -3 dB at 10 kHz.

-30

-20

-10 dB 0

-10

-20

-30

20 100

FIG. 1

1k 10k 20k

-30

-20

-10 dB 0

-10

-20

-30

20 100

FIG. 2

1k 10k 20k

-30

-20

-10 dB 0

-10

-20

-30

20 100 1k 10k 20k

I

NTRODUCTION

: T

HE

B

LENDER

S

YSTEM

The Fishman Pocket Blender is a compact yet full-featured

2-channel outboard mixer/preamp designed for acoustic stringed instruments. It is specifically set up for blending a pickup with an onboard miniature microphone.

1 - Microphone and Pickup (Transducer)

Everyone loves the way a microphone captures the natural ambience and resonance of an acoustic instrument. But microphones have a downside; they feedback when you crank up the volume and tend to get lost in the mix when there are other amplified instruments onstage. Pickups deliver a balanced high output signal with low feedback, but they can sound somewhat dry compared to microphones.

MINI-MICROPHONE MOUNTED ON

X-BRACE NEAR SOUNDHOLE

2

UNDER-SADDLE PIEZO

TRANSDUCER

19


Using other Microphones

The Pocket Blender is also compatible with other manufacturers' mini-electret Microphones. Consult the manufacturer for specific minimum power requirements, wiring configuration and instrument mounting systems (the Fishman Microphone mounts are dedicated to the Crown GLM series).

Dynamic Microphones (such as the SM 58) may be used with the Pocket Blender. You'll need a low to high impedance adapter plugged into the Ring jack of a stereo "Y" cable. Turn off the 9-Volt Phantom Power (switch is out) for this application.

LESS BASS

Positioning the Crown GLM-200 Microphone

It's worth taking the time to experiment with mic placement. Here are some suggestions to help you get started:

MORE BASS

Internally mounted Microphone(flat top guitars)

Start with the Microphone centered in the soundhole, slightly below the top. Position the face of the

Microphone (marked "FRONT") toward the inside of the instrument. Tilting the Microphone as much as 90° may help reduce boominess.

Externally mounted Microphone

(violin, bass, cello, arch-top guitar).

Start with the Microphone centered halfway between a bridge foot and F-hole. Position the face of the Microphone (marked front) towards the instrument. Tilting the Microphone as much as 90° may help reduce boominess. Placing the Microphone directly over an

F- hole will produce a deep, woody tone. However, the Microphone will feedback at the instrument's cavity resonance. This can be easily remedied by notching out the feedback with an external equalizer (see below). Placing the Microphone over the soundboard will produce a tight, focused tone with more midrange emphasis but less overall output.

A DDRESSING F EEDBACK

Low Frequency Feedback

All stringed instruments' sound chambers are tuned to resonate at an optimum frequency, in the instrument's lowest octave. Placing a

Microphone directly over the opening of the instrument may result in feedback at this "cavity resonance".

Typical Resonant Frequencies:

Guitar; 95-105 Hz

Bass; 65-75 Hz

Violin; 275-300 Hz

Cello; 125-135 Hz

To Minimize Cavity Resonance Feedback:

1. Position the Microphone away from the opening on non-flattop instruments. This works well in low volume settings.

2. Turn down the bass control on the Microphone Channel.

3. Push in the bass cut switch on the Microphone Channel.

4. Invert the Phase switches on both Channels. (See Page 6 )


a. Notch Filter: The Fishman Pro-EQ Platinum has a notch filter for eliminating low freq. feedback.

b. Parametric EQ: We suggest cutting 5 dB at the instrument's cavity resonance (see above) with a .5 octave bandwidth (Q).

c. Graphic EQ: Cut 5 dB at the instrument's cavity resonance (see above) with 1/3 octave cuts on either side of the center frequency.

18


The Pocket Blender allows you to combine the benefits of both pickup and microphone signals to achieve results not available by simply using one or the other. With this system, a microphone rounds out the dry, direct sound of a pickup

- while the "bite" of a pickup adds focus and definition to the microphone sound.

We recommend (and sell) the Crown GLM-200 mini-microphone for the Pocket Blender. Electret microphones made by other manufacturer's can be modified for use with the Pocket Blender (contact the manufacturer for specific wiring).

2 - Stereo Instrument Cable

For convenience, we use a TRS stereo instrument cable to get the individual microphone and pickup signals from the instrument into the

Pocket Blender. The Pocket Blender supplies a 9-Volt bias voltage through the ring connection that in turn powers the mini-microphone.

Microphone to Ring

Shield to

Sleeve

Pickup Signal to Tip

Zener Diode between Ring & Sleeve

Stereo Jack

Tip

Ring

Sleeve

Stereo Plug

3 - The Pocket Blender

Each channel of the Pocket Blender is set up for the particular signal conditioning requirements of microphone and pickup. Once the pickup/microphone signals are blended, the composite signal can be routed to amplification, recording gear or signal processing equipment via XLR and 1/4" outputs. An effects loop is also included for each channel.

I NSTALLING A P ICKUP / C ROWN GLM 200 M ICROPHONE

C OMBINATION O N Y OUR I NSTRUMENT

Before you begin using your Pocket Blender, have a repair professional install the appropriate pickup and microphone combination for your instrument.

Note: The Pocket Blender is also compatible with other manufacturers' mini-electret microphones. Consult the manufacturer for specific minimum power requirements, wiring configuration and instrument mounting systems (the Fishman microphone mounts are dedicated to the Crown GLM series).

Three Common Scenarios:

1 - W IRING A P ASSIVE P ICKUP & M ICROPHONE

A passive pickup is any transducer (piezo or magnetic) that works without a battery.

Note: To minimize crosstalk with a passive pickup, use a "2-pair" premium stereo cable (Fishman part # ACC-BLE-15C) with separate shields for both the pickup and microphone signals.

1. Connect red microphone wire to ring terminal.

2. Connect white and shield microphone wires to sleeve.

3. Connect pickup signal wire to tip and pickup shield to sleeve.

4. Connect supplied zener diode in place between red wire (ring) and ground (sleeve).

Note that banded side of diode must be closest to red wire.

3

P o c k e t B l e n d e r P o c k e t B l e n d e r

2 - W

IRING TO

A

COUSTIC

M

ATRIX

N

ATURAL

I & II

1. Remove shielding cap to expose preamp circuit board.

2. Connect red microphone wire to ring pad on circuit board.

3. Connect white and shield microphone wires to "G" pad adjacent to ring pad.

4. Connect supplied zener diode in place between red wire and sleeve. Note that banded side of the zener diode must be closest to red microphone wire.

3 - W IRING THE M IC & P ICKUP WITH S EPARATE C ONNECTORS

The advantages to wiring the microphone and pickup to separate mono connectors are:

a. Microphone is interchangeable with other instruments.

b. Less cross talk between passive pickups and the microphone.

Typically, classical guitarists and double bassists find this arrangement convenient for sharing the microphone with several different instruments. Classical guitarists can install the microphone without drilling holes in the instrument. In this configuration, the microphone can also be removed without disturbing the pickup.

1. Connect red microphone wire to tip terminal on a ¼" mono plug.

2. Connect white microphone wire and shield to sleeve terminal the same plug.

3. Solder supplied zener diode in place between red wire and sleeve.

Note: The banded side of the diode must be closest to the red wire. For use with the Pocket Blender, plug the mic into the

RING jack of a stereo "Y" cable (available from Fishman).

Warning: Installation by a qualified repairperson is strongly recommended. Fishman Transducers Inc. will not be responsible for any damages due to improper installation.

A

PPENDIX

I - T

HE

M

ICROPHONE

GLM-200

ACTUAL

SIZE

A variety of microphones can be used with the Pocket Blender. However, the Crown

GLM-200 is our microphone of choice for the system. It is a mini-electret condenser microphone with a hyper-cardioid response pattern. It's high SPL rating (130 dB), small size and crystal clear "rising" frequency response make it ideal for close mic'ing acoustic stringed instruments. We offer the

GLM-200 optimized specifically for use with the Blender System.

The Pocket Blender provides 9-Volts of

Phantom power to the GLM-200 via the tip terminal at the input jack.

FRONT

REAR

GLM-200

RESPONSE PATTERN

Microphone to Ring

-30

-20

-10 dB 0

-10

-20

-30

20 100 1k

GLM-200

FREQUENCY RESPONSE CURVE

10k 20k

Tip Sleeve

A small zener diode is included with the

GLM-200 microphone. It is pre-wired to both the Bass and Violin jack assemblies

(BMA,BP-100-M, V-200-M). It is included separately with all other kits. It must be installed for the microphone to be covered under warranty. The zener diode prevents static electricity from damaging the microphone.

Shield to

Sleeve



Stereo Jack

Microphone Wiring (Typical)

Ring

Stereo Plug

The GLM-200's small size allows it to be conveniently mounted in or outside the sound chamber of most stringed instruments. The microphone, with a (TRS) stereo jack included, can be attached to the instrument using one of the following mounting systems:

Q

UICK

S

TART

To get up and running you'll need these components:

• Pocket Blender

• 9-Volt alkaline battery

• Pickup and mini-microphone connected to a stereo jack (See Page 3)

• Stereo instrument cable

• XLR cable or 1/4" instrument cable

1. Install a fresh 9-Volt alkaline battery.

2. Connect the stereo cable between the instrument and the input of the Pocket Blender.

3. Set the Mute, Lo and Hi switches to the out position. Set the phantom power switch on the rear panel to the in position. Set both channel volume controls fully counter clockwise. Set the Master level to 3:00. Set all the bass and treble controls to 12:00.

4. Run a cable from one of the outputs on the rear panel of the Pocket Blender to your amp or PA.

5. Adjust the trim controls - See Page 7

6. With the Pocket Blender's Master Level at 3:00, adjust both the microphone and transducer volume controls to approximately the same level.

7. Set the phase switches - See Page 6

GMA - Guitar Microphone Assembly

The Microphone is mounted in the sound hole with a clip that attaches to the X-brace under the instrument's soundboard.

The jack is run through the instrument's endpin hole.

Soldering and some assembly is required.

BMA - Bass Microphone Assembly

The mount attaches to a bridge foot with an adhesive backed nylon clip. The jack (pre wired to Tip) mounts between the A & D strings. Also available with a pre-wired pickup

(BP-100M).

V-200M Pickup and Mini-Mic

The mount is integrated into a Carpenter-style jack that attaches above the instrument's chin rest.

M-200M Mandolin Pickup and Mini-Mic

The mount is integrated into a Carpenter-style jack that attaches to the mandolin's lower bout.

4 17


B LOCK D IAGRAM

16

2 3 4

1 Located on top

5 6 7


8 9 volume bass phase hi treble lo trim

M I C R O P H O N E

10 11 12 13 low volume bass phase treble battery

POCKET BLENDER trim

T R A N S D U C E R volume mute

14 15 16

26 input microphone - ring transducer - tip effects loop microphone send return phantom power

9V transducer send

Made in the USA return output ground lift

AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

20 17 18 19

F

EATURES

FRONT PANEL

1) BATTERY COMPARTMENT

2) MICROPHONE VOLUME

3) MICROPHONE BASS CONTROL

4) MICROPHONE TREBLE CONTROL

5) TRANSDUCER VOLUME CONTROL

6) TRANSDUCER BASS CONTROL

7) TRANSDUCER TREBLE CONTROL

8) BATTERY LOW LED

9) MASTER VOLUME CONTROL

10) MICROPHONE TRIM CONTROL

11) MICROPHONE PHASE SWITCH

12) MICROPHONE HI CUT SWITCH

13) MICROPHONE LO CUT SWITCH

14) TRANSDUCER TRIM CONTROL

15) TRANSDUCER PHASE SWITCH

16) MUTE SWITCH

21 22 23 24 25

F EATURES

REAR PANEL

17) 9-VOLT PHANTOM POWER SWITCH

18) 1/4” INPUT JACK (TRS)

19) MICROPHONE EFFECTS SEND

20) MICROPHONE EFFECTS RETURN

21) TRANSDUCER EFFECTS SEND

22) TRANSDUCERS EFFECTS RETURN

23) 1/4” UNBALANCED OUTPUT

24) GROUND LIFT SWITCH

25) XLR BALANCED OUTPUT

26) AC ADAPTER INPUT

5


P OWER O PTIONS

9-Volt Battery

Lift the lid on top of the Pocket Blender and insert a fresh 9-Volt alkaline battery. Observe the correct polarity. Battery life is an estimated 60 hours of continuous use.

9-Volt AC Adapter Input

Use only a well filtered and regulated 9-Volt AC adapter. We recommend a Fishman Model-910 or

Roland PSA series regulated AC Adapter. Use of an unregulated adapter will not only void the warranty, but may damage the unit.

Input Jack

Plug in a TRS stereo cable here. The input will accept two separate signals via a stereo instrument cable.

(Tip = Transducer Channel, Ring = Microphone Channel) Engage the Mute switch before you plug into the input to avoid a loud pop through the speakers. When you plug in here the battery turns on. To save the battery remember to unplug the input when you're not using the Pocket Blender.

M ICROPHONE C HANNEL

Use the Microphone Channel for a mini-electret microphone (switch 9-Volt phantom on rear panel on) or with a second pickup (9-Volt phantom off).

Volume Control

Normally set the volume for the microphone at around 12:00 (see Trim instructions below).

Bass And Treble

These shelving style tone controls provide basic equalization for the Microphone Channel. Set them at

12:00 for no cut or boost (flat).

Phase Switches

Prevent feedback and match up the pickup and microphone signals for a stronger amplified sound.

How to kill feedback in the Microphone Channel:

•

•

Adjust the Master volume level to 3:00 and turn the Transducer volume off (7:00).

Adjust the Microphone Channel volume to just below the threshold of feedback. Play your instrument and toggle the Microphone Channel phase switch. Leave the switch where it feeds-back the least.

How to get the pickup in phase with the microphone:

•

•

After you perform the above step, raise the Transducer Channel volume until it is about the same level as the Microphone. Play a sustained note or chord on your instrument and toggle the Transducer Channel

Phase switch. Leave the switch in the position that sounds strongest and feeds-back the least.

Once the pickup and Microphone are in Phase, make note of the relative position of the two switches.

They will be either in the same position, or one in and one out. To keep pickup/mic in phase, push both switches anytime you adjust the overall polarity.

6

O

PTIONAL

A

CCESSORIES

• A/C Adapter: Fishman 910-R regulated 9-Volt power supply.

• Crown GLM-200 mini-mic: Ships without jack; ready to be wired to the jack of your choice. Soldering and assembly required.

• Internal Mic Mount: Allows you to mount the Crown

GLM-200 mini-mic to the X-brace of your guitar.

• Guitar Mic Assembly: Mounts to the X-brace of your guitar. Includes a mini-mic, internal mic mount and stereo endpin jack. Soldering and assembly required.

• Bass Mic Assembly: Mounts to the bridge foot of an acoustic bass. Includes pre-wired mini-mic, mic mount and a stereo bass jack.

• Switchjack Stereo Endpin Jack with Tip, Ring,

Sleeve and Switch terminals

• Stereo Bass Jack: Mounts on the A and D strings between bridge and tailpiece.

• Transducers: We make a full line of quality

Transducers for many types of acoustic stringed instruments.

• BP-100M: Bass pickup and mini-mic pre-wired to stereo bass jack.

• V-200M: Violin pickup and mini-mic pre-wired to a

Carpenter-style output jack.

• M-200M Mandolin pickup and mini-mic pre-wired to a Carpenter style output jack.

• Mic Stand Adapter: Allows you to mount the Pocket

Blender on any Microphone stand.

• 15' Stereo Cable

• 15' Premium Stereo Cable

• Stereo "Y" Cable: 1/4" stereo male to (2) 1/4" mono female.

Bass Control Range:

Treble Control Range:


S

PECIFICATIONS

Input Impedance:

Transducer: 10 M

Ω

Microphone without phantom power: 1.0 M

Ω

Microphone with 9-Volt phantom power: 10 K

Ω

Phantom Power:

Nominal Input Level:

Input Overload:

9-Volts, .5 mA

-20 dBV

(20Hz-20kHz)

-8 dBV

Output Type:

Electronically balanced XLR and unbalanced 1/4" Jack

Output Impedance:

XLR: 220

Ω

1/4” JACK: 1 K

Ω

Nominal Output Level:

Output Overload:

-11 dBV

14 dBV

(600 Ohm load)

Effects Loop Nominal Levels:

Transducer channel: -3.5 dBV

Microphone channel: -3.0 dBV

Effects Loop Send Impedance:

Return Impedance:

1 K

Ω

23 K

Ω

± 8 dB shelving

± 13 dB shelving

Front Panel Trim Gain Range:

Overall THD:

Overall Dynamic Range:

Signal to Noise Ratio:

Dual Power Supply:

Dimensions:

Weight:

16 dB

.07% @ 1 kHz,

-14 dBV input

110 dB

87 dB (A-weighted, referred to nominal

- 20 dBV input)

9-Volt regulated, or single 9-Volt battery

(Estimated 60 hours of continuous use)

6.75" x 2" x 3"

1 lb 2 oz

All specifications subject to change without notice

15


T ROUBLESHOOTING

(see Joe for new troubleshooting tips)

SYMPTOM TYPICAL CAUSE

Symptom

Distorted or no mic signal with active pickup.......

SOLUTION

SET MUTE SWITCH TO OUT POSITION orientation, delete AUX/mic in override)

LOOSE BATTERY COMPARTMENT

TERMINALS

Mic is dead and pickup appears in Microphone Channel.......

Piezo/magnetic pickup dead or low level in mic Channel ....

MUTE SWITCH IN

Distortion from extremely "hot" signals.......(fix?)

Hum.....

PHANTOM POWER IS OFF

( SWITCH IS OUT )

WITH MINI-MICROPHONE

CONNECTED TO INPUT JACK

DEVICE APPEARING AT THE

MICROPHONE EFFECTS RETURN

IS BREAKING THE SIGNAL PATH

REMOVE BATTERY AND RE-TENSION TERMI-

NALS BY PULLING THEM UP WITH YOUR FINGER

SET MUTE SWITCH TO OUT POSITION

TURN PHANTOM POWER ON

( SWITCH IS IN )

REMOVE PLUG FROM THE


MICROPHONE IS DEAD AND PICKUP

APPEARS IN MICROPHONE CHANNEL

NOISE OR DISTORTION

FROM EITHER CHANNEL

DISTORTION FROM EXTREMELY

‘HOT’ SIGNALS SUCH AS

EXTERNAL PICKUP

HUM

MICROPHONE AND PICKUP ARE WIRED TO STEREO

OUTPUT JACK BACKWARDS

( MICROPHONE TO TIP AND PICKUP TO RING )

WIRE PICKUP TO TIP AND MICROPHONE TO

RING OF STEREO OUTPUT JACK

LOW BATTERY

TRIM CONTROL(S) SET TOO HIGH

MECHANICAL NOISE FROM INSTRUMENT

MECHANICAL NOISE FROM

INSTRUMENT CABLE

INPUT CLIPS WITH TRIM CONTROL

ALL THE WAY DOWN

WHEN LOW BATTERY LED STAYS ON

WITH INPUT JACK PLUGGED IN,

IT IS TIME TO CHANGE THE BATTERY

LOWER TRIM CONTROL(S)

UNTIL DISTORTION DISAPPEARS

LISTEN TO INSTRUMENT ACOUSTICALLY

TO ISOLATE NOISE

TIGHTEN ALL PLUG HARDWARE

AN UNREGULATED POWER SUPPLY WILL CAUSE THE

POCKET BLENDER TO HUM UNDER AC POWER

POORLY SHIELDED OR

UNSHIELDED CABLE

CONSULT FISHMAN TECH SUPPORT LINE

AT 978-988-9665

USE ONLY FISHMAN 910-R

OR ROLAND PSA SERIES AC ADAPTERS

USE ONLY QUALITY FULLY SHIELDED

INSTRUMENT CABLES

HIGH FREQUENCY LOSS WITH

PASSIVE PIEZO

USE ONLY 15’ OR SHORTER INSTRUMENT

CABLES WITH PASSIVE PICKUP

INSTRUMENT CABLE IS TOO LONG

14


Trim Control

Set as high as possible without hearing distortion.

Start with the control fully clockwise and play your loudest note or chord. If you hear distortion, lower the trim with a small slotted screwdriver until the distortion goes away.

The Trim control can also be used to set the baseline levels for the Microphone and Transducer

Channels. If there is a disparity between the microphone and pickup levels, use the Trim control to attenuate one channel (usually the Transducer Channel). Try setting the Trim controls this way ...

1. Set the Output Level to 3:00.

2. Set both Channel volumes to 12:00.

3. Play a note or chord on your instrument and lower the Transducer Channel Trim control until both levels are equal, or are balanced to suit your taste.

Hi Cut Switch

Push in this switch to reduce microphone feedback.

Lo Cut Switch

Push in this switch to roll off excessive boominess in the Microphone Channel, especially for guitar.

T RANSDUCER C HANNEL

Volume Control

Normally set the volume at around 12:00 (see Trim instructions below).

Bass and Treble Controls

These shelving style tone controls provide basic equalization for the Transducer Channel. Set them at


Trim Control



Phase Switches

Prevent feedback and match up the pickup and microphone signals for a stronger sounding amplified signal.

Refer to Page 6 for more information on how to use the Pocket Blender's Phase switches.

7


M ASTER S ECTION

Low Battery Indicator

If you use a battery to power the Pocket Blender, the LED will flash briefly when you plug into the inputtelling you that the unit is powering up.

When the red LED lights with no signal present it is time to change the battery.

If the low battery light comes on while you're playing don't worry, you'll have enough power to get through a gig. Just be sure to change the battery before the next time you use the preamp.

Master Volume Control

For the cleanest sound, set the master volume as high as you can without distorting your amp or mixer.

Mute Switch

Mutes all signals at the output section, so you can take breaks without changing any of your volume settings.

With the mute engaged you can also silently disconnect the cable from your instrument without a loud pop through the speakers.

The mute switch is also useful with an electronic tuner. Plug the tuner into the transducer send and engage the mute switch. You can now tune onstage without being heard through the speakers.

U SING M ULTIPLE O UTPUTS

All the Pocket Blender's outputs can be used simultaneously.

This offers a basic combination of signal routing and interfacing options to accommodate most performance and recording situations.

R EAR P ANEL

9-Volt Phantom Power Switch

Push the switch in for 9 volts bias voltage to the ring contact of the Input jack.

Push the 9-Volt phantom power switch in when you use a mini-electret microphone. Push the switch out if you will use the Microphone Channel for a second pickup (piezo or magnetic)

Input jack (see Page 6)

Effects Loops

The microphone effects loop lets you insert outboard effects or signal processors into the Microphone

Channel.

The microphone channel send comes after the:

• Bass and treble controls

• Trim control

• HI cut and LO cut switches

• Phase switch

8

E FFECTS L OOPS

The Pocket Blender has two effects loops for microphone and for transducer signals. The sends can be used as additional outputs. The returns can be used as alternate inputs. The transducer effects send makes a perfect output signal for electronic tuners.

STAGE AMP


STAGE AMP input microphone - ring transducer - tip effects loop microphone send return transducer send return phantom power

9V

Made in the USA

DIRECT

BOX output ground lift

AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

PICKUP SIGNAL ONLY

SENT TO STAGE MONITOR

POWER AMP AND SPEAKERS MIXER input microphone - ring transducer - tip effects loop microphone send return transducer send return phantom power

9V

Made in the USA output ground lift

AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

13

DIGITAL REVERB


S UGGESTED O UTPUT O PTIONS

1. Connect the 1/4" output to the input of an instrument amplifier.

The amp will see a blended signal of both microphone and pickup. input microphone - ring transducer - tip effects loop microphone send return phantom power

9V transducer send


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

2. Connect the XLR output to the input of your PA system. The PA will see a blended signal of both

Microphone and pickup. This is a great way to control exactly what the soundman has to work with and what the audience will hear.

input microphone - ring transducer - tip effects loop microphone send return phantom power

9V transducer send


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

3. XLR to mains and transducer effects to stage monitors to reduce feedback.

Connect the XLR output to the input of your PA system. The house will see a blended signal-both

Microphone and pickup.

The signal from the transducer send goes into a direct box and then into the PA. Have the soundman put only this signal through the stage monitors to help reduce feedback.

TRANSDUCER SIGNAL ONLY

SENT TO STAGE MONITOR input microphone - ring transducer - tip phantom power

9V effects loop microphone send return transducer send return output ground lift

Made in the USA

AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

BLENDED SIGNAL

SENT TO MAINS

12


The Microphone Channel return comes before the:

• Volume and master volume controls

• Mute Switch

The transducer effects loop lets you insert outboard effects or signal processors into the Transducer

Channel.

The Transducer Channel send comes after the:


• Trim control

• Phase switch

The Transducer Channel return comes before:


• Phase and mute switches

P ATCHING O PTIONS WITH THE E FFECTS L OOPS

Sends

When you need a fixed level signal (regardless of changes in stage level) use the transducer and microphone sends. Typical applications for the sends:

• Transducer Send to an Electronic Tuner

The transducer send provides a strong and steady signal for electronic tuners. Since the send is not affected by the mute switch, you may tune your instrument onstage without being heard through the speakers.

• Live Recording or Broadcast Feed

Since the sends are not affected by any of the front panel volume controls, you can plug them into an external DI for a fixed level signal for recording or radio gear.

Returns

The microphone or transducer returns can be used as alternate inputs. A buffered signal appearing at one of the Returns will replace the signal appearing at the respective input of the Pocket Blender.

For example, a CD or MD player can plug into the microphone return, replacing the microphone signal.

Outputs

Plug the 1/4" output into an instrument amplifier or an unbalanced input on a mixer.

Plug the XLR output into the balanced input of a PA mixer or recording console.

Ground Lift

Use this switch to eliminate AC ground loop hum. When you use the XLR output together with the 1/4" output or one of the effects loops and you hear hum from the speakers, push the ground lift switch in and the hum should go away. If you have more than one AC powered device plugged into the Pocket

Blender, the "lift" position may not completely eliminate ground loop hum.

9


S UGGESTED I NPUT O PTIONS

Internal Microphone and Pickup

• Pickup goes to tip, microphone goes to ring.

• Pickup and microphone signals are routed through a stereo instrument cable to the input jack.

• Pickup signal goes through Transducer

Channel.

• Microphone signal goes through

Microphone Channel.

• 9-Volt phantom power on (switch pushed in).

volume bass phase hi treble lo trim low volume bass phase treble battery

POCKET BLENDER trim volume mute input microphone - ring transducer - tip effects loop microphone send return transducer send return phantom power

9V


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

STEREO CABLE

Pickup Alone

• Single pickup is sent through a mono instrument cable to the input jack.

• The signal goes through the transducer channel.

• Turn the 9-Volt phantom power off (switch pushed out) to save battery life.

volume bass phase hi treble lo trim low volume bass treble battery phase


9V


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

MONO CABLE

Mini-Microphone Alone

• Microphone goes through a mono instrument cable to the ring jack of a

Stereo "Y" cable (p/n ACC-BLE- CBY).

The signal goes to the microphone channel.

• Turn the 9-Volt phantom power on (switch is in).


POCKET BLENDER trim volume mute output input microphone - ring transducer - tip effects loop microphone send return transducer send return phantom power

9V

Made in the USA

STEREO Y CABLE ground lift

AC ADAPTERS

ROLAND PSA SERIES

TIP

RING

MONO CABLE

10


Piezo and Magnetic Pickup

• Signal from piezo is routed through a mono instrument cable to the tip jack of a Stereo

"Y" cable (p/n ACC-BLE-CBY).

This signal goes to the transducer channel.

• Signal from magnetic pickup is sent through a mono instrument cable to the ring jack of a Stereo


This signal goes to the microphone channel

• 9-Volt phantom power is off

(switch is out).

Note: Both signals may be routed through a stereo instrument cable.

input microphone - ring transducer - tip phantom power


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

Made in the USA

STEREO Y CABLE

MONO CABLE

MONO CABLE

Under-saddle and Surfacemount Piezo Pickups

• Signals from both pickups are sent through a stereo instrument cable to the input jack.

• Under-saddle pickup signal (tip) is routed to the Transducer

Channel.

• Surface-mount pickup (ring) is routed to the Microphone

Channel.


(switch pushed out).

Note: Both signals may be routed through two mono instrument cables and a stereo "Y" cable (p/n ACC-

BLE-CBY).

input microphone - ring transducer - tip effects loop microphone send return transducer send return output

9V

AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

Made in the USA

STEREO CABLE

11


S UGGESTED I NPUT O PTIONS

Internal Microphone and Pickup

• Pickup goes to tip, microphone goes to ring.

• Pickup and microphone signals are routed through a stereo instrument cable to the input jack.

• Pickup signal goes through Transducer

Channel.

• Microphone signal goes through

Microphone Channel.

• 9-Volt phantom power on (switch pushed in).



9V


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

STEREO CABLE

Pickup Alone

• Single pickup is sent through a mono instrument cable to the input jack.

• The signal goes through the transducer channel.

• Turn the 9-Volt phantom power off (switch pushed out) to save battery life.

volume bass phase hi treble lo trim low volume bass treble battery phase


9V


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

MONO CABLE

Mini-Microphone Alone

• Microphone goes through a mono instrument cable to the ring jack of a

Stereo "Y" cable (p/n ACC-BLE- CBY).

The signal goes to the microphone channel.

• Turn the 9-Volt phantom power on (switch is in).


POCKET BLENDER trim volume mute output input microphone - ring transducer - tip effects loop microphone send return transducer send return phantom power

9V

Made in the USA

STEREO Y CABLE ground lift

AC ADAPTERS

ROLAND PSA SERIES

TIP

RING

MONO CABLE

10


Piezo and Magnetic Pickup

• Signal from piezo is routed through a mono instrument cable to the tip jack of a Stereo


This signal goes to the transducer channel.

• Signal from magnetic pickup is sent through a mono instrument cable to the ring jack of a Stereo


This signal goes to the microphone channel


(switch is out).

Note: Both signals may be routed through a stereo instrument cable.

input microphone - ring transducer - tip phantom power


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

Made in the USA

STEREO Y CABLE

MONO CABLE

MONO CABLE

Under-saddle and Surfacemount Piezo Pickups

• Signals from both pickups are sent through a stereo instrument cable to the input jack.

• Under-saddle pickup signal (tip) is routed to the Transducer

Channel.

• Surface-mount pickup (ring) is routed to the Microphone

Channel.


(switch pushed out).

Note: Both signals may be routed through two mono instrument cables and a stereo "Y" cable (p/n ACC-

BLE-CBY).

input microphone - ring transducer - tip effects loop microphone send return transducer send return output

9V

AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

Made in the USA

STEREO CABLE

11


S UGGESTED O UTPUT O PTIONS

1. Connect the 1/4" output to the input of an instrument amplifier.

The amp will see a blended signal of both microphone and pickup. input microphone - ring transducer - tip effects loop microphone send return phantom power

9V transducer send


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

2. Connect the XLR output to the input of your PA system. The PA will see a blended signal of both

Microphone and pickup. This is a great way to control exactly what the soundman has to work with and what the audience will hear.

input microphone - ring transducer - tip effects loop microphone send return phantom power

9V transducer send


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

3. XLR to mains and transducer effects to stage monitors to reduce feedback.

Connect the XLR output to the input of your PA system. The house will see a blended signal-both

Microphone and pickup.

The signal from the transducer send goes into a direct box and then into the PA. Have the soundman put only this signal through the stage monitors to help reduce feedback.

TRANSDUCER SIGNAL ONLY

SENT TO STAGE MONITOR input microphone - ring transducer - tip phantom power


Made in the USA

AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

BLENDED SIGNAL

SENT TO MAINS

12


The Microphone Channel return comes before the:


• Mute Switch

The transducer effects loop lets you insert outboard effects or signal processors into the Transducer

Channel.

The Transducer Channel send comes after the:


• Trim control

• Phase switch

The Transducer Channel return comes before:


• Phase and mute switches

P ATCHING O PTIONS WITH THE E FFECTS L OOPS

Sends

When you need a fixed level signal (regardless of changes in stage level) use the transducer and microphone sends. Typical applications for the sends:

• Transducer Send to an Electronic Tuner

The transducer send provides a strong and steady signal for electronic tuners. Since the send is not affected by the mute switch, you may tune your instrument onstage without being heard through the speakers.

• Live Recording or Broadcast Feed

Since the sends are not affected by any of the front panel volume controls, you can plug them into an external DI for a fixed level signal for recording or radio gear.

Returns

The microphone or transducer returns can be used as alternate inputs. A buffered signal appearing at one of the Returns will replace the signal appearing at the respective input of the Pocket Blender.

For example, a CD or MD player can plug into the microphone return, replacing the microphone signal.

Outputs

Plug the 1/4" output into an instrument amplifier or an unbalanced input on a mixer.

Plug the XLR output into the balanced input of a PA mixer or recording console.

Ground Lift

Use this switch to eliminate AC ground loop hum. When you use the XLR output together with the 1/4" output or one of the effects loops and you hear hum from the speakers, push the ground lift switch in and the hum should go away. If you have more than one AC powered device plugged into the Pocket

Blender, the "lift" position may not completely eliminate ground loop hum.

9


M ASTER S ECTION

Low Battery Indicator

If you use a battery to power the Pocket Blender, the LED will flash briefly when you plug into the inputtelling you that the unit is powering up.

When the red LED lights with no signal present it is time to change the battery.

If the low battery light comes on while you're playing don't worry, you'll have enough power to get through a gig. Just be sure to change the battery before the next time you use the preamp.

Master Volume Control

For the cleanest sound, set the master volume as high as you can without distorting your amp or mixer.

Mute Switch

Mutes all signals at the output section, so you can take breaks without changing any of your volume settings.

With the mute engaged you can also silently disconnect the cable from your instrument without a loud pop through the speakers.

The mute switch is also useful with an electronic tuner. Plug the tuner into the transducer send and engage the mute switch. You can now tune onstage without being heard through the speakers.

U SING M ULTIPLE O UTPUTS

All the Pocket Blender's outputs can be used simultaneously.

This offers a basic combination of signal routing and interfacing options to accommodate most performance and recording situations.

R EAR P ANEL

9-Volt Phantom Power Switch

Push the switch in for 9 volts bias voltage to the ring contact of the Input jack.

Push the 9-Volt phantom power switch in when you use a mini-electret microphone. Push the switch out if you will use the Microphone Channel for a second pickup (piezo or magnetic)

Input jack (see Page 6)

Effects Loops

The microphone effects loop lets you insert outboard effects or signal processors into the Microphone

Channel.

The microphone channel send comes after the:


• Trim control

• HI cut and LO cut switches

• Phase switch

8

E FFECTS L OOPS

The Pocket Blender has two effects loops for microphone and for transducer signals. The sends can be used as additional outputs. The returns can be used as alternate inputs. The transducer effects send makes a perfect output signal for electronic tuners.

STAGE AMP


STAGE AMP input microphone - ring transducer - tip effects loop microphone send return transducer send return phantom power

9V

Made in the USA

DIRECT

BOX output ground lift

AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

PICKUP SIGNAL ONLY

SENT TO STAGE MONITOR

POWER AMP AND SPEAKERS MIXER input microphone - ring transducer - tip effects loop microphone send return transducer send return phantom power

9V


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

13

DIGITAL REVERB


T ROUBLESHOOTING

(see Joe for new troubleshooting tips)

SYMPTOM TYPICAL CAUSE

Symptom

Distorted or no mic signal with active pickup.......

SOLUTION

SET MUTE SWITCH TO OUT POSITION orientation, delete AUX/mic in override)

LOOSE BATTERY COMPARTMENT

TERMINALS

Mic is dead and pickup appears in Microphone Channel.......

Piezo/magnetic pickup dead or low level in mic Channel ....

MUTE SWITCH IN

Distortion from extremely "hot" signals.......(fix?)

Hum.....

PHANTOM POWER IS OFF

( SWITCH IS OUT )

WITH MINI-MICROPHONE

CONNECTED TO INPUT JACK

DEVICE APPEARING AT THE


IS BREAKING THE SIGNAL PATH

REMOVE BATTERY AND RE-TENSION TERMI-

NALS BY PULLING THEM UP WITH YOUR FINGER

SET MUTE SWITCH TO OUT POSITION

TURN PHANTOM POWER ON

( SWITCH IS IN )

REMOVE PLUG FROM THE


MICROPHONE IS DEAD AND PICKUP

APPEARS IN MICROPHONE CHANNEL

NOISE OR DISTORTION

FROM EITHER CHANNEL

DISTORTION FROM EXTREMELY

‘HOT’ SIGNALS SUCH AS

EXTERNAL PICKUP

HUM

MICROPHONE AND PICKUP ARE WIRED TO STEREO

OUTPUT JACK BACKWARDS

( MICROPHONE TO TIP AND PICKUP TO RING )

WIRE PICKUP TO TIP AND MICROPHONE TO

RING OF STEREO OUTPUT JACK

LOW BATTERY

TRIM CONTROL(S) SET TOO HIGH

MECHANICAL NOISE FROM INSTRUMENT

MECHANICAL NOISE FROM

INSTRUMENT CABLE

INPUT CLIPS WITH TRIM CONTROL

ALL THE WAY DOWN

WHEN LOW BATTERY LED STAYS ON

WITH INPUT JACK PLUGGED IN,

IT IS TIME TO CHANGE THE BATTERY

LOWER TRIM CONTROL(S)

UNTIL DISTORTION DISAPPEARS

LISTEN TO INSTRUMENT ACOUSTICALLY

TO ISOLATE NOISE

TIGHTEN ALL PLUG HARDWARE

AN UNREGULATED POWER SUPPLY WILL CAUSE THE

POCKET BLENDER TO HUM UNDER AC POWER

POORLY SHIELDED OR

UNSHIELDED CABLE

CONSULT FISHMAN TECH SUPPORT LINE

AT 978-988-9665

USE ONLY FISHMAN 910-R

OR ROLAND PSA SERIES AC ADAPTERS

USE ONLY QUALITY FULLY SHIELDED

INSTRUMENT CABLES

HIGH FREQUENCY LOSS WITH

PASSIVE PIEZO

USE ONLY 15’ OR SHORTER INSTRUMENT

CABLES WITH PASSIVE PICKUP

INSTRUMENT CABLE IS TOO LONG

14


Trim Control



The Trim control can also be used to set the baseline levels for the Microphone and Transducer

Channels. If there is a disparity between the microphone and pickup levels, use the Trim control to attenuate one channel (usually the Transducer Channel). Try setting the Trim controls this way ...

1. Set the Output Level to 3:00.

2. Set both Channel volumes to 12:00.

3. Play a note or chord on your instrument and lower the Transducer Channel Trim control until both levels are equal, or are balanced to suit your taste.

Hi Cut Switch

Push in this switch to reduce microphone feedback.

Lo Cut Switch

Push in this switch to roll off excessive boominess in the Microphone Channel, especially for guitar.

T RANSDUCER C HANNEL

Volume Control

Normally set the volume at around 12:00 (see Trim instructions below).

Bass and Treble Controls

These shelving style tone controls provide basic equalization for the Transducer Channel. Set them at


Trim Control



Phase Switches

Prevent feedback and match up the pickup and microphone signals for a stronger sounding amplified signal.

Refer to Page 6 for more information on how to use the Pocket Blender's Phase switches.

7


P OWER O PTIONS

9-Volt Battery

Lift the lid on top of the Pocket Blender and insert a fresh 9-Volt alkaline battery. Observe the correct polarity. Battery life is an estimated 60 hours of continuous use.

9-Volt AC Adapter Input

Use only a well filtered and regulated 9-Volt AC adapter. We recommend a Fishman Model-910 or

Roland PSA series regulated AC Adapter. Use of an unregulated adapter will not only void the warranty, but may damage the unit.

Input Jack

Plug in a TRS stereo cable here. The input will accept two separate signals via a stereo instrument cable.

(Tip = Transducer Channel, Ring = Microphone Channel) Engage the Mute switch before you plug into the input to avoid a loud pop through the speakers. When you plug in here the battery turns on. To save the battery remember to unplug the input when you're not using the Pocket Blender.

M ICROPHONE C HANNEL

Use the Microphone Channel for a mini-electret microphone (switch 9-Volt phantom on rear panel on) or with a second pickup (9-Volt phantom off).

Volume Control

Normally set the volume for the microphone at around 12:00 (see Trim instructions below).

Bass And Treble

These shelving style tone controls provide basic equalization for the Microphone Channel. Set them at


Phase Switches

Prevent feedback and match up the pickup and microphone signals for a stronger amplified sound.

How to kill feedback in the Microphone Channel:

•

•

Adjust the Master volume level to 3:00 and turn the Transducer volume off (7:00).

Adjust the Microphone Channel volume to just below the threshold of feedback. Play your instrument and toggle the Microphone Channel phase switch. Leave the switch where it feeds-back the least.

How to get the pickup in phase with the microphone:

•

•

After you perform the above step, raise the Transducer Channel volume until it is about the same level as the Microphone. Play a sustained note or chord on your instrument and toggle the Transducer Channel

Phase switch. Leave the switch in the position that sounds strongest and feeds-back the least.

Once the pickup and Microphone are in Phase, make note of the relative position of the two switches.

They will be either in the same position, or one in and one out. To keep pickup/mic in phase, push both switches anytime you adjust the overall polarity.

6

O

PTIONAL

A

CCESSORIES

• A/C Adapter: Fishman 910-R regulated 9-Volt power supply.

• Crown GLM-200 mini-mic: Ships without jack; ready to be wired to the jack of your choice. Soldering and assembly required.

• Internal Mic Mount: Allows you to mount the Crown

GLM-200 mini-mic to the X-brace of your guitar.

• Guitar Mic Assembly: Mounts to the X-brace of your guitar. Includes a mini-mic, internal mic mount and stereo endpin jack. Soldering and assembly required.

• Bass Mic Assembly: Mounts to the bridge foot of an acoustic bass. Includes pre-wired mini-mic, mic mount and a stereo bass jack.

• Switchjack Stereo Endpin Jack with Tip, Ring,

Sleeve and Switch terminals

• Stereo Bass Jack: Mounts on the A and D strings between bridge and tailpiece.

• Transducers: We make a full line of quality

Transducers for many types of acoustic stringed instruments.

• BP-100M: Bass pickup and mini-mic pre-wired to stereo bass jack.

• V-200M: Violin pickup and mini-mic pre-wired to a

Carpenter-style output jack.

• M-200M Mandolin pickup and mini-mic pre-wired to a Carpenter style output jack.

• Mic Stand Adapter: Allows you to mount the Pocket

Blender on any Microphone stand.

• 15' Stereo Cable

• 15' Premium Stereo Cable

• Stereo "Y" Cable: 1/4" stereo male to (2) 1/4" mono female.

Bass Control Range:

Treble Control Range:


S

PECIFICATIONS

Input Impedance:

Transducer: 10 M

Ω

Microphone without phantom power: 1.0 M

Ω

Microphone with 9-Volt phantom power: 10 K

Ω

Phantom Power:

Nominal Input Level:

Input Overload:

9-Volts, .5 mA

-20 dBV

(20Hz-20kHz)

-8 dBV

Output Type:

Electronically balanced XLR and unbalanced 1/4" Jack

Output Impedance:

XLR: 220

Ω

1/4” JACK: 1 K

Ω

Nominal Output Level:

Output Overload:

-11 dBV

14 dBV

(600 Ohm load)

Effects Loop Nominal Levels:

Transducer channel: -3.5 dBV

Microphone channel: -3.0 dBV

Effects Loop Send Impedance:

Return Impedance:

1 K

Ω

23 K

Ω

± 8 dB shelving

± 13 dB shelving

Front Panel Trim Gain Range:

Overall THD:

Overall Dynamic Range:

Signal to Noise Ratio:

Dual Power Supply:

Dimensions:

Weight:

16 dB

.07% @ 1 kHz,

-14 dBV input

110 dB

87 dB (A-weighted, referred to nominal

- 20 dBV input)

9-Volt regulated, or single 9-Volt battery

(Estimated 60 hours of continuous use)

6.75" x 2" x 3"

1 lb 2 oz

All specifications subject to change without notice

15


B LOCK D IAGRAM

16

2 3 4

1 Located on top

5 6 7


8 9 volume bass phase hi treble lo trim

M I C R O P H O N E

10 11 12 13 low volume bass phase treble battery

POCKET BLENDER trim

T R A N S D U C E R volume mute

14 15 16

26 input microphone - ring transducer - tip effects loop microphone send return phantom power

9V transducer send


AC ADAPTERS

FISHMAN 910-R,

ROLAND PSA SERIES

20 17 18 19

F

EATURES

FRONT PANEL

1) BATTERY COMPARTMENT

2) MICROPHONE VOLUME

3) MICROPHONE BASS CONTROL

4) MICROPHONE TREBLE CONTROL

5) TRANSDUCER VOLUME CONTROL

6) TRANSDUCER BASS CONTROL

7) TRANSDUCER TREBLE CONTROL

8) BATTERY LOW LED

9) MASTER VOLUME CONTROL

10) MICROPHONE TRIM CONTROL

11) MICROPHONE PHASE SWITCH

12) MICROPHONE HI CUT SWITCH

13) MICROPHONE LO CUT SWITCH

14) TRANSDUCER TRIM CONTROL

15) TRANSDUCER PHASE SWITCH

16) MUTE SWITCH

21 22 23 24 25

F EATURES

REAR PANEL

17) 9-VOLT PHANTOM POWER SWITCH

18) 1/4” INPUT JACK (TRS)

19) MICROPHONE EFFECTS SEND

20) MICROPHONE EFFECTS RETURN

21) TRANSDUCER EFFECTS SEND

22) TRANSDUCERS EFFECTS RETURN

23) 1/4” UNBALANCED OUTPUT

24) GROUND LIFT SWITCH

25) XLR BALANCED OUTPUT

26) AC ADAPTER INPUT

5

P o c k e t B l e n d e r P o c k e t B l e n d e r

2 - W

IRING TO

A

COUSTIC

M

ATRIX

N

ATURAL

I & II

1. Remove shielding cap to expose preamp circuit board.

2. Connect red microphone wire to ring pad on circuit board.

3. Connect white and shield microphone wires to "G" pad adjacent to ring pad.

4. Connect supplied zener diode in place between red wire and sleeve. Note that banded side of the zener diode must be closest to red microphone wire.

3 - W IRING THE M IC & P ICKUP WITH S EPARATE C ONNECTORS

The advantages to wiring the microphone and pickup to separate mono connectors are:

a. Microphone is interchangeable with other instruments.

b. Less cross talk between passive pickups and the microphone.

Typically, classical guitarists and double bassists find this arrangement convenient for sharing the microphone with several different instruments. Classical guitarists can install the microphone without drilling holes in the instrument. In this configuration, the microphone can also be removed without disturbing the pickup.

1. Connect red microphone wire to tip terminal on a ¼" mono plug.

2. Connect white microphone wire and shield to sleeve terminal the same plug.

3. Solder supplied zener diode in place between red wire and sleeve.

Note: The banded side of the diode must be closest to the red wire. For use with the Pocket Blender, plug the mic into the

RING jack of a stereo "Y" cable (available from Fishman).

Warning: Installation by a qualified repairperson is strongly recommended. Fishman Transducers Inc. will not be responsible for any damages due to improper installation.

A

PPENDIX

I - T

HE

M

ICROPHONE

GLM-200

ACTUAL

SIZE

A variety of microphones can be used with the Pocket Blender. However, the Crown

GLM-200 is our microphone of choice for the system. It is a mini-electret condenser microphone with a hyper-cardioid response pattern. It's high SPL rating (130 dB), small size and crystal clear "rising" frequency response make it ideal for close mic'ing acoustic stringed instruments. We offer the

GLM-200 optimized specifically for use with the Blender System.

The Pocket Blender provides 9-Volts of

Phantom power to the GLM-200 via the tip terminal at the input jack.

FRONT

REAR

GLM-200

RESPONSE PATTERN

Microphone to Ring

-30

-20

-10 dB 0

-10

-20

-30

20 100 1k

GLM-200

FREQUENCY RESPONSE CURVE

10k 20k

Tip Sleeve

A small zener diode is included with the

GLM-200 microphone. It is pre-wired to both the Bass and Violin jack assemblies

(BMA,BP-100-M, V-200-M). It is included separately with all other kits. It must be installed for the microphone to be covered under warranty. The zener diode prevents static electricity from damaging the microphone.

Shield to

Sleeve



Stereo Jack

Microphone Wiring (Typical)

Ring

Stereo Plug

The GLM-200's small size allows it to be conveniently mounted in or outside the sound chamber of most stringed instruments. The microphone, with a (TRS) stereo jack included, can be attached to the instrument using one of the following mounting systems:

Q

UICK

S

TART

To get up and running you'll need these components:

• Pocket Blender

• 9-Volt alkaline battery

• Pickup and mini-microphone connected to a stereo jack (See Page 3)

• Stereo instrument cable

• XLR cable or 1/4" instrument cable

1. Install a fresh 9-Volt alkaline battery.

2. Connect the stereo cable between the instrument and the input of the Pocket Blender.

3. Set the Mute, Lo and Hi switches to the out position. Set the phantom power switch on the rear panel to the in position. Set both channel volume controls fully counter clockwise. Set the Master level to 3:00. Set all the bass and treble controls to 12:00.

4. Run a cable from one of the outputs on the rear panel of the Pocket Blender to your amp or PA.

5. Adjust the trim controls - See Page 7

6. With the Pocket Blender's Master Level at 3:00, adjust both the microphone and transducer volume controls to approximately the same level.

7. Set the phase switches - See Page 6

GMA - Guitar Microphone Assembly

The Microphone is mounted in the sound hole with a clip that attaches to the X-brace under the instrument's soundboard.

The jack is run through the instrument's endpin hole.

Soldering and some assembly is required.

BMA - Bass Microphone Assembly

The mount attaches to a bridge foot with an adhesive backed nylon clip. The jack (pre wired to Tip) mounts between the A & D strings. Also available with a pre-wired pickup

(BP-100M).

V-200M Pickup and Mini-Mic

The mount is integrated into a Carpenter-style jack that attaches above the instrument's chin rest.

M-200M Mandolin Pickup and Mini-Mic

The mount is integrated into a Carpenter-style jack that attaches to the mandolin's lower bout.

4 17


Using other Microphones

The Pocket Blender is also compatible with other manufacturers' mini-electret Microphones. Consult the manufacturer for specific minimum power requirements, wiring configuration and instrument mounting systems (the Fishman Microphone mounts are dedicated to the Crown GLM series).

Dynamic Microphones (such as the SM 58) may be used with the Pocket Blender. You'll need a low to high impedance adapter plugged into the Ring jack of a stereo "Y" cable. Turn off the 9-Volt Phantom Power (switch is out) for this application.

LESS BASS

Positioning the Crown GLM-200 Microphone

It's worth taking the time to experiment with mic placement. Here are some suggestions to help you get started:

MORE BASS

Internally mounted Microphone(flat top guitars)

Start with the Microphone centered in the soundhole, slightly below the top. Position the face of the

Microphone (marked "FRONT") toward the inside of the instrument. Tilting the Microphone as much as 90° may help reduce boominess.

Externally mounted Microphone

(violin, bass, cello, arch-top guitar).

Start with the Microphone centered halfway between a bridge foot and F-hole. Position the face of the Microphone (marked front) towards the instrument. Tilting the Microphone as much as 90° may help reduce boominess. Placing the Microphone directly over an

F- hole will produce a deep, woody tone. However, the Microphone will feedback at the instrument's cavity resonance. This can be easily remedied by notching out the feedback with an external equalizer (see below). Placing the Microphone over the soundboard will produce a tight, focused tone with more midrange emphasis but less overall output.

A DDRESSING F EEDBACK

Low Frequency Feedback

All stringed instruments' sound chambers are tuned to resonate at an optimum frequency, in the instrument's lowest octave. Placing a

Microphone directly over the opening of the instrument may result in feedback at this "cavity resonance".

Typical Resonant Frequencies:

Guitar; 95-105 Hz

Bass; 65-75 Hz

Violin; 275-300 Hz

Cello; 125-135 Hz

To Minimize Cavity Resonance Feedback:

1. Position the Microphone away from the opening on non-flattop instruments. This works well in low volume settings.

2. Turn down the bass control on the Microphone Channel.

3. Push in the bass cut switch on the Microphone Channel.

4. Invert the Phase switches on both Channels. (See Page 6 )


a. Notch Filter: The Fishman Pro-EQ Platinum has a notch filter for eliminating low freq. feedback.

b. Parametric EQ: We suggest cutting 5 dB at the instrument's cavity resonance (see above) with a .5 octave bandwidth (Q).

c. Graphic EQ: Cut 5 dB at the instrument's cavity resonance (see above) with 1/3 octave cuts on either side of the center frequency.

18


The Pocket Blender allows you to combine the benefits of both pickup and microphone signals to achieve results not available by simply using one or the other. With this system, a microphone rounds out the dry, direct sound of a pickup

- while the "bite" of a pickup adds focus and definition to the microphone sound.

We recommend (and sell) the Crown GLM-200 mini-microphone for the Pocket Blender. Electret microphones made by other manufacturer's can be modified for use with the Pocket Blender (contact the manufacturer for specific wiring).

2 - Stereo Instrument Cable

For convenience, we use a TRS stereo instrument cable to get the individual microphone and pickup signals from the instrument into the

Pocket Blender. The Pocket Blender supplies a 9-Volt bias voltage through the ring connection that in turn powers the mini-microphone.

Microphone to Ring

Shield to

Sleeve



Stereo Jack

Tip

Ring

Sleeve

Stereo Plug

3 - The Pocket Blender

Each channel of the Pocket Blender is set up for the particular signal conditioning requirements of microphone and pickup. Once the pickup/microphone signals are blended, the composite signal can be routed to amplification, recording gear or signal processing equipment via XLR and 1/4" outputs. An effects loop is also included for each channel.

I NSTALLING A P ICKUP / C ROWN GLM 200 M ICROPHONE

C OMBINATION O N Y OUR I NSTRUMENT

Before you begin using your Pocket Blender, have a repair professional install the appropriate pickup and microphone combination for your instrument.

Note: The Pocket Blender is also compatible with other manufacturers' mini-electret microphones. Consult the manufacturer for specific minimum power requirements, wiring configuration and instrument mounting systems (the Fishman microphone mounts are dedicated to the Crown GLM series).

Three Common Scenarios:

1 - W IRING A P ASSIVE P ICKUP & M ICROPHONE

A passive pickup is any transducer (piezo or magnetic) that works without a battery.

Note: To minimize crosstalk with a passive pickup, use a "2-pair" premium stereo cable (Fishman part # ACC-BLE-15C) with separate shields for both the pickup and microphone signals.

1. Connect red microphone wire to ring terminal.

2. Connect white and shield microphone wires to sleeve.

3. Connect pickup signal wire to tip and pickup shield to sleeve.

4. Connect supplied zener diode in place between red wire (ring) and ground (sleeve).

Note that banded side of diode must be closest to red wire.

3


Thank you for choosing the Fishman Pocket Blender. Our goal is to provide you with acoustic amplification products that will simply let you sound your best. With our long-standing commitment to quality, you can feel confident that your Fishman gear will produce great sound and trouble-free performance for years to come. Please take a few minutes to read this guide and familiarize yourself with the system. Your satisfaction is very important to us. If you have any questions or comments, please contact us at [email protected] or by phone at 978-988-9665.

C ONTENTS

Introduction ......................................................................

1 2

Install pickup/Microphone on the instrument ...................

1 3

Quick Start .......................................................................

1 4

Features ...........................................................................

1 5

Power Options ..................................................................

1 6

Front Panel

Microphone Channel ............................................

1 6

Transducer Channel ............................................

1 7

Master Section .....................................................

1 8

Rear Panel .......................................................................

1 8

Suggested Input Options ................................................. 10

Suggested Output Options .............................................. 12

Outputs/Effects Loops ..................................................... 13

Trouble Shooting ............................................................. 14

Optional Accessories ....................................................... 15

Specifications ................................................................... 15

Block Diagram ................................................................ 16

Appendix - The Microphone ........................................... 17


High Frequency Feedback

The microphone's rising response can create a feedback loop with a high frequency driver in your speaker system. This feedback usually starts above 1.5 kHz, peaks at 4 kHz and subsides at 9 kHz. There are several approaches to minimizing high frequency feedback:

1. Strategic Positioning: This works best in low to medium volume settings. The simplest solution for this type of feedback is to keep the microphone out of the path of the loudspeaker.

You can do this by:

a. Avoid standing directly in front of your amp.

b. Send separate mix and transducer signals to your soundman and have only the transducer signal sent to your stage monitor.

2. Turn down the treble control on microphone channel.

3. Reverse phase switches on both channels.


a. EQ with sweepable frequencies: The Fishman Pro EQ Platinum has sweepable frequencies to let you dial out high freq. feedback.

b. Parametric EQ: We suggest cutting 5 dB at 4 kHz, with a 1.5 octave bandwidth (Q).

c. Graphic EQ: Cut 3 dB at 1.2 kHz. Gradually increase the amount of cut to -9 dB at 4-5 kHz. Above 5 kHz, gradually decrease the amount of cut to -3 dB at 10 kHz.

-30

-20

-10 dB 0

-10

-20

-30

20 100

FIG. 1

1k 10k 20k

-30

-20

-10 dB 0

-10

-20

-30

20 100

FIG. 2

1k 10k 20k

-30

-20

-10 dB 0

-10

-20

-30

20 100 1k 10k 20k

I

NTRODUCTION

: T

HE

B

LENDER

S

YSTEM

The Fishman Pocket Blender is a compact yet full-featured

2-channel outboard mixer/preamp designed for acoustic stringed instruments. It is specifically set up for blending a pickup with an onboard miniature microphone.

1 - Microphone and Pickup (Transducer)

Everyone loves the way a microphone captures the natural ambience and resonance of an acoustic instrument. But microphones have a downside; they feedback when you crank up the volume and tend to get lost in the mix when there are other amplified instruments onstage. Pickups deliver a balanced high output signal with low feedback, but they can sound somewhat dry compared to microphones.

MINI-MICROPHONE MOUNTED ON

X-BRACE NEAR SOUNDHOLE

2

UNDER-SADDLE PIEZO

TRANSDUCER

19

L i m i t e d W a r r a n t y

The FISHMAN Pocket Blender is warranted to function for a period of One (1)

Year from the date of purchase. If the unit fails to function properly within the warranty period, free repair and the option of replacement or refund in the event that FISHMAN is unable to make repair are FISHMAN’s only obligations. This warranty does not cover any consequential damages or damage to the unit due to misuse, accident, or neglect. FISHMAN retains the right to make such determination on the basis of factory inspection. Products returned to FISHMAN for repair or replacement must be shipped in accordance with the Return Policy, as follows. This warranty remains valid only if repairs are performed by

FISHMAN. This warranty gives you specific legal rights and you may also have other rights which may vary from state to state.

Return Policy

To return products to FISHMAN TRANSDUCERS, you must follow these steps...

1. Call FISHMAN TRANSDUCERS at 978-988-9199 for a Return Authorization

Number (“RAN”).

2. Enclose a copy of the original Bill of Sale as evidence of the date of purchase, with the product in its original packaging and a protective carton or mailer.

3. FISHMAN TRANSDUCERS’ technicians will determine whether the item is covered by warranty or if it instead has been damaged by improper customer installation or other causes not related to defects in material or workmanship.

4. Warranty repairs or replacements will be sent automatically free of charge.

5. If FISHMAN TRANSDUCERS determines the item is not covered by warranty, we will notify you of the repair or replacement cost and wait for your authorization to proceed.

F I S H M A N T R A N S D U C E R S

340-D Fordham Road Wilmington MA 01887 USA

Phone 978-988-9199 • Fax 978-988-0770 www.fishman.com

Rev 2 • 4-11-02 • 009-010-001

®

U s e r G u i d e

Pocket Blender

Acoustic Instrument Preamp

®

Fishman GLM-200 User guide

Return Policy

Pocket Blender

Acoustic Instrument Preamp

Return Policy

Pocket Blender

Acoustic Instrument Preamp

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