LR Baggs Duet II - Manual

L . R . B A G G S P R E A M P S
D U E T I I
U S E R ' S G U I D E
R E A D T H I S F I R S T
The Duet II combines class A circuitry with our proprietary condenser microphone and either the Ribbon Transducer or LB6 pickup. Steel
(Duet II-RT ) or nylon (Duet II-RTN) string models are available with the Ribbon Transducer. There is also a "classic series" (Duet II-CS)
model for the LB6 pickup that is a re-creation of the original Duet.
U S E R ' S G U I D E
A. On/off: The on and off switch function has been moved from
the strapjack to the control panel to allow stereo access without
the need for separate jacks. The Duet II has a soft start circuit that
slowly powers up the system over a 15 second period to avoid
turn-on explosions in live inputs. You may notice a little distortion
if you play during this power-up cycle. This is normal and the
distortion will disappear when the voltage stabilizes.
B: Battery LED: The Duet II has a battery status LED that remains
on at all times when the switch is in the "on" position. As the
battery weakens, the light will begin to dim. When the light
becomes difficult to see, replace the battery.
C: 3-band graphic equalizer: This EQ is specifically tuned to
frequencies (see specifications) that are most often needed by the
acoustic guitarist. The treble is used to add transparency and
presence to a dull PA, or when you need to cut through a band. It is
also useful in cut mode to mellow-out harsh HF horns, common in
PAs. The midrange control is used to remove honk from guitar
amps and PA speakers. We do not recommend boosting the mid
control. The bass can be used to add extra warmth and foundation
to the tone, or to tame an unruly subwoofer in cut mode, when too much bass is encountered in the PA.
D: Phase invert: This switch changes the polarity of the signal. Phase affects the way the guitar top is pressurized by the low frequency
sound waves from the loudspeakers. When the guitar top and loudspeaker are out of phase with each other, the sound waves from the
speakers will act to damp the guitar top, like a shock absorber, and low-end feedback will be minimized. There is no way to predict which
phase will be right in any situation. It will be readily apparent which phase sounds best and is most feedback-resistant when you flip the
switch during sound check. Phase will also affect the way the guitar signal mixes live and on tape (especially when overdubbing) with
other instruments. Experimentation will produce the best results.
E. Pickup/mic: This rotary knob is essentially a "pan" control that allows the microphone and pickup to be blended to taste. Turning this
knob counterclockwise will isolate the pickup; turning it clockwise will isolate the microphone. Note: when in mix mode, there is always a
small percentage of pickup in the signal, even in "full mic" position, to minimize the risk of feedback.
F. Mix-pickup: When the switch is towards the "mix," the microphone and pickup are combined by our proprietary blending mixer. In the
"pickup" position, the mic is turned off and the mixer is disabled. The pickup then operates at full range with all other controls functional.
This setting is useful for extremely loud situations, in which cut and presence of the pickup alone are needed.
G: Volume control: This controls the output volume. The Duet II's output is hot enough to overdrive some inputs and cause distortion. If
this occurs, simply turn the volume down slightly.
M O N O O R S T E R E O O U T P U T
Mono: The mono mode is recommended for performers who want to plug in with a standard cord and play. All functions, including the
mic/pickup blend and EQ controls, are available in this mode. To use, simply set the on/off switch on the control panel to "on" and plug a
standard mono male cord from a muted channel or amp into the output jack.
Stereo: This mode provides pristine discrete class A buffered outputs for the mic and pickup, pre-mix and pre-EQ. It is useful for quality
recording and for achieving the ideal live sound. You can use individual outboard EQ and effects for both channels. For live work, this will
allow you to send just the pickup to the feedback-prone stage monitors and use more mic in the main speakers for the perfect house mix.
C
B
A
G
D
E
F