Radial Engineering PZ-Pre User manual

Radial Engineering Ltd.
1638 Kebet Way, Port Coquitlam BC V3C 5W9
Tel: [phone] Fax: [phone]
email: [email protected]
www.tonebone.com
TruetotheMusic
1638 Kebet Way, Port Coquitlam BC V3C 5W9
tel: [phone] fax: [phone] email: [email protected]
www.radialeng.com
Tonebone PZ-Pre users guide V1.0 - Part #: R870 1205 00
RADIAL ENGINEERING
3 YEAR LIMITED WARRANTY
Radial Engineering Ltd. warrants this product to be free from defects
in material and workmanship and will remedy any such defects free of
charge according to the terms of this warranty. Radial Engineering will
repairorreplace atitsoption any defectivecomponent(s) of thisproduct,
excluding the finish, the tube, the footswitch (tubes and footswitches are
warranted for 90 days) and wear and tear from normal use, for a period
of three (3) years from the original date of purchase. In the event that a
particularproduct isnolongeravailable,RadialEngineeringreserves the
righttoreplacetheproductwithasimilarproductofequalorgreatervalue.
To make a request or claim under this limited warranty, the product must
be returned prepaid in the original shipping container (or equivalent) to
Radial Engineering or to an authorized repair centre and you must as-
sume the risk of loss or damage. Acopy of the original invoice showing
date of purchase and the dealer name must accompany any request for
work to be performed under this limited warranty. This limited warranty
shall not apply if the product has been damaged due to abuse, misuse,
misapplication, accident or as a result of service or modification by any
other than an authorized repair centre.
THERE ARE NO EXPRESSED WARRANTIES OTHER THAN THOSE
ON THE FACE HEREOF AND DESCRIBED ABOVE. NO WARRAN-
TIES WHETHER EXPRESSED OR IMPLIED, INCLUDING BUT NOT
LIMITEDTO,ANYIMPLIEDWARRANTIESOFMERCHANTABILITYOR
FITNESS FOR A PARTICULAR PURPOSE SHALL EXTEND BEYOND
THE RESPECTIVE WARRANTY PERIOD DESCRIBED ABOVE OF
THREE YEARS.
RADIAL ENGINEERING SHALL NOT BE RESPONSIBLE OR LIABLE
FORANYSPECIAL,INCIDENTALORCONSEQUENTIALDAMAGESOR
LOSSARISINGFROMTHEUSEOFTHISPRODUCT.THISWARRANTY
GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAYALSO HAVE
OTHER RIGHTS, WHICH MAY VARY DEPENDING ON WHERE YOU
LIVEAND WHERE THE PRODUCT WAS PURCHASED.
PZ-Pre
AcousticInstrumentPreamp
UserGuide

TruetotheMusic
Radial Engineering Ltd. PZ-Pre User Guide
Specifications and appearance subject to change without notice.
Copyright © 2007 Radial Engineering Ltd.
Radial Engineering Ltd.
1638 Kebet Way, Port Coquitlam BC V3C 5W9
tel: [phone] fax: [phone] email: [email protected]
www.radialeng.com
1
INTRODUCTION
The Radial PZ-Pre is a very unique pedal. Although the PZ-Pre
is likely to be the best sounding acoustic guitar preamp you
have ever experienced, it is not dedicated to just guitars. We
designed the PZ-Pre from the ground up to work with all types of
instruments including violin, cello, contrabass, mandolin, Dobro,
bouzouki, harp, sitar and banjo! In fact it will likely do a smash-up
job on brass and woodwinds too! This is because the two inputs
have been designed to accept all types of pickups and the on-
board equalizer is both very powerful and musical. You can even
combine the two inputs should you wish to use two pickups at
the same time!
Our quest for flexibility did not stop there; we also equipped the
PZ-Prewithfour outputsso that itcould drive fourseparate signal
paths at the same time! And each output is managed differently
to address different needs.
The instrument output is designed for the on-stage musician.An
electric fiddle player may have numerous effects pedals and an
over-driven guitar amp on stage to create various sonic textures
while a bouzouki player may have his vintage Twin. The tuner
output works with the mute footswitch for silent on-stage tuning
and instrument changeover.
There are also two built-in Radial direct boxes with balanced
XLR outputs. Output-1 is a pre-EQ, pre-effects output designed
to feed a clean signal to the PAsystem while output-2 is post-EQ
and post effects, to feed stage monitors and in-ear systems with
acompletelydifferent mix.For instance, whenplaying in atypical
arena, there is so much echo that the last thing you would want
would be to send a ‘wet instrument’ (sound with lots of echo and
reverb) into the PA system. On the other hand, adding reverb to
yourin-earsystem willoftengive youabetter senseof space and
a more natural feel to the performance.
The built-in flexibility is further expanded with an effects loop,
powerboosterand probablythe bestsounding frontendyou have
ever encountered for your instrument. Best of all, it is all housed
in a super compact pedal that can fit in any gig bag and travel
with you wherever you go.
Congratulations onyourpurchase oftheRadial PZ-Pre,without
adoubt themostchallengingpedalwe haveever produced!Why?
Simply put, it is so jammed with features that it took us over two
years to get it right! And with all of these features, we absolutely
recommend that you take a few minutes to read through this
manual to familiarize yourself with all of the PZ-Pre functions
before you get started.
Like all Radial products, the PZ-Pre is built to the very highest
standards with the very best components, and provides the type
ofdurabilityyou wouldexpect for concertstage use. If,after read-
ing this manual, you have a question please visit the FAQ in the
PZ-Pre section of our web site. This is where we post the latest
notes.Ifyou havea question thatis notcoveredplease sendyour
email to [email protected] and we will do our very best to get
back to you promptly.
Now get ready to pluck, pick, bow, twang and strum till dawn!
RadialPZ-Pre
AcousticInstrumentPreamp
UsersGuide
Table of Contents Page
Introduction.................................................................. 1
Feature Set.................................................................. 2
Input Section ............................................................... 4
Filter and EQ Section.................................................. 6
Output Section............................................................. 8
Instrument Connection................................................ 9
Output Connection ...................................................... 11
Setting Up The PZ-Pre................................................ 12
Controlling Feedback .................................................. 14
Stage Setups............................................................... 16
Adding Boost and Effects............................................ 17
FAQ............................................................................. 18
Specifications.............................................................. 20
Warranty................................................................Back Cover

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Radial Engineering Ltd. PZ-Pre User Guide
3
2
1. INPUT-1: ¼" connection for first instrument.
2. PZB-1: recessed switch activates piezo buffer for input-1.
Push in with tweaker to turn buffer on.
3. TOGGLE: footswitch selects between input-1 and input-2.
4. BLEND-MIX: recessed switch selects between toggle mode
and mix/blend mode.
5. INPUT-2: ¼" connection for second instrument.
6. LEVEL-1: gain control for input-1.
7. LEVEL-2: gain control for input 2.
8. NOTCH: used to sweep the frequency of the notch filter.
9. HIGH: high frequency shelving EQ. Boosts or cuts treble.
10. MID: amplitude control for semi-parametric mid EQ.
11. FREQ: frequency control for semi-parametric mid EQ.
12. LOW: low frequency shelving EQ. Boosts or cuts bass.
13. BOOST: variable level control for the power booster.
14. MUTE: footswitch mutes all outputs except tuner out.
15. OUTPUT: ¼” out for instrument amplifier.
16. PHASE: (polarity) inverts the signal polarity at the ¼"
instrument output.
17. FOOTSWITCH ASSIGN: sets function of boost footswitch
between power boost, effects loop or both.
18. BOOST: activates power booster and/or effects loop
depending on setting of footswitch assign switch.
19. NOTCH Q: sets the depth of the notch filter.
Select between normal, deep and bypass.
20. LO-CUT:high-passfilterremoveslow frequenciestoeliminate
resonant feedback. Select between bypass and two low-cut
settings.
21. PZB-2: recessed switch activates piezo buffer for input-2.
Push in with tweaker to turn buffer on.
22. LOOP SEND & RETURN: The built-in effects loop uses ¼”
jacks to connect effect pedals.
23. PRE-EQ:balanced XLRdirectboxouttapssignalbeforefilter,
EQ,effectsloopandboostsections.Outputsanun-processed
signal to the "house" PA, or recording console.
24. LIFT: recessed ground lift switch disconnects pin-1 on both
XLR outputs to reduce hum and buzz from ground loops.
25. 180°: recessed switch reverses signal polarity at post-EQ
XLR output.
26. POST-EQ: balanced XLR direct box out taps signal after
filter, EQ, loop and boost sections. Outputs a signal to the
monitor system so the player can control their on-stage tone
with the PZ-Pre.
27. TUNER: buffered ¼” output to feed an electronic tuner.
28. 15VDC-400mA:powersupply connection15 voltsDC,center
pin positive. Use only with Radial power supply #R800-
9407
FEATURES AND FUNCTIONS
20
1918
111213
14
16
15
17
1
2
3
4
5
678
9
10
22
21 23 24 25 26 27 28

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PZ-Pre User Guide
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Radial Engineering Ltd. PZ-Pre User Guide
Saddle
Pickup
Piezo
Pickup
TRS Jack &
Plug
Tip
Saddle Pickup
Ring
Piezo Pickup
Input-1 Piezo
Buffer 1 Blend Input-2 Piezo
Buffer 2
45
Tuner Output
This buffered output is dedicated
for an electronic tuner. Since it is
buffered, connecting a tuner won’t
load down your pickup's tone. The
TUNER output is always on to allow
silent tuning in conjunction with the
MUTE footswitch.
Mute Footswitch with LED
The MUTE footswitch allows silent
tuningonstage throughtheTUNER
output and may also be used for
instrumentchange-over.Depressing
this footswitch will mute all outputs
except the TUNER out. The LED
illuminates to indicate the PZ-Pre
is in mute mode.
Blend-Mix
The BLEND-MIX function is typically used with instruments that
have two pickup elements or two different pickup systems. It
allows you to blend the two input channels using the LEVEL
controls to set up a mix. For instance, you can use the MIX mode
to blend an active on-board pickup with a passive piezo to create
amorenatural acousticsound.Alternatively, you canuse theMIX
modetoconnect twoguitars to oneamp forjammingwith another
player. The MIX mode is activated by depressing the recessed
BLEND-MIX switch using a small screwdriver or tweaker. The
TOGGLE footswitch will not work when the MIX mode is active.
Input-1 is specially equipped to allow a stereo TRS cable (Tip,
Ring, and Sleeve) to access both PZ-Pre channels. This feature
is designed for instruments that combine two pickup systems
through a stereo TRS jack. A stereo TRS cable will allow you
to connect both pickups to separate PZ-Pre inputs with a single
cable.From thereyoucantogglebetween thetwo pickupsystems
or blend them together.
Input-1 and 2
The PZ-Pre features two ¼” inputs, each equipped with its
own LEVEL control. The flexible dual input design lets a player
connect and switch between instruments simply by stomping on
the TOGGLE footswitch. Most performers, whether they play
acoustic guitar or mandolin, tend to have two instruments on
stage. The second instrument is often for backup should a string
break; in some cases, it may be tuned differently, or it may even
be a completely different instrument! The PZ-Pre is equipped to
be a control center for two instruments.
PZB-1 and 2 Piezo Pickup Buffers
EachPZ-Preinputfeatures
a special piezoelectric
pickup (piezo) buffer that
can be switched into the
signal path when needed.
These 100% Class-A
buffers allow a passive
piezo pickup element to
be connected directly to
thePZ-Pre withoutthe use
ofa separatepreamp.The
piezo buffer increases the
gain while elevating the
input impedance to 10meg ohms. This ensures the piezo pickup
“sees”theoptimum input impedanceforsignal transfer whichwill
result in better tone. To activate the piezo buffer use a tweaker
(small screwdriver) to push in the recessed PZB switch. There is
a separate PZB switch for each input channel.
LEVEL-1 and 2
Separate level controls
adjust the volume of each
instrument input for the
proper on-stage balance.
IN 2
BUFFER
PIEZO
ON
PIEZO
TOGGL E
TUNER
TUNER OUT
MUTE
PIEZO
IN 1
BUFFER
PIEZO LEVEL 1
LEVEL 2
ON
MIX
MIX
INPUT SECTION

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Radial Engineering Ltd. PZ-Pre User Guide
Pre-EQ Balanced XLR Output
This balanced XLR output is
essentially an active direct box. It
producesa600ohm,mic-level signal
suitablefor connectionto microphone
snakes and mixing consoles. It taps
the signal before the filters and
equalizer section and is not affected
by the PHASE, BOOST and LOOP
functions. It is intended to feed a PA
or recording system with a clean,
unprocessed signal.
Ground Lift for Balanced XLR Outputs
The balanced XLR outputs are equipped with a recessed set-
and-forget ground LIFT switch on the rear panel to reduce hum
and buzz from ground loops. The best setting for this switch is
lifted (pushed in) to eliminate hum and buzz when connecting
your PZ-Pre to a mixing console.
Low-Cut Filter
Thethree positionlow-cutfilter(alsoknown
as a hi-pass filter) is designed to eliminate
lowfrequencyresonantfeedback.Selecting
eitherthe80Hz or200Hzpositions willroll-
offlowfrequenciespreventinguncontrolled,
run-awayresonantfeedback.The LO-CUT
filter can be removed from the signal path
by setting it to BYPASS.
Notch Filter
To help control second order harmonic
feedback, a sweepable notch filter allows
you to focus on a very narrow frequency
and surgically remove it without affecting
the over-all tone of the instrument. The
notchfilteron thePZ-Prehas two controls:
NOTCH sweeps the frequency spectrum
of the filter from 56Hz to 220Hz while the NOTCH Q switch
controls the width and attenuation of the filter. The NORMAL
setting introduces an -8dB notch, the DEEP setting introduces
a -15dB notch. The notch filter can be removed from the signal
path by setting it to BYPASS.
3-Band Semi-Parametric EQ
This three-band semi-parametric EQ is shared between the two
inputs. HIGH and LOW are shelving type EQ and adjust the
treble and bass response. The sweepable midrange EQ uses
twocontrols:MIDcontrolsthe amountof boostor cut,whileFREQ
sweeps the frequency spectrum.
Phase Reverse (¼” Stage Amp Output only)
Technically speaking, this is actually a
polarity reverse switch that lets you control
thepolarity ofthe signalatthe¼”instrument
OUTPUT.This switchisusedtohelp reduce
feedback when the monitors or PA system
coincide with the instrument amp to cause
a feedback hot-spot where the performer is
situated on stage.
Boost and Effects Loop
The PZ-Pre is equipped with a power
booster and effects loop that can be
kicked in to create dynamic solos or avant-
garde textures. The power boost and
effects loop may be activated together or
separately, dependingon the positionof the
FOOTSWITCH ASSIGN switch.
Boost
When the FOOTSWITCHASSIGN is set to
BOOST, depressingtheBOOSTfootswitch
will only turn on and off the variable power
booster (effects loop is bypassed). The
BOOST knob sets the level of the power
booster with a maximum of +12dB of clean
boost. When set to BOTH depressing the
footswitch will turn both the effects loop
and power booster on or off. An LED
illuminates when the loop, booster, or
both, are active.
Effects Loop
When the FOOTSWITCH ASSIGN
is set to LOOP, depressing the
BOOST footswitch will only turn
on and off the effects loop (power
boosterisbypassed).The¼” effects
loop SEND and RETURN jacks are
usedto interfacewithstandardguitar
effectspedalssuchasreverb, chorus
and delay.
7
6
Bal.
Driver
3-Band EQ
GAIN
LOO P
F/X
BOOST
LOW-CUT FILTER
BYPASS
75 Hz
220 Hz
FREQ
NOTCH FILTER
-8dB
-16dB
BYPASS
PHASE REV
GN D LIFT
PRE-EQ
DI OUT
FILTER and EQ SECTIONS
Mixing Console

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PZ-Pre User Guide
Radial Engineering Ltd.
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Radial Engineering Ltd. PZ-Pre User Guide
180° Polarity Reverse
The POST-EQ XLR balanced output features a polarity reverse
forabsolutephase alignment.This recessed switchwill invert the
signal polarity of the POST-EQ XLR output by reversing pins-2
and 3 at the XLR connector.The default position for the switch is
pushed out where pin-2 is positive. This is theAES standard for
XLR connectors and is sometimes called “pin-2 hot”.
INSTRUMENT CONNECTIONS
Because the PZ-Pre can accept different kinds of pickups it’s
important to identify which type of pickup your instrument is
equipped with. Typical pickup systems include:
1. Magnetic (passive)
2. Piezo transducers (passive)
3. Magnetic or piezo with on-board preamp (active)
4. Combination magnetic and/or piezo with split output.
Magnetic Pickups (Passive)
These types of pickups are sometimes mounted in the sound
hole of an acoustic guitar. They are referred to as passive
pickups because there are no electronics between the pickup
and instrument output jack. Magnetic pickups connect directly to
the PZ-Pre with an instrument cable.
Piezo Transducers (Passive)
Piezo transducer pickups can be permanently mounted inside
an instrument, embedded in the bridge or attached to the sound
boardwithdouble sidedtape.Apiezo isconsidered passivewhen
there are no active electronics between the transducer and the
instrument output jack. The piezo transducer pickup converts
vibration into a very small electrical current. The current a piezo
produces is so small that it needs a specially designed amplifier
or buffer to increase the signal to a workable level.
The PZ-Pre is equipped with a piezo buffer on each input to
ensure the best possible tone from passive piezo pickups. When
connecting a piezo pickup to the PZ-Pre you should engage the
piezo buffer for the input you’re connecting to. Set the switch to
its “inward” position to engage the piezo buffer.
98
1/4"
INSTRUMENT
OUTPUT
DI OUT
POST-E
Q
GROUND LIFT
POL REV
Bal.
Driver
OUTPUT SECTION
Instrument Amp Output
The ¼” OUTPUT jack connects to the musician’s on-stage
amplifier. This output is at the end of the PZ-Pre signal path and
is affected by all the controls.
Post-EQ Balanced XLR Output
ThisbalancedXLRoutputis anotheractive directbox.It produces
a 600 ohm, mic-level signal suitable for connection to mixing
consoles. The POST-EQ XLR OUT comes at the end of the PZ-
Pre signal path after the filters, equalizer, PHASE, BOOST and
LOOP functions. It is intended to feed a stage monitoring system
or in-ear monitors allowing the player to control their on-stage
tone through the PZ-Pre controls.
XLR OUT
Polarity Reverse
XLR OUT
Ground Lift

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Magnetic or Piezo Pickups with On-board Preamp
Manyelectrified acousticinstruments featurean on-boardpreamp
that works with internal pickup systems. The pickups may be
passive magnetic, piezo or a combination of both types. These
instrumentsarereferred toas“active” because thereis a preamp
between the pickups and the instrument output that requires a
power source such as a battery. The preamp controls are usually
mounted on the side of the instrument.
Active instruments produce a signal that can connect to the PZ-
Prewithoutthe needtoengage thepiezo buffer. Theinstrument's
on-boardpreampwill bufferthesignaland theoutput can connect
directly to the PZ-Pre with an instrument cable.
1110
OUTPUT CONNECTIONS
The PZ-Pre is equipped with four outputs, each of which is
designed for specific tasks to address various needs on stage.
Instrument Amplifier Output
This ¼” guitar level output is designed to feed an on-stage guitar
amplifier. Think of this output as your own personal ‘world’where
you create your sound and get inspired. You may even set up a
mic in front of your stage amp so the FOH engineer can mix in
your effects with his room mix.
Tuner Output
This ¼” output is separately buffered so that connecting an
electronic tuner will not have any effect on the instrument tone
because of impedance loading. When the MUTE footswitch is
depressed, all other outputs are turned off while the tuner output
remains active. This lets you quietly tune on stage or change
instruments without disrupting the audience.
Pre-EQ and Effects XLR (Dry Direct Box) Output
This balanced mic level XLR output is designed to go into the PA
system. It is ‘dry’and unprocessed so that the FOH engineer can
treat this signal to optimize the sound in the PA. For instance,
you may want reverb on stage, but in an arena, this is likely the
last thing that is needed. This is also a great place to connect a
recorder if you plan to produce a CD afterwards. With a clean,
unprocessed track, you can add effects such as reverb or chorus
in post-production or even re-amplify the signal using the Radial
X-Amp. None of the effects, EQ or notch filter will affect this
output.
Post-EQ and Effects XLR (Wet Direct Box) Output
Thisis primarilydesigned tofeed stagemonitors,butisalsowhere
youwould connectyourPZ-PretothePAifyoudo nothave aFOH
engineerrunningthe PAsystem.Formonitoring, youcan have all
of your effects on and create the stage mix that sounds best to
you without interfering with what the FOH engineer may require.
The FOH engineer can receive the dry, unprocessed signal from
thePre-EQXLR output.Youcanalso senda wet mixto thehouse
PA and the FOH engineer can combine both feeds!
On-board Preamp
Controls
Combination Pickup Systems
Each type of pickup system has strengths and weaknesses, and
someplayersmay useacombination of pickupsto create amore
natural tone than either pickup system can produce alone.
You can connect both a magnetic and piezo pickup and use
the unique BLEND-MIX feature to blend the outputs together.
Alternatively, the PZ-Pre can toggle between the pickups to use
the one that best suits the song being played.
Bridge Saddle Piezo
Magnetic Pickup
Stereo TRS
Output Jack

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SETTING UP THE PZ-PRE
Always make sure the equipment you are connecting to is either
turned off, or the volumes are set to zero. This will eliminate any
power-up transients from harming the loudspeakers. To avoid
potential for electric shock, only connect the PZ-Pre to properly
grounded audio equipment. If your instrument uses an on-board
preamp, ensure the battery is fresh and fully charged.
To start, set the PZ-Pre to a neutral setting as shown below.
Connect the power supply and toggle the MUTE and BOOST
footswitches to their off positions.
Setting Instrument Levels
1. Start with your primary instrument connected to INPUT-1.
2. Determine the type of pickup you are connecting. If it is a passive
piezo pickup, activate the piezo buffer with the PZB-1 switch.
3. Stomp on the TOGGLE footswitch until LED-1 illuminates.
4. Turn on your instrument amplifier or sound system.
5. Slowly turn LEVEL-1 clockwise and set a comfortable listening
level.
1312
USING THE PZ-PRE EQ CONTROLS
Before you head off to your first gig with the PZ-Pre, it is a good
idea to familiarize yourself with the controls in your practice room
andinvestigate thevariousfunctions.Dothis ata lowvolume level
first so that you do not cause feedback. Listen to the LO-CUT
(high-pass filter) and how it affects the tone of your instrument.
You will probably find that using it will clean up the bottom end
of your sound without affecting the overall tone. In fact, if you
are playing with a drummer and bassist, you will likely find that
filtering the lower registers of your instrument can really improve
the overall mix!
Now listen to the EQ. You will notice that the bass and treble
controls are quite powerful! So be careful! Less is always best
when it comes to equalization. Creating a big, fat sound with lots
of bottom end and a super crisp high end may sound good in
your basement, but live, these frequencies tend to muddy up the
bottom end, and cause the high end to get very harsh, especially
if you have mid-range horns in your PA. Furthermore, feedback
withacousticinstruments occurswhenthe soundresonatesfrom
the PA back into the instrument pickup system. This increases
exponentially when you add lots of bass or treble!
TheMID controlisveryimportantto gettingyour soundright. Each
instrumenttendsto workwithin agivensonic range.Forinstance,
aviolin’s rangeis much higherthan that ofa cello ordouble bass.
However, the character of all instruments is usually in the mid
range. This is also where human hearing is most effective.
The PZ-Pre has a semi-parametric mid-range EQ with one knob
thatadjusts thecenter frequency(FREQ)andanotherthatcontrols
the intensity (MID). You can cut or boost any frequency within
the controls' range of 82Hz to 5.6kHz. This is also where most
folks get into trouble. Because human ears are most sensitive to
mid-range, we tend to naturally cut it back. Now if you take out
the very essence of the instrument before it gets to the PA, what
do you expect the audience to hear? This is why we included a
separate Pre-EQ output for the front of house PA system. The
Pre-EQ output will give the house engineer a full-range signal to
mixwithwhile thePZ-Pre EQcontrolscan beadjusted tosuityou.
However, in any case be careful not to over-EQ your tone!
The sweep function of the FREQ control is designed to find the
rangebest suitedto yourinstrument’snatural tone.Start bysetting
the MID control at 2 o’clock and then sweep the FREQ control
until you find the spot where your instrument seems to resonate
at an unpleasant frequency. Then back-off the MID control to
approximately 10 o’clock and listen. Try playing at soft and then
louder volumes to see what happens. Then try fine tuning the
FREQ control to see where it sounds best. Setting an EQ is more
of an art than a sience but you can not go wrong if you follow EQ
rule number 1: Less is Best!
TIP: The twelve o'clock position is neutral, or zero
boost/cut, for the BASS, TREBLE, and MID controls.
Turning these controls clockwise will increase, or
boost the amplitude while turning counter-clockwise
will decrease, or cut.
If the MID control is at the 12 o'clock position (zero
boost/cut) the FREQ control will have no effect. You
will need to set the MID control to a boost or cut posi-
tion in order to hear the sweep of the FREQ control.
BoostCut
0 dB

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Notch Filter
The notch filter is designed to manage feedback by surgically re-
movinganoffendingfrequency whileleavingthe restof the sound
intact.Tofind whichnoteisgoingto feedbackfirst, playascending
scales or chords starting from your instrument's lowest note.
If, during your tests, you hear that a particular note is more prone
to feedback than others, set the NOTCH Q to the NORMALposi-
tion and slowly rotate the NOTCH control to see if you can dial
in the offending frequency. This process is sometimes referred
to as "notching out".
When you have found the position on the dial that corresponds
to the frequency feeding back, play and hold a chord or simply let
all of the strings resonate. Now, turn the LEVELcontrol up some
more and see what happens. If the same frequency is still on the
verge of feedback, try setting NOTCH Q to DEEP.
An important point when using the NOTCH filter is that the prob-
lem frequency will likely change each time you play in a different
venue or change instruments. So experiment and get familiar
with the NOTCH filter functions. This will make sound-check go
more quickly and will reduce the occurrence of feedback when
you are performing!
Setting the Notch Filter
1. Set the NOTCH Q switch to bypass.
2. Test by playing ascending notes on the lowest strings.
3. Focus in on the note that tends to feedback before the rest. If
necessary, increase the LEVEL control to produce a perpetual
feedback ring at this note's frequency.
4. Set the NOTCH Q switch to NORM.
5. While holding the note, turn the NOTCH control until you have
tuned the filter to the same frequency. The notch filter is tuned
when the note decays naturally without feeding back.
6. Increase the LEVEL control until the same note starts to
feedback and then back off the level a little.
7. If more gain is needed, you can switch the NOTCH Q to DEEP
and try increasing the LEVEL control some more.
TIP: At some point, turning up the instrument level will
cause uncontrollable feedback at many frequencies and is
an indication levels should be lowered.
1514
CONTROLLING FEEDBACK
The PZ-Pre gives you low-cut and notch filter tools to suppress
feedback and achieve the greatest amount of signal gain. This
concept is called gain before feedback. This section of the
manual will help you set up the PZ-Pre for maximum gain before
feedback.
To testfor feedback youshould bepositionedin thearea onstage
where you will be performing.Always test for feedback with your
amp, monitors and PA system turned on.
TIP: Feedback can be very unpleasant to listen to. The
MUTE footswitch can be used as a panic button in case of
uncontrolledrun-away feedback.Dampening thestrings with
one hand while you adjust the PZ-Pre controls is another
method to control feedback while testing.
Begin your feedback testing by increasing the LEVEL control to
the point where your instrument starts to feedback. Play your
instrument, move around on stage and experience the effect.
At this point, you will likely hear two types of feedback: feedback
when a specific note sounds, usually on the bass strings, and a
low frequency run-away resonance. The feedback from a spe-
cific note we will deal with later, using the notch filter. For now,
we will focus on removing the runaway low resonance with the
LO-CUT filter.
LO-CUT Filter
Thegoal forusingthe LO-CUTfilteris tobeabletostrum theopen
stringsloudand clearwithoutrun-away lowfrequencyresonance
feedback. This type of feedback can often be eliminated simply
by engaging the LO-CUT filter.
Try this by setting the LO-CUT control to the 80Hz position. In-
crease the volume and see what happens. If you get more of the
sameresonancefeedback,trythe 200Hzposition. Inthis position,
you can hear that more bass frequencies have been removed
from the signal but your instrument can have more gain before
the feeback starts.
Setting the LO-CUT Filter
1. Set the LO-CUT switch to bypass.
2. Perform this test by strumming open strings.
3. Slowly turn up the LEVELcontrol until low frequency feedback
starts to make the open strings resonate.
4. Set the LO-CUT switch to 80Hz.
5. While playing the open strings, continue to slowly increase
the LEVEL control to the point where low frequency feedback
re-occurs.
6. Turn the LEVEL control down a little from this point.
7. If more gain is needed set the LO-CUT to 200Hz and increase
the LEVEL control.

TruetotheMusic
PZ-Pre User Guide
Radial Engineering Ltd.
TruetotheMusic
Radial Engineering Ltd. PZ-Pre User Guide
1716
STAGE SETUPS
Now that you are familiar with all of the functions on your PZ-Pre,
you are set to take it out into the real world! Connect the PZ-Pre
to your PA system, monitors and/or on-stage amp. Turn your PA
system on and gradually start increasing the LEVEL control on
thePZ-Preto acomfortablesetting. Ifyouare usingmonitors or a
stage amplifier, you should now bring these levels up so that you
canhearthem. Remember-always startwithyour EQsettingsat
the 12 o’clock neutral setting. Now set the tone to suit using the
slightest adjustments of the EQ controls as possible.
Whentheband joins in,you will likelyneedto havemorevolume.
So before they do, increase the stage level to the point where
feedback is beginning to occur. Back off your level slightly and
take note. This is pretty much the maximum level you should be
playing on stage. If you push the system beyond this point, you
will need to start using the Notch Filter to control feedback.
Keep in mind that most feedback occurs due to low frequency
resonance and the best approach to keep it in check is setting
the LO-CUT filter to the 80Hz or 200Hz position before you start
using the NOTCH filter. You will be surprised at how well this
helps to control feedback!
Now move around on stage. You may find that in certain posi-
tions, the sound really feeds back where in others, the sound is
somewhat muted. This occurs when various sound sources such
as your on stage amp, stage monitors and PA system combine
to create room modes where some frequencies will amplify and
other will cancel out as they intersect. This is known as comb-
filtering. Agood fixcansometimes beaccomplished by reversing
thepolarityof oneor more ofthe outputs.The PZ-Preisequipped
withaPHASE reverseswitch for theinstrument amplifierout,and
another for the POST-EQ XLR out. Try one, the other or both to
see if this helps.
For extreme feedback conditions, you can try using an automatic
feedback eliminating device. These widgets digitally ‘listen’ for
feedback and then introduce digitally controlled filters to hunt it
down. The problem is that even though they are doing their best
to eliminate the ‘bad sound’, no matter how good the filter, some
of the ‘good sound’ will also be lost.
If you have to play at extreme levels, you are better to turn down
your system or eliminate on-stage amplifiers and stage monitors
by using in-ear monitors. Cutting frequency after frequency in an
effort to increase gain before feedback is often a Catch 22. You
will achieve more gain before feedback but at the cost of your
tone. Remember when using the EQ, less is best!
ADDING EFFECTS TO YOUR SOUND
ThePZ-Pre isequipped witha combinationeffectsloopandpower
booster. The power booster is designed to allow you to increase
yourstagelevel duringa solo andthen revertbackto yourregular
volume with a single foot stomp. Most players will simply use the
boost on its own by adjusting the boost level to suit.
You may want to introduce an effect such as reverb or echo with
or without the power boost to enhance the solo. This is what the
built-ineffects loopwas designedfor.Wheneffectsare usedinthe
loop,they willbe heardon the¼" instrumentoutandthePOST-EQ
XLR (wet direct box) output, but will not be heard on the PRE-EQ
XLR(drydirect box)output. So beforeyou decide onhow youare
going to use the PZ-Pre effects loop, it is a good idea to consider
if you want the effects to go to the PA, monitors or both. Keep in
mind that if you put pedals in the effects loop, they can only be
accessed by engaging the effects/boost footswitch.
If you would like to have an effect such as chorus or reverb on at
all times, you are best to position these at the ¼" INSTRUMENT
output between the PZ-Pre and your amp. If you want this effect
to also go to the PA, then you would connect a direct box after
the effect pedal.
If you have an active instrument that does not need the PZB
piezo buffers, you can put effects in front of the PZ-Pre by first
connecting the instrument to the effect and then to the PZ-Pre.
In this case, the effect will be heard on all of the PZ-Pre outputs
for your first instrument only.
Pre-
Dry
Post-
Wet
Pre-
Wet
Post-
Wet
Pre-
Dry
Post-
Dry