Introduction

It seems that more and more wind musicians and singers plug their mics into guitars and bass pedals, forcing them to reduce the connection from XLR to jack.
Unfortunately, it creates three issues. The first is that all benefits of the balanced line are lost (1). Then it's impossible to use a static microphone, because the +48v phantom alim can't be transmitted through the pedals. And lastly guitar pickups have a lot more output level than dynamics or static microphone, thus a high gain distortion becomes a slight crunch and an autowha may not trig as good as with a guitar.
This is not a fatality as some expensive solutions already exists. But that's why I've decided to build a pair of pedals to solve the three issues mentioned upper. Named Just Blow! and Blow, BLOW, BLOW!!! (2), these two pedals covers the wide range of use cases for wind instruments. They should be released during the autumn 2017.

(1) Loss of 6dB of signal, loss of noise rejection, maximum line length divided by 5...
(2) Why such a stupid name can find an explanation here: https://en.wikipedia.org/wiki/The_National_Anthem_(Radiohead_song)

The simple case : Just Blow!

Just blow is made to connect a microphone in XLR and an effect loop with jacks. It features a 40dB preamp that can be internally switched to only Fx loop or both Fx and bypass signal. The phantom alim is transmitted from the mixing table to the microphone if it's been switched on on the table. A relay is used to switch smoothly the Fx loop on/off.
So there's the following possibilities:
XLR in => GAIN => Fx => XLR out
XLR in => XLR out ou XLR in => GAIN => XLR out
Just Blow.jpg

Two microphones case: blow, BLOW, BLOW!!!

This pedal allows to use a two microphones system, either because you need to amplify a clarinet or a soprano saxophone and apply the effects on one or both microphones, or you need to use a voice and an instrument microphone and share the effect loop between them.
Blow, BLOW, BLOW!!! has a bigger enclosure. One can set the input gain separately for both microphones and eventually set the phase in between them if they capture sound from the same source. On can then activate or cut each microphone and the effect loop. An internal control allows to assign or not the Fx loop to microphone 2..
The pedals gives then a lot of combinations.

Just Blow.jpg

Some technical specs.

THAT1200 and THAT1646 line drivers will be used to ensure that the full dynamic of your microphone is sent to the mixing table.
Silent and transparent +40dB preamps over the whole frequency range 20Hz - 20kHz.
Neutrik connections with combo XLR+Jack.

Add comment



Anti-spam: complete the task