Taylor Guitars K4 Manuale utente

By Rupert Neve

The Designer

By Rupert Neve

The Designer

USER GUIDE

CONTENTS

Page 1 CHAPTER 1: Introduction and Welcome

1Introduction

2Welcome to the K4

2A note for Expression System owners

3A note regarding battery life

3The importance of ground

3Register your K4

4CHAPTER 2: Front Panel Controls

5 Phase Reverse button

6 EQ Level controls

6 Mid Frequency controls

7 Effects Loop button

8 Output Volume control

9 Mute button

9 Headphone control and jack

9 Power button

10 CHAPTER 3: Rear Panel Controls

11 Ground Lift switch

12 Powering the K4 (power supply and batteries)

13 Tuner output

13 Balanced outputs

14 Effects Loop jacks and position button

15 Balanced Input jack

The serial number can be found on the bottom of your K4.

Please note it here for future reference.

SERIAL NO: —————————————————

B e f o r e using

your K4, carefully read the applicable items of these operating instructions and safety suggestions:

1. Obey all warnings on the K4 and in this User Guide.

2. Do not place near heat sources such as radiators, heat registers, or appliances which produce heat.

3. Guard against objects or liquids entering the enclosure.

4. Connect only to supplied AC power adaptor.

5. Do not step on power cords. Do not place items on top of power cords so that they are pinched

or leaned on. Pay particular attention to the cord at the plug end and the point where it connects

to the unit.

6. Unplug your K4 when not in use for extended periods of time.

7. Do not perform service operations beyond those described in the K4 User Guide.

In the following circumstances, repairs should be performed only by qualified service personnel:

  •liquidisspilledintotheunit

  •anobjectfallsintotheunit

  •theunitdoesnotoperatenormallyorchangesinperformanceinasignificantway

  •theunitisdroppedortheenclosureisdamaged

8. The Headphone output is capable of high levels. Prolonged listening at high volume levels

may cause irreparable hearing loss and/or damage. Always be sure to practice “safe listening.”

CAUTION: To reduce the risk of fire or electric shock,

do not remove screws. No user-serviceable parts inside.

Refer servicing to qualified service personnel.

CAUTION: This equipment has been tested and found to

comply with Part 15 of FCC Rules. Operation is subject

to the following two conditions: (1) This device may not

cause harmful interference, and (2) this device must accept

any interference received, including interference that may

cause undesired operation.

WARNING: To reduce the risk of fire or electric shock,

do not expose this device to rain or moisture.

The exclamation point within a tri-

angle means “caution!” Please read the

information next to all caution signs.

The lightning symbol within a triangle means “electrical

caution!” It indicates the presence of information about

operating voltage and potential risks of electrical shock.

You should read these important safety instructions. Keep these instructions in a safe place.

INTRODUCTION: A MESSAGE FROM BOB TAYLOR

Thank you for purchasing the Taylor

Guitars K4 Equalizer. You are now

the owner of a very high quality audio

preamplifier, worthy of any situation,

whether it be a world-class recording

studio or a backyard gig. If you’re like

me, you probably want to plug in and

get started right now. Like any high-

end electronics product though, it will

take some learning to really master it.

While this guide will show you the

ins and outs of how it works, your

creativity coupled with the skills you

learn from this manual will open doors

to very rich sonic rewards. Please make an effort to experiment and re-study

the manual from time to time in order to fully understand the K4 Equalizer

and what it can do for your tone. –

Page 16 CHAPTER 4: Tips

17 Determining which input to use

17 Using the Effects Loop

Step-by-step instructions for getting the

best performance with the Loop

18 How to use a parametric EQ

An EQ primer for guitarists

18 Sample Settings/Places to start

24 CHAPTER 5: Troubleshooting and Maintenance

27 CHAPTER 6: Warranty and Reference

27 Glossary of terms

27 Performance specifications

33 Warranty and customer service

A NOTE REGARDING BATTERY LIFE

Your K4 was designed to be powered primarily by the external DC power

supply (wall wart). But just in case you forget to take your power supply to

a gig, we’ve included the ability to temporarily power the K4 with batteries.

Fresh batteries should get you through a gig, but you should use the power

supply whenever possible. The power LED will change from green to red

when the batteries drop below the required voltage for operation. This is

your warning: you will have sound, but not for long. Please plug in the

power supply immediately.

THE IMPORTANCE OF GROUND (EARTH)

Something in your system must be grounded. Every application will be

different, but at some point in the signal flow there must be ground. This is

usually achieved when plugging into a mixer or amplifier. The K4 is not a

source for ground because it is a DI (direct interface). See Chapter 4 for

more details regarding ground, ground loop noise, and possible solutions.

Please fill out and return the enclosed warranty card. Registering your K4

will help us validate your warranty coverage should service ever be needed.

(Warranty information is at the end of this manual.) It also ensures that we’ll

be able to contact you with new applications and tips as necessary.

WELCOME TO THE K4

A NOTE FOR EXPRESSION SYSTEM™ OWNERS

If you’re a Taylor acoustic-electric performer, you’re about to discover a

whole new world of creativity and control: the Taylor Guitars K4 Equalizer.

Conceived by Taylor Guitars and designed by audio legend Mr. Rupert Neve,

the Taylor K4 Equalizer extends the expressive possibilities of your Taylor’s

amplified sound, bringing the Taylor Expression System (ES) to a new

level of acoustic performance.

Optimized

Building on the fully balanced output of the Taylor Expression

System, we created the Taylor K4’s EQ specifically for the acoustic guitar.

We designed its voicing for the Dynamic Sensors™ that are an essential,

and exclusive part of the Taylor ES. And then we perfected the additional

frequency control the K4 delivers to allow you to explore your Taylor’s

range even further.

Equalized

Shape your guitar’s tonality by zeroing in on the notes or frequencies of

your choice and then massaging them to taste.

Energized

With its balanced, transformer coupled input and output, the Taylor K4

Equalizer also allows you to add other equipment into the loop—and still

maintain the Expression System’s signal integrity.

PAGE 3

PAGE 2

CHAPTER 2: FRONT PANEL CONTROLS

PHASE REVERSE BUTTON [1]

The normal selection for this button would be the OUT position – which

designates the output will be in phase with your guitar. In some situations

it may be advantageous to use this button in the IN position – reversing

the phase in order to help reduce feedback.

Explanation

The electronic signal put out by your pickup can be thought of like

thousands of waves cresting above and below an invisible line. Signals

above the line are positive, below are negative. When two sources of the

same sound (e.g. your guitar and an amplifier) are aligned on the positive

side they are considered IN PHASE. When one is positive and the other

is negative they are called OUT OF PHASE.

When you listen to your guitar through an amp or PA, the sound you hear

is a combination of what’s coming off of the guitar and what’s coming from

the speaker. When these two sources are IN PHASE it will sound full and

warm. But sometimes, in some venues, this sound may be too full and too

warm, resulting in unwanted resonant feedback. In this instance, reversing

the phase of the electronic signal will cause some frequencies to cancel each

other out and provide a measure of control over run-away resonant feedback.

PAGE 5

10 13

[1] Phase Reverse Button

[2] Low Frequency EQ Level Control

[3] High Frequency EQ Level Control

[4] Mid EQ Level Control

[5] Frequency Select Control (Hz)

[6] X10 Range Button

[7] Shape / Q Control

[8] Effects Loop Button

[9] Main Volume Control

[10] Mute Button

[11] Headphone Volume

Level Control

[12] Headphone Output Jack

[13] Power Button

FRONT PANEL CONTROLS

Frequency Select Control (Hz) [5]

This knob determines at what frequency the Mid EQ control will be

voiced. It is variable from 80Hz all the way up to 8Khz depending on the

position of the x10 range button. Sweeping this control allows you to find

specific frequencies that you may want to enhance or trim.

X10 Range Button [6]

This button is a simple multiplier – it looks at where the Frequency select

control is and then takes it up TIMES TEN (x10). For example: 80Hz

becomes 800Hz, and 800Hz becomes 8Khz.

Shape / Q Control [7]

This function controls the shape of the selected frequency. In the wide

position (counter-clockwise) it will affect a wide range of notes on either

side of the note defined by the Frequency Select control. This setting

affects the tone of the entire guitar. In the narrow position (clockwise) it

will affect only the notes very close to either side of the defined frequency,

thus pinpointing specific strings or pitches.

EFFECTS LOOP BUTTON [8]

Selects the rear panel Effects Loop and routes your sound through it.

(See Rear Panel Controls for loop placement options.)

MAIN VOLUME CONTROL [9]

This controls the main output volume of your K4. The center detent position

is usually enough level to drive any equipment “downstream”from the K4.

LOW FREQUENCY EQ LEVEL CONTROL [2]

This active control can either boost or cut the low frequencies coming from

your guitar. It is voiced at 125Hz (hertz) and its primary effect is on the

fundamental low string tones. When it’s in the center detent position it is

effectively out of the circuit and gives you true flat response (no effect).

HIGH FREQUENCY EQ LEVEL CONTROL [3]

This active control can either boost or cut the high frequencies coming

from your guitar. It’s voiced starting at 1Khz (kilohertz) and reaches its full

effect around 8Khz. Its primary effect is on the string harmonics. When it

is in the center detent position it is effectively out of the circuit and gives

you true flat response (no effect).

SWEEPABLE MID FREQUENCY CONTROLS

This function has four components: Level, Frequency, Shape/Qand Range.

Together, these controls provide you great power to shape and season your

sound. Here’s what they do.

Mid EQ Level Control [4]

This knob is labeled Mid EQ, but it can be any frequency that you assign.

This active control can either boost or cut the volume of many frequen-

cies coming from your guitar. Its voice is determined by where you set the

Freq/Hz knob and the x10 range button. When it’s in the center detent

position it is effectively out of the circuit and gives you true flat response

(no effect).

PAGE 6CHAPTER 2: FRONT PANEL CONTROLS CHAPTER 2: FRONT PANEL CONTROLS PAGE 7

MUTE BUTTON [10]

When pressed IN this button mutes the main output so you can tune

discreetely or make private adjustments to your sound. The Headphone and

Tuner outputs are not affected so you can still listen to what you are doing.

HEADPHONE VOLUME LEVEL CONTROL [11]

The Volume Level control produces independent control of the level going

out the Headphone jack. Please be careful, there’s enough here to damage

your hearing.

HEADPHONE OUTPUT JACK [12]

Plug your headphones in here and monitor your sound in private.

Recommended headphones include: Sennheiser HD280 Pro (64ohm),

Sony MDR7506 (63ohm). Please note: the Headphone output is driven

by a separate circuit and does not receive the sonic benefit from the

transformer that feeds the main output. It’s best to monitor the Main

outputs for critical listening.

POWER BUTTON [13]

IN is on (LED indicator glows green), OUT is off.

Note: the power LED changes from green to red when the batteries drop below the

required voltage for operation. Approximately 30 minutes of operation will remain;

please plug in the power supply as soon as possible.

PAGE 8CHAPTER 2: FRONT PANEL CONTROLS

CHAPTER 3: REAR PANEL CONNECTIONS

GROUND LIFT SWITCH [14]

This three position switch can help you eliminate potential ground conflicts

that result in ground-loop noise. IMPORTANT:the normal operating set-

ting for the Ground Lift switch is in the NONE position. Lifting the ground

should only be explored in cases where ground conflicts cannot be resolved

by lifting the ground on other elements of your system.

POWERING THE K4

Your K4 was designed to be powered primarily by the external DC power

supply (wall wart). But in case you forget to take your power supply to a gig,

we’ve included the ability to temporarily power the K4 with batteries. Fresh

batteries will get you through a gig and offer approximately10 hours of oper-

ation, but you should use the power supply whenever possible.

DC Power Inlet [15]

This barrel-type jack is wired Tip positive/Sleeve negative and will accept

special AC adaptors that deliver 3.0 to 15 volts (DC). This means you

must make sure the adaptor you use has an output of 3~15 volts DC and is

rated for 800mA (milliamps).

17 24

22 23

[14] Ground Lift switch

[15] DC Power Inlet

[16] Battery Compartment

[17] Tuner Output

[18] XLR Balanced Output

(mic level – low gain)

[19] TRS Balanced Output

(line level – high gain)

[20] Effects Loop Send Jack

[21] Effects Loop Return Jack

[22] Pre/Post EQ Button

[23] TRS Input (active sources)

[24] XLR Input (passive sources)

REAR PANEL CONTROLS

PAGE 11

BATTERY COMPARTMENT [16]

Insert two fresh 1.5 volt “C” batteries here. Taylor uses and recommends

Duracell®for optimal performance and long life. It is not necessary to have

batteries in place if you are using an external DC source but it is advisable

because if the power plug gets pulled out, your music will continue seam-

lessly on battery power. Please note: plugging in a DC power supply does not

charge onboard batteries.

Note: the power LED changes from green to red when the batteries drop below the required

voltage for operation. Approximately 30 minutes of operation will remain; please plug in

the power supply as soon as possible.

TUNER OUTPUT [17]

Use this output to send signal to your tuner. It’s located before the EQ circuit

and is always on. Press the Mute button to turn off the main output so you

can tune discreetly onstage.

BALANCED OUTPUTS

Whether you’re feeding an amp, a mixer, a stage box (snake), or a stadium’s

PA, your K4 has got the right outputs for you.

XLR Balanced Output (mic level – low gain) [18]

This is a transformer-coupled, balanced and floating output. Use this

output to feed anything from a compact personal PA all the way up to an

arena system. When used with a high-quality cable into another balanced

device (like a good mixer) this output can drive long cable runs with little

or no signal loss or noise. You’ll also want to know that the XLR connec-

tor is wired as Pin 2 Hot/Pin 1 Ground/Pin 3 Neutral, and that it can run

unbalanced as well.

TRS Balanced Output (line level – high gain) [19]

The balanced output also appears on this jack in parallel with the XLR

Output. It’s the same quality signal, just a different type of connector. Use

a high-quality 1/4” TRS (Tip/Ring/Sleeve) cable and you’ll get the same

great results as above. This means you can drive two devices simultane-

ously – like an onstage amp and the PA at the same time.

Note: the XLR and TRS outputs may both be used unbalanced as well (e.g. a regular gui-

tar cable out of the TRS jack). Operating one output unbalanced will cause both outputs

to become unbalanced since they are connected internally.

EFFECTS LOOP

This is the place to connect your volume pedal, and/or any effects you’d like

to hear on your guitar. The Effects Loop is fully balanced when used with

TRS balanced cables. You may also use it with standard unbalanced 1/4”

CHAPTER 3: REAR PANEL CONTROLS PAGE 13

PAGE 12 CHAPTER 3: REAR PANEL CONTROLS

cables as well, but running it unbalanced will result in 6db less gain. In addi-

tion, you can select where the Effects Loop is located within the circuit by

using the Pre/Post EQ button.

Effects Loop Send Jack [20]

This jack sends the sound of your guitar to external devices. Connect a

1/4” guitar cable (or TRS balanced cable if using balanced effects) from this

jack to the input of your volume pedal or effects device(s).

Effects Loop Return Jack [21]

This is where the affected sound returns to the K4. Connect a regular gui-

tar cable (or TRS balanced cable if using balanced effects) to this jack from

the output of your volume pedal or last effect device(s).

PRE/POST EQ BUTTON [22]

This button determines the position of the Effects Loop. PRE means the

effects loop comes before the EQ section on the front of your K4. POST

means the effects loop will come after the EQ section. The PRE setting is

best if you are using a compressor/limiter in the loop. POST is better if you

are using chorus, delay or other modulation type effects.

BALANCED INPUTS

This is the input for your K4. It will accept a wide range of signals and levels,

and it has been optimized for use with Taylor Expression System-equipped

guitars. This jack will accept either an XLR or a TRS plug.

TRS Input (active sources) [23]

This is the preferred connection for your Active Taylor ES-equipped

guitar (those with onboard controls). It’s optimized for the low-

impedance, wide dynamic range and high-gain levels the Taylor ES

can produce. Be sure to use a high-quality balanced cable (TRS to TRS)

from your Taylor ES guitar to the K4. This is also the input of choice when

using any instrument with an active on-board preamp. (Remember to set

your Taylor ES onboard controls to their start position.)

XLR Input (passive sources) [24]

This input is designed to accept low-gain levels from passive Taylor

ES-equipped guitars, other passive pickup systems, or dynamic

microphones. See Chapter 4 for more details on selecting the best

input for the job.

CHAPTER 3: REAR PANEL CONTROLS PAGE 15

PAGE 14 CHAPTER 3: REAR PANEL CONTROLS

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