www.ﬁshman.com

USER GUIDELOUDBOX PERFORMER
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Read Me!
Take a few minutes to read through this manual before you power up the
Loudbox Performer. To jump in immediately, start with the Important Safety
Instructions and the Getting Started sections. While this information will get
you on your way, it is not considered a substitute for reading the entire manual.

Save Your Packing Materials
The box and packing materials for the Loudbox Performer were speciallydesigned to protect the ampliﬁer during shipping. Save all this stuff in caseyou need to re-ship the Loudbox Performer.

Table of Contents
Safety Warnings

3

Welcome5

Getting started

6

Front Panel

7–9

Rear Panel

10–12

Tone Tips

12–13

About Acoustic Feedback

14

Phantom Power FAQs

15

Stereo Blending

16

Block Diagram

17

Speciﬁcations

18–19

Wherever this symbol appears, it alerts you to the presence ofuninsulated dangerous voltage inside the enclosure that may be
sufﬁcient to constitute a risk of shock.
Whenever this symbol appears, it alerts you to the presence ofimportant operating and maintenance (servicing) instructions in theuser’s manual for this ampliﬁer.

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CAUTION

Risk of electric shock.
Do not open.
No user serviceable parts inside.
Refer servicing to qualified personnel.
Do not expose to rain or moisture.

Important Safety Instructions
To ensure your personal safety and the safety of others, operate this apparatus
only after reading these instructions and heeding the warnings listed below.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block the ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves orother apparatus (including ampliﬁers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A
polarized plug has two blades with one wider than the other. A grounding-typeplug has two blades and a third grounding prong. The wide blade or the thirdprong are provided for your safety. If the provided plug does not ﬁt into youroutlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched, particularly at theplugs, convenience receptacles and the point where they exit from the apparatus.
11. Use only attachments/accessories speciﬁed by the manufacturer.
12. Use only with a cart, stand, tripod, bracket or table speciﬁedby the manufacturer, or sold with the apparatus. When a cart isused, use caution when moving the cart/apparatus combination
to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or whenunused for long periods of time.
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14. Refer all servicing to qualiﬁed service personnel. Servicing is required
when the apparatus has been damaged in any way, such as a power-supply
cord or plug is damaged, liquid has been spilled or objects have fallen into
the apparatus, the apparatus has been exposed to rain or moisture, does notoperate normally, or has been dropped.
Do not expose the apparatus to dripping or splashing liquids and do notplace objects ﬁlled with liquids (such as a beverage container or a vase) on
the apparatus.
Disconnect device is AC inlet or power switch.
Warning: To reduce the risk of ﬁre or electric shock, do not expose
thisapparatus to rain or moisture.

Hear This!
The Loudbox Performer ampliﬁer is capable of cleanly reproducing the soundof your instrument at very high volume levels. Prolonged repeated exposure tohigh sound pressure levels (SPLs) without protection can cause permanent hearing loss. OSHA has set guidelines and speciﬁed permissible sound-exposure
limits for those who work in high SPL environments.
Permissible noise exposures
Duration per day,hours

Sound level dBA
slow response

8
6
4
3
2
1½
1
½
¼ or less

90
92
95
97
100
102
105
110
115

To ensure against permanent hearing loss, wear hearing protection when you
perform with ampliﬁcation.

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Welcome . . .
. . . and thank you for choosing the Fishman Loudbox Performer! Our passion for
acoustic instruments inspired us to create this amp—it is our sincere wish that
the Loudbox Performer will inspire you as well!
With its unique tri-ampliﬁed design, the potent and portable, two-channel,
130 watt Loudbox Performer delivers more serious acoustic tone and volume
than any other amp in its class. The secret to the Loudbox Performer’s sound lies
in its three power amps and two-way speaker system. This powerful combination
results in higher sound pressure levels and cleaner acoustic tones, watt-for-watt,than comparable acoustic amps.
You’ll ﬁnd this lightweight and compact amp is as comfortable in your homestudio as it is onstage. It easily passes the “one-trip” test, for those times you
carry both your instrument and your amp to the car or into the club.
The two-channel Loudbox Performer brings together a wish list of the essential
features you’ve been looking for. The front panel includes inputs for acoustic
instruments, a microphone and a CD player or drum machine. Dual EQ sections include bass, midrange and treble controls for easy, effective tone shaping. Vanquishing troublesome acoustic feedback is simple with independentanti-feedback ﬁlters and phase switches for each channel. We also include ﬁve
digital effects you can really use: two halls, two plates, and a smooth chorus. A
convenient mute switch keeps things quiet when you tune up or take a break.
The Loudbox Performer also features a headphone jack for silent jamming orpracticing.
On the rear panel, good things come inthrees with D.I.s for channels 1 & 2, plus athird summed Mix-D.I. output (watch yoursoundperson smile). For pedal-heads,
each channel has its own effects loop,
a tuner out (Ch. 1) and a ¼” jack for aremote mute switch. With the Loudbox
Performer on the ﬂoor, the speaker’s tendegree tilt-back angle helps to project
your sound up to ear level.
So what are you waiting for? Grab yourguitar and your Loudbox Performer andgo out and make some music!
If you have questions or comments,
please contact us through the Service
and Support section of our website at
www.ﬁshman.com.
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Getting Started
Here are some basic setup tips to help get you going. To operate the Loudbox
Performer safely, please read the entire manual, especially the Important Safety
Instructions on page 3.
If your ampliﬁer has an operating voltage of 120V, plug the provided AC line
cord into the back of the ampliﬁer.
If your ampliﬁer operates at 230V, you must supply your own detachable power
cord. The cord you supply must have an IEC-style 320 connector at one end anda male AC plug appropriate for your area at the other.
1. Locate the Power switch (above the rear panel power cord terminal) and switch
it off (down position), then connect the power cord.
2. Plug the Loudbox Performer into an electrical outlet with the appropriate ACvoltage.
NOTE: Operate the ampliﬁer only at the voltage indicated in
the check box on the rear panel. Do not defeat the groundprong on the AC cable; the safe operation of this ampliﬁer
depends on a proper ground connection.

3. Push in the Mute switch and turn on the Power switch.
4. Connect your instrument to the Channel 1 input with a shielded ¼” cable.
5. Play aggressively and raise Channel 1 Gain until Clip LED ﬂashes, then backoff the Gain until no clipping occurs.
6. Set the controls as illustrated below.
7. Push the Mute switch (out) and slowly raise the Master Volume to thedesired level.

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Front Panel
1

3

2

4

6 7

8

9

10

11

12

13

14

5

15

16

17

18

19

20

1. Power
Lights up when the ampliﬁer power is on. The Power switch is located behind
the amp above the AC power cord terminal.
2. Channel 1 input
Accepts all types of passive or active acoustic pickups.
3. Channel 2, XLR input
Plug in a balanced mic here for vocal or for your instrument. The Loudbox
Performer makes an excellent mini-PA or vocal monitor. You may also connect
an outboard preamp with balanced XLR out to this input.
Note: If you attempt to plug in both the Channel 2 XLR and ¼” inputs at thesame time, the XLR shuts off.
4. Phantom power switch
Provides 24V to the XLR input, for a condenser microphone.
Provides 15V to the ring contact of Channel 2’s ¼” input, for instruments withmini-electret microphones.
Note: Push the Mute switch in before you turn on the phantom power, to avoid aloud “pop.”
For more information on phantom power, see page 15.

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5. Channel 2, ¼ input (stereo)
Accepts all types of passive or active acoustic pickups. The Ring contact of thisstereo TRS input is tied to Channel 1. An instrument with two signal sources(such as pickup and mini-mic) can be routed via stereo cable through this jack toboth Channels 1 and 2 (see page 16 for setup).
Note: Unplug Channel 1 input before you use Channel 2’s ¼” input for stereo
blending. If you use both ¼” inputs simultaneously, Channel 1 takes priority andshuts off the Channel 2 Ring signal.
With this setup, your pickup and onboard mini-mic can be EQ’d and blended
separately. Wire the mini-mic to Ring and the pickup to Tip and follow the
manufacturer’s instructions. Turn on Phantom 15V power if your mini-mic
requires it. Stereo cables are available through your Fishman dealer.
Note: Items 6–14 are identical for both channels.
6. Clip LED
The Clip LED will light when the Gain level is too high and the signal becomes
distorted. If the light comes on when you play, lower the Gain until the distortion
goes away.
7. 10dB Pad
If you have a high output pickup and the Clip LED comes on at low Gain settings,
push this switch in to put your pickup into a more useable range.
8. Gain
Use the Gain knob to set the level of the signal. If the Clip LED ﬂashes when you
play, lower the Gain until the ﬂashing stops. If either channel is unused, set its
Gain to 7 o’clock (off).
9. Low
Boost here to add weight to the sound. In general, boost bass at low volumes
and ﬂatten it out (or cut) at higher levels. With the dial set at 12 o’clock, thecontrol is effectively out of the circuit.
10. MidThis control affects how well the instrument blends in or stands out in the mix. At
loud volumes a midrange cut will achieve a more natural sound. With the dial set
at 12 o’clock, the control is effectively out of the circuit.
11. High
Boost highs to add “air” to the sound of the instrument. With the knob set at
12 o’clock, the control is effectively out of the circuit.

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12. Anti Feedback
If you encounter low-frequency feedback, sweep this control to isolate andeliminate it. Many guitars will beneﬁt with the Anti Feedback knob set at about
10 o’clock. The Anti Feedback ﬁlter is off at the 7 o’clock position. To read more
about acoustic feedback, see page 14.
13. Phase
Use the Phase switch in conjunction with the Anti Feedback ﬁlter to eliminate
acoustic feedback. To read more about acoustic feedback, see page 14.
14. FX Level
Controls the amount of digital effects in the channel. Generally set this above
the Master FX Level.
15. Digital FX (select)These built-in effects have been speciallychosen and voiced for acoustic instruments.
16. Digital FX Level (master)Set the overall level of the Digital FX withthis knob. In general set this lower than theindividual Channel 1 and 2 FX Levels.

Digital FX Programs

1. Hall 1
2. Hall 2
3. Chorus
4. Plate 1
5. Plate 2

17. Master Volume
Set the overall level of the Loudbox Performer with the Master Volume. In
general put the Master Volume as high as possible (2 o’clock to 5 o’clock) toachieve the cleanest sound.
18. Headphone jack
When you plug in stereo headphones here, the speakers shut off. This output
monitors Channels 1 & 2 and the Aux input, so you can play along withpre-recorded music through the headphones.
19. Aux Level
Use this to control the level of the device you plug into the Aux input. Note that
the Aux channel is independent of the Mute switch, so you can play pre-recorded music on your breaks. If the Aux channel is unused, set the Aux level to off.
20. Mute
The Mute switch shuts off the signals from Channels 1 and 2 to the speakers andall the XLR outputs. The mute does not affect the Aux channel, the Tuner out or
the effects sends.

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Rear Panel

1

2

3

4

5

6

7

8

9

1. Tweeter Level
Set the front panel controls ﬂat and adjust the tweeter level to where it sounds
best to you.
2. Aux Input
Plug in a line level stereo audio source such as a CD or MP3 player in this input.
The ¼” stereo (TRS) Aux Input mixes the signals to mono when ampliﬁed, butwill retain the source’s stereo image through the headphones jack.
3. Mute Foot Switch
Plug a mono, on/off (latching type) foot switch into this jack for remote accessto the Mute. The Mute Foot Switch duplicates and overrides the front panel
Mute switch.
4. Tuner out
Plug in an electronic tuner here. This output receives only the Channel 1 signal
and is independent of the mute, so you can tune with the speakers and the XLRouts muted. The Tuner out can also be used as pre-EQ unbalanced D.I. out for
Channel 1.
5. Mix D.I. (Post)
Plug in here when you wish to send signals from both Channel 1 and 2 to amixing console or a slave ampliﬁer. This post-EQ output is always groundisolated to prevent ground loop hum.
6. Channel 2 effects loop (serial)
Patch an external effect (delay, reverb, chorus) through these jacks. Use astandard ¼” shielded instrument cable to connect the Channel 2 send to the
input of the effect. Connect the Channel 2 return jack to the output of the effect.
The Channel 2 loop is located post-EQ and is compatible with battery-operated
stompbox-style effects processors.
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7. Channel 2 D.I. Out (Pre-EQ)
You’ll ﬁnd that this true direct output produces an uncolored signal that is
exceptional for recording. Use this output when you want a ﬂat D.I. signal to go
to the board. In this case you leave it to the soundperson or recording engineer
to dial up your tone and effects from the console. This pre-EQ output is always
ground isolated to prevent ground loop hum.
8. Channel 1 effects loop (serial)
Patch an external effect (delay, reverb, chorus) through these jacks. Use astandard ¼” shielded instrument cable to connect the Channel 1 send to the
input of the effect. Connect the Channel 1 return jack to the output of the effect.
The Channel 1 loop is located post-EQ and is compatible with battery-operated
stompbox-style effects processors.
9. Channel 1 D.I. Out (Pre-EQ)
You’ll ﬁnd that this true direct output produces an uncolored signal that is
exceptional for recording. Use this output when you want a ﬂat D.I. signal to go
to the board. In this case you leave it to the soundperson or recording engineer
to dial up your tone and effects from the console. This pre-EQ output is always
ground isolated to prevent ground loop hum.
Power switch
Lower the master volume or engage the Mute switch before you turn on theamp. Flip the power switch to the up position and it will light, indicating theamp is on.
AC power
Operate the ampliﬁer only at the voltage indicated in the check box on therear panel.
For 120V ampliﬁers purchased in the USA, Canada and Mexico, plug in the
supplied detachable AC power cable.
For 230V ampliﬁers purchased outside the USA and Canada, you will needto supply your own detachable AC cable. This cable must have an IEC-style
320 connector at one end, and a male AC plug appropriate for your region
at the other.
Disconnect device is AC inlet or power switch.

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Fuse holder
The fuse is located within the AC power
receptacle on the back of the amp. Accessthe fuse compartment with a small slottedscrewdriver.
For 120V ampliﬁers purchased in the USA
and Canada, replace the fuse with: LittelFuse®
type 218002 or equivalent 5 x 20mm, 2A, 250V,
time-delay fuse.
For 230V ampliﬁers purchased outside the USA
and Canada, replace the fuse with: LittelFuse®
type 218001 or equivalent 5 x 20mm, 1A, 250V,
time-delay fuse.

Power

120V

230V

120V / 230 - 240V ~AC
50 / 60Hz - 500W Max
FUSE: 120V T2AL / 230V T1AL
Replace with same type fuse as indicatedFuse Holder

Tone Tips
You can ﬁnd a balanced tone with the Loudbox Performer when you hear how
tone changes as the volume rises.
Set up
For reference, start with the tone controls ﬂat (straight-up, twelve o’clock). In thisposition, there is no equalization applied to your sound. Begin at a very low
volume and work your way up. As you turn up, try adjusting the Loudbox
Performer’s tone controls as recommended below.

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1. Low volume
At a low volume (just above conversation level) our ears are not very sensitive
to bass and treble, so give the Low and High controls a good boost. Try threeo’clock on the dial.

2. Medium volume
At intermediate levels, when you need to raise your voice to be heard over themusic, the human ear is quite sensitive to midrange. Cut the Mid control toabout ten o’clock or to your taste. At this level our perception of bass and treble
starts to catch up to the rest of the tonal spectrum, so you can back off the Low
and High controls slightly for good tonal balance.

3. High volume
At loud levels, when you must shout to be heard over the music, your ears (andyour audience) will beneﬁt from a deep midrange cut. Set the Mid dial between
nine and seven o’clock. Our perception of bass and treble “ﬂattens out” at highvolumes, so you won’t need much, if any, Low or High boost. Set the Low andHigh knobs to between twelve and one o’clock. In many cases you can also
improve the tone at very high volume if you cut bass. Try setting the Low knob
between ten and eleven o’clock.

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About Acoustic Feedback
Feedback usually occurs in the lowest
octave of your instrument, generally with
two notes about a half step apart. The
lower type of feedback (cavity resonance) starts when the sound pressure
coming out of the speakers excites theresonant air chamber inside your instrument. We have found that it is effective
to tune out an instrument’s cavity resonance feedback with the Anti Feedback(notch ﬁlter) in the Loudbox Performer.
For acoustic guitar this occurs at G# on
the low E-string, or at about 100Hz. Turnthe Anti Feedback knob to about 11
o’clock to dial out this resonance.
Note that the circuit can be effectively
defeated by moving the dial to the Off(7 o’clock) position.
The higher range of feedback (topresonance) usually starts about a half orwhole step above cavity resonance of
the instrument. Top resonance feedback
happens when the sound pressure
coming off the speakers excites theresonant frequency of the soundboardof your instrument. For acoustic guitar
this occurs at A and above on the low
E-string. Push the Phase switch in andout until you ﬁnd the position that
subdues top resonance feedback.

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Anti
Feedback

Lower
Feedback Range(E to G#)
OFF

Upper
Feedback Range(A and above)Phase

Phantom Power FAQs
Q: I have heard 24V phantom power can damage some audio devices. True?
A: Yes, phantom power can damage the following:
1. An unbalanced dynamic mic that has been modiﬁed for XLR.
2. A balanced line-level device that is not designed to accept phantom
power (eg, some effects processors). Contact the manufacturer to
conﬁrm compatibility.
3. Some older balanced wireless receivers can be damaged by phantom
power. Consult the manufacturer of the wireless unit for compatibility.
4. An instrument preamp or stompbox with an unbalanced output that is
modiﬁed for XLR.
Important note: Turn off phantom power if you plug any of the above into the
XLR input.
Q: Which devices are safe with 24V phantom power?
A: All the following can be used safely with phantom power:
1. All balanced condenser microphones.
2. All balanced dynamic microphones.
3. Many new wireless units. Check with the manufacturer for compatibility.
4. A preamp / D.I. designed for phantom-power operation, such as the
Fishman Pro-EQ Platinum.

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Stereo Blending
If your instrument has two
signal sources (typically minimic and pickup) and stereo
output, you may route thesesignals into separate channelsof the amp and blend them
independently for your own
custom mixes.

Loudbox Performer

1) Plug in a stereo (TRS) instrument cable between your guitar
and the Channel 2, ¼” input.

STEREO CABLE

2) Pickup (Tip) is routed to Channel 2
and Mic (Ring) is routed to Channel 1.
3) Turn on phantom power if mini-mic requires it.

Mic (ring) feeds Channel 1

Turn on Phantom if
mini-mic requires it.

Pickup (tip)Mic (ring)

Pickup (tip) feeds Channel 2

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Gain

Low

Mid

High

Anti
Feedback

Phase

FX Level

Digital FX

Level

MasterVolumeDownloaded from www.Manualslib.com manuals search engine

I
INPUT

S

IN

R

RIN SI NA

INPUT

17

I PREA P

INPUT
U ER

¼” STEREO
AUX INPUT

INPUT
U ER

I PASS

TIP = LEFT
RING = RIGHTI PASS

PA

20dB

PA

O

O

P ANTO PO ER

AIN

AUX
E E

AIN

I

I

IP
ETE TIONIPETE TIONTUNER
OUTPUT

I

I

NOT

X
SEN

IP E

X
SEN

DIGITAL FX

SELECT

NOT

IP E

RIGHT

LEFT

X
RETURNCH. 2 DIGITALFX LEVEL

DIGITAL FXOUTPUT LEVEL

CH. 1 DIGITALFX LEVELX
RETURN

P ASE

P ASE

POST
SI NA

UTE

UTE

POST
SI NA

ANNE
UTE

MASTER
VOLUME

ANNE

A AN EI OUTPUTUTE

A AN EI OUTPUTCHANNEL
MUTE

RING

MUTE

MUTE
CONTROL

MUTE
MUTE
FOOT SWITCH
JACK

POWER
AMPLIFIERS

MUTED WHEN CONTACT CLOSED.
FOOT SWITCH JACK OVERRIDES FRONT PANEL SWITCH.

TIPSLEEVE

LIMITER

LIMITER

LIMITERPOST MIX
D.I. OUTPUT

CHANNEL
MUTE

25Hz

HI-PASSTWEETERLEVEL(FRONT PANEL)

18dB
PAD

LOW

MID

HI

CROSSOVER

JACK INSERTED MUTESINTERNAL SPEAKERS

TIP

HEADPHONE
OUTPUT

Block DiagramTechnical Speciﬁcations
Rated power:
Cumulative
130Wrms
Woofer Amp
80Wrms continuous
Midrange Amp
40Wrms continuous
Tweeter Amp
10Wrms continuous
All measurements @ nominal line 120V, 60Hz
Acoustic response:
SPL @ 1 Meter
Frequency Response

117dB SPL
80Hz – 20kHz ± 4dB

Power consumption:

200W max

Input impedance:
Ch. 1
Ch. 2, ¼”Jack (Tip)
Ch. 2, ¼”Jack (Ring)
Ch. 2, XLR Input
Aux Input (stereo)

10MOhm
10MOhm
10MOhm, 10kOhm with 15V phantom power
2.4kOhm Balanced
10kOhmNominal input level:
Ch. 1
Ch. 2, ¼” Jack (Tip)
Ch. 2, ¼” Jack (Ring)
Ch. 2, XLR Input
Aux Input (stereo)-20dBV/-10dBV with 10dB pad-20dBV/-10dBV with 10dB pad-20dBV/-10dBV with 10dB pad-40dBV/-30dBV with 10dB pad-10dBV

Maximum recommended input level:
Ch. 1
6dBV
Ch. 2, ¼”Jack (Tip)
6dBV
Ch. 2, ¼”Jack (Ring)
6dBV
Ch. 2, XLR Input-14dBV
Aux Input (stereo)
6dBV
Phantom power (Ch. 2 only):
XLR Input
24Vdc/6.8kOhm DC source impedance per pin¼” Jack (Ring)
15Vdc/10kOhm DC source impedanceTone controls and Anti Feedback (Ch. 1 and Ch. 2):
Low±10dB @ 100Hz (shelving)Mid±12dB @ 1.2kHz (resonant)High±12dB @ 10kHz (shelving)
Anti Feedback range-14dB @ 20 – 400Hz (Hi-Q resonant notch)
We reserve the right to change any of the the speciﬁcations and information inthis manual without notice.
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Digital effects:
Program 1
Program 2
Program 3
Program 4
Program 5

Hall 1
Hall 2
ChorusPlate 1
Plate 2

Headphone Jack
Output Impedance
Max Output Level
Nominal Output Level

22 Ohm
18.5dBV (rms)-10dBV

Channel 1 & 2 D.I. Out
Output Impedance

600Ohm balanced
Phantom power tolerant, ground isolated

Channel 1 & 2 Effects Sends:
Output Impedance
2.2kOhm
Output Voltage+3dBV (1.4Vrms max)
-10dBV Nominal
Channel 1 & 2 Effects Returns:
Input Impedance
20k Ohm
Input Voltage+3dBV (1.4Vrms max)
-10dBV Nominal
Sends and returns are compatible with battery operated effects processors
Mix D.I. out:
Output Impedance
Tuner out:
Output Impedance

600Ohm balanced
Phantom power tolerant, ground isolated
5kOhm

Speaker system:
WooferMidrange
Tweeter

6.5” paper cone4.5” polypropylene cone
1” soft dome,
rare earth magnet, ferroﬂuid cooled
Tweeter Level
Up to 6dB cut
Crossover
600Hz, 4kHz (Tri-ampliﬁed with active crossover)Woofer and midrange installed in separate isolated and damped compartments
Bafﬂe Angle
Upright position 10 degrees
With kickstand 45 degrees
Physical:Dimensions
Weight19.5” x 16” x 11.5” (49.5cm x 40.5cm x 29cm)
35 lbs (16 kg)
19

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www.ﬁshman.com

Fishman and Fishman Transducers are trademarks or tradenames of Fishman Transducers Inc.
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513-000-021 Rev E 2-09