StageBug SB-7 - Effect pedal Radial Engineering - Free user manual and instructions

Product Type	Effect Pedal
Brand	Radial Engineering
Model	StageBug SB-7
Power Supply	9V DC (center negative), 100 mA
Dimensions (HxWxD)	1.5" x 4.5" x 2.5"
Weight	0.5 lb
Inputs	1 x 1/4" TS unbalanced
Outputs	1 x 1/4" TS unbalanced
Bypass Mode	True bypass with soft switching
LED Indicator	Blue LED for power/status
Circuit Type	Class-A discrete buffer with high headroom
Frequency Response	20 Hz - 20 kHz (±0.1 dB)
Input Impedance	1 MΩ
Output Impedance	150 Ω
Maximum Input Level	+10 dBu
Noise Floor	-100 dBu (unweighted)
Construction	Steel chassis with powder coating
Warranty	3 years limited warranty
Country of Design	Canada
Maintenance	Clean with dry cloth; avoid solvents
Safety	Do not expose to moisture or extreme temperatures
User-Serviceable Parts	None; refer to qualified technician

Frequently Asked Questions - StageBug SB-7 Radial Engineering

What is the power requirement for the Radial StageBug SB-7?

The StageBug SB-7 requires a 9V DC power supply with center negative polarity and a minimum current of 100 mA. A standard 2.1mm barrel connector is used.

Does the SB-7 support true bypass?

Yes, the SB-7 features true bypass with a soft-touch footswitch, ensuring no signal degradation when the pedal is disengaged.

Can I use the SB-7 with active pickups?

Absolutely. The SB-7's high input impedance (1 MΩ) is ideal for both passive and active pickups, preserving treble clarity.

What is the function of the LED on the SB-7?

The bright blue LED indicates when the pedal is powered and engaged, providing clear status even on dark stages.

Is the StageBug SB-7 suitable for bass guitar?

Yes, its flat frequency response (20 Hz - 20 kHz) and high headroom make it excellent for bass, maintaining low-end integrity.

How do I clean the pedal?

Use a soft, dry cloth to wipe the chassis. Avoid abrasive cleaners or solvents, as they may damage the finish.

Can the SB-7 handle line-level signals?

Yes, it accepts input levels up to +10 dBu, making it suitable for line-level sources such as synthesizers or audio interfaces.

What type of output jack does the SB-7 have?

It has a standard 1/4 inch TS unbalanced output. For best results, use a high-quality instrument cable.

Does the SB-7 require any batteries?

No, it does not have a battery compartment. It must be powered via an external 9V DC adapter.

Where is the StageBug SB-7 designed and manufactured?

The SB-7 is designed in Canada by Radial Engineering, with manufacturing in a facility that meets strict quality standards.

USER MANUAL StageBug SB-7 Radial Engineering

StageBug™ SB-7 EarMuff Headphone Silencer USER GUIDE

Thank you for purchasing your very own StageBug SB-7 EarMuff headphone silencer! We are excited about producing a personal device that can fit in your instrument case and be 'at the ready' anytime you need to record and monitor through headphones. Although the SB-7 is designed to be plug & play easy to use, please take a minute to read this short manual. It will give you insight on how to best use your SB-7 EarMuff.

OVERVIEW

The Radial StageBug SB-7 EarMuff is a passive headphone signal manager that enables the user to set the level of their headphones locally when multiple headphones are powered by a single amplifier. It is also able to sum the stereo mix to mono and mute one side of the headphones for artists that prefer to record with one ear open so that they can better hear the tonality of their instrument when recording. Muting the open earphone prevents it's sound from bleeding into the recording mic. The SB-7 is completely passive and will not introduce noise or distortion into the signal path.

CONNECTING

Before making connections, it is good practice to turn all levels down to ensure loud transients do not damage sensitive headphones. The SB-7 EarMuff does not require batteries or external power to work.

Connect the output from your headphone system to the SB-7's headphone input using a standard TRS to TRS cable. Next, connect your headphones to one of the EarMuff's outputs. The SB-7 is equipped with both 14 " and 3.5mm connections for standard headphones or ear buds.

GETTING STARTED

Set the EarMuff's headphone level to the 3 o'clock position so that you have some 'wiggle room' for fine tuning the headphone level later. Make sure both the mono and the left-off switches are in the outward position. This will enable you to test stereo connectivity to ensure everything is working.

Activate the playback track and adjust the level to a comfortable listening volume. Use the level control on the SB-7 to make volume adjustments on the fly.

USING THE EARMUFF AS A LOCAL VOLUME CONTROL

Larger recording studios generally employ a stereo power amplifier to drive several sets of headphones at the same time. The engineer will set the level to an arbitrary level, leaving the musicians in the studio to find a compromise with each other. Using the EarMuff as a simple attenuator enables each musician to set the level so that it is set to a comfortable listening level to better match their instrument and playing style. The resistive circuit inside enables each EarMuff to work independently without affecting the others.

graph LR
    A["HEADPHONE CUE MIX"] --> B["POWER AMP"]
    B --> C["SB-7"]
    C --> D["SB-7"]
    D --> E["SB-7"]
    E --> F["SB-7"]
    F --> G["SB-7"]

USING THE EARMUFF WITH ONE EAR

Depressing the left-off switch will mute one side of the headphones. We chose to lift the left side as most folks are right handed. For left-handed players, one simply reverses the headphones to the alternate ear to suit. It is important to note that when one ear is removed, the perceived loudness will drop considerably. The EarMuff lets you compensate by using the level control to fine tune the headphone volume to suit.

USING THE EARMUFF AS A STEREO TO MONO SUM

Depress the mono switch. This will collapse the stereo image and bring all of the sounds to the middle. This ensures that when the artist removes one ear, he or she will hear all of the instruments in the mix. But this also enables the TRS output to be split into two identical mono signals that could feed another device. An example could be splitting the signal so that it feeds a recording channel and an effect at the same time.

ABOUT TRS CABLES

The standard wiring for stereo headphones and TRS cables is tip-left, ring-right, and the sleeve is the common ground. We recommend using a high quality cable to minimize loss, particularly as you extend the distance from the amplifier beyond 5 meters (15').

STANDARD 1/4" TRS HEADPHONE EXTENSION CABLE

To view the 3-year transferable warranty details and product specifications please visit www.radialeng.com