Bass DIs with built in HPF

[manchego_eggo]

These might be some odd balls
The Darkglass X pedals
LMAO Machine Tyler Deluxe
EBS Stanley Clarke Acoustic

The Darkglass X pedals appear to use the HPF/LPF more as a tool to sculpt the pedal's distortion rather than a universal HPF/LPF, so I don't think that is applicable here. Let me know if you disagree.

The KMA, while it has the HPF and LPF, does not have a DI, so it doesn't apply here, but that doesn't mean it isn't a fascinating looking pedal.

Otherwise list updated, keep em coming.

 

[groovaholic]

It seems to me that you would NOT want to filter those freq's when passing a DI signal to FOH because you'd effectively be throttling the subs.

Sometimes throttling the subs is EXACLTY what you need to do.

I played a gig once where the sound tech was doing his best to make my bass sound like a hip hop car at a traffic light; every time I played a note on the E or A string, it got swallowed in an eyeball-rattling sea of mud.

I was using a Mesa D800+ at the time, so I switched the DI out from "Pre EQ" to "Post EQ" and set the HPF around 90 Hz - mischief managed!

 

[LiptonJigglers]

Hi, I'm trying to build out a list of all bass DI pedals with a built in HPF, because I couldn't find one on TB. What am I missing here?

Bergantino Super Pre
Broughton HPF-DI
Broughton Messenger (all versions)
Broughton Studio One
EBS Stanley Clarke Acoustic Preamp
Fishman Platinum Pro EQ/DI
Genzler Magellan Pre
Mesa Subway+
Source Audio Zio Bass
Sushi Box Finally
Sushi Box Neptunium
Sushi Box Venus
Tech 21 Q Strip (fixed)
Tech 21 XB Driver
Radial Bassbone
Radial Firefly
Radial PZ-DI
Radial PZ-Deluxe

Origin effects Bass Rig both black and blue..

 

[manchego_eggo]

Origin effects Bass Rig both black and blue..

Thanks, I'm reading the manuals for both and it appears that only the blue (Super Vintage), has a high pass filter, which is the Lo Cut switch. Does that sound right?

 

[Bassology]

Thanks, I'm reading the manuals for both and it appears that only the blue (Super Vintage), has a high pass filter, which is the Lo Cut switch. Does that sound right?

The cabsim features on the DI of both Origin Bass Rigs apply a fixed frequency profile to replicate the sound of their respective cabinets: the Super Vintage emulates the Ampeg 8x10, while the '64 Black Panel mimics the Bassman 2x15. As a result, both include a fixed high-pass filter to match the characteristics of these cabinets.

 

[darev]

Sushi Box Nobelium.

 

[Alban]

Noble DI, Arkham Oracle

 

[eniac]

Quick question regarding this:
Normally a HPF is used to control the lows going to a stage rig to remove inaudible freq's so as to help the speaker work more efficiently and not soak up amp power.
What advantage would having a HPF in a DI bring? It seems to me that you would NOT want to filter those freq's when passing a DI signal to FOH because you'd effectively be throttling the subs. It also seems that if the the DI was being used for recording or an IEM rig you could simply apply a HPF at the software interface.
Just curious as to why one would desire a DI with a built in HPF?

1) It is not the player's call to judge whether the subs are being "throttled". That's the sound tech's domain exclusively. And it typically varies on a case-by-case basis.

2) You are 100% correct in your point about wasted amp power and helping the sub work more efficiently. Stepping outside the topic of highpassed DI's for a moment, into a more general discussion of sub best practices, what you miss is the danger of a sub operating below its safe range at the volumes it's typically used at. I worked at one place where all the facility's sub drivers had to be replaced because of neglect on the part of the installers combined with sloppy work on the part of the operators. The bands' channels were high-passed, but the recorded intro music (on a different mixer channel) was not. The subs at this site are flown. As soon as you get into flown speaker system repair, you enter a complex and very expensive hellhole of lifts (not ladders), crews (not single workers), and OSHA regulations. With flown systems the cost of the replacement drivers typically winds up being only a tiny fraction of the total bill. At this particular site, it would've been wise for the installer to "hard code" a steep HPF into the post-mixer signal chain and make that setting inaccessible. That would've erected a barrier against human delinquency and saved thousands of dollars. But it was never done.

 

[DJ Bebop]

Quick question regarding this:
Normally a HPF is used to control the lows going to a stage rig to remove inaudible freq's so as to help the speaker work more efficiently and not soak up amp power.
What advantage would having a HPF in a DI bring? It seems to me that you would NOT want to filter those freq's when passing a DI signal to FOH because you'd effectively be throttling the subs. It also seems that if the the DI was being used for recording or an IEM rig you could simply apply a HPF at the software interface.
Just curious as to why one would desire a DI with a built in HPF?

Because sometimes, depending on the sound engineer, that is all you hear out in front. All bass in subs only, no note definition at all. This way with the HPF you can keep whats being forced to the subs more manageable and causes you feed to actually be heard.

 

[sifi2112]

sfxsound mD3

 

[stingray69]

Technically, the Zoom B6 is capable of this.

The 'High EQ' and 'Low EQ' effects each have optional Shelving EQ, and HPF/LPF settings with an adjustable frequency center.

Not sure if you are counting multi-effects with DI outputs or strictly stand alone units.

 

[Jazzdogg]

I find a steep HPF better than a shallow HPF, and much prefer a variable HPF to a fixed HPF

 

[Altitude]

Quick question regarding this:
Normally a HPF is used to control the lows going to a stage rig to remove inaudible freq's so as to help the speaker work more efficiently and not soak up amp power.
What advantage would having a HPF in a DI bring? It seems to me that you would NOT want to filter those freq's when passing a DI signal to FOH because you'd effectively be throttling the subs. It also seems that if the the DI was being used for recording or an IEM rig you could simply apply a HPF at the software interface.
Just curious as to why one would desire a DI with a built in HPF?

I'm guessing here that the HPF would let us send a signal to FOH that doesn't cause problems for the engineer. You might have an engineer who sees the need for an HPF on the bass signal at the board, or you might have a guy who just turns down your low end to undesirable effect. But if you have the HPF in your chain, you don't send them the problem to solve at all.

 

[Nuisance]

I believe the Mesa Subway DI has a fixed HPF at 30hz (as opposed to a variable on the + model). Calling @agedhorse to verify.

 

[Parzival]

Still no Noble in the OP.

 

[Jazzdogg]

Quick question regarding this:
Normally a HPF is used to control the lows going to a stage rig to remove inaudible freq's so as to help the speaker work more efficiently and not soak up amp power.
What advantage would having a HPF in a DI bring? It seems to me that you would NOT want to filter those freq's when passing a DI signal to FOH because you'd effectively be throttling the subs. It also seems that if the the DI was being used for recording or an IEM rig you could simply apply a HPF at the software interface.
Just curious as to why one would desire a DI with a built in HPF?

I typically use a variable HPF (and cab placement on stage) to match the rig to the gig/venue. If you have a stellar sound engineer, you can send a full bandwidth signal to FOH. For the past 10 or 20 years, however, FOH sound engineers have been overusing subs, which can RUIN the sound onstage and in the audience IMHO, especially with jazz and acoustic music.
When I get a sound tech with those proclivities, manicuring the low end with a variable HPF and sending the signal to FOH post HPF trims the lowest lows and prevents them from ruining the mix with extraneous deep lows; sometimes, it's a matter of self defense. When I ran sound, I used aux-fed subs to keep everything out of the subs except the signals I deliberately wanted to hear through subs, so that might help explain my perspective.

 

[Jazzdogg]

Sometimes throttling the subs is EXACLTY what you need to do.

I played a gig once where the sound tech was doing his best to make my bass sound like a hip hop car at a traffic light; every time I played a note on the E or A string, it got swallowed in an eyeball-rattling sea of mud.

I was using a Mesa D800+ at the time, so I switched the DI out from "Pre EQ" to "Post EQ" and set the HPF around 90 Hz - mischief managed!

Yes! Preach it!

 

[Jazzdogg]

1) It is not the player's call to judge whether the subs are being "throttled". That's the sound tech's domain exclusively. And it typically varies on a case-by-case basis.

2) You are 100% correct in your point about wasted amp power and helping the sub work more efficiently. Stepping outside the topic of highpassed DI's for a moment, into a more general discussion of sub best practices, what you miss is the danger of a sub operating below its safe range at the volumes it's typically used at. I worked at one place where all the facility's sub drivers had to be replaced because of neglect on the part of the installers combined with sloppy work on the part of the operators. The bands' channels were high-passed, but the recorded intro music (on a different mixer channel) was not. The subs at this site are flown. As soon as you get into flown speaker system repair, you enter a complex and very expensive hellhole of lifts (not ladders), crews (not single workers), and OSHA regulations. With flown systems the cost of the replacement drivers typically winds up being only a tiny fraction of the total bill. At this particular site, it would've been wise for the installer to "hard code" a steep HPF into the post-mixer signal chain and make that setting inaccessible. That would've erected a barrier against human delinquency and saved thousands of dollars. But it was never done.

Can we agree re: point #1, that this pertains to competent sound techs only?

I've been unfortunate to have played venues with FOH subs cranked so much that I couldn't hear myself well enough on stage to know whether I was playing in tune. The "chest thump" employed by so many folks running FOH these days is so overused that it has ruined public concerts for me; abysmal sound with too much in the subs and so much volume that it causes cumulative hearing damage.

The kinds of systems you describe in point #2 are less likely to be mismanaged than the PA typically used by bar bands and small clubs because they can't afford to buy them in the first place.

I'd venture 90% of bassists on TB have never played through what you'd describe as a Pro Rig. Different sets of users deal with different kinds problems, which require different solutions.

My two cents, IME, IMHO, etc.

 

[Zbysek]

The Darkglass X pedals appear to use the HPF/LPF more as a tool to sculpt the pedal's distortion rather than a universal HPF/LPF, so I don't think that is applicable here.

Correct. The same applies to Tech 21 XB Driver. The HPF is a part of the crossover - it allows to blend clean lows with driven mids/highs....

 

[el murdoque]

I'm pretty sure all Sansamp BDDI variations have a baked in HPF.