I have the Felix. It is the best out there at the moment IMO.
Buy once and be done with it.
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Double Bass Best preamp w/ HiZ input and HPF?
- Thread starter sumeursault
- Start date
Damn, you use all that stuff with an upright?!
I’m currently working on it. It’s a learning process, but yes… That is the intention. Some stuff will more than likely work better for electric. Trial and error… I have an underwood and realist pickups on my upright.
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Ah, see I have a 1:1 ratio of pickups to boxes. The problem is that you need more pickups!
Just out of curiosity, what is your objective for all of that gear? My goal for the last several years has been to cut down on the amount I need on the typical gig. I've been able to get satisfactory or better results eliminating everything that isn't absolutely necessary. MBOL is not a prime goal but I can't believe all the stuff on your pedalboard is either. FOH takes care of itself for my purposes so I can travel lighter. To have to deal with all that extra equipment on top of a DB and amp seems like a lot, not to mention the increased chance of something not working or other connection problems. Even for BG it seems like overkill. JMO
I can't speak for @DrayMiles, and I'm not currently doing much effects on my DB, but I used to gig with Eric McFadden when he was in town and I had a blast doing all kinds of crazy things to my upright (distortion, fuzz, envelope filters, delays, etc.) and the audiences absolutely loved it.
I took a lot of my inspiration at the time from Tony Levin and Miles Mosely. I wouldn't do it on a jazz gig (mostly...), but it had a place with McFadden.
I took a lot of my inspiration at the time from Tony Levin and Miles Mosely. I wouldn't do it on a jazz gig (mostly...), but it had a place with McFadden.
I'm not taking my pedal board out unless it's a concert, or a session. Truth be told, I'm not using my upright basses unless the situation is ideal.
for a straight ahead jazz gig, I use the bare minimum. But since I have a home studio, I run whatever through the effects. I just bought omnisphere, and I have Zebra_Legacy. I could run my Moog Sub Phatty though it or my Fantom 08. I'm trying to get to what I hear, and it's either clean or with effects. I practice acoustically with the bow and with a teacher, but I don't have any limits imposed on myself. I will gig and try stuff until it feels musical.
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The Felix is worth every penny. You asked for the best, maybe get a Neve 8048 channel strip and turn that into a useable preamp. There are many other good ones for less but I’ll never get another since I got my Felix.
I think I'm going to try the ToneDexter. Seems like the only interesting/creative alternative to just another preamp, even an ultra premium one like the Felix. If that doesn't work for me, I'll just stick with the Headway, as it seems perfectly adequate at a fraction of the cost.
Since I own both the Grace and the Headway, my take is that the Headway makes a very reliable backup for the Grace. Since I use powered MAS speakers and the Ehrlund EAP. The Headway is a great preamp but the Grace has an Amp Out volume control and a Variable HPF. Those are dealbreakers for me. The Grace 5 year Warranty is great, I know because I’ve used it on two different occasions. One week turnaround. By comparison
The Headway has to be sent to GB and there are som limitations on what can be repaired. I know this because I had to exchange my EDB-2. That said my EDB-2 H.E. has been trouble free. Absolutely no issues! Budget limitations are always a concern even for me. At today’s prices the Grace is of my reach now.
The Headway has to be sent to GB and there are som limitations on what can be repaired. I know this because I had to exchange my EDB-2. That said my EDB-2 H.E. has been trouble free. Absolutely no issues! Budget limitations are always a concern even for me. At today’s prices the Grace is of my reach now.
Totally get all of that, and I'm sure I'd love the Grace for all of its features. Thing is, I already own the Headway....so zero dollars versus $$$$.$$ is a big difference
I have so much gear sitting around that I don't use any more that it's almost become a game to not buy anything that wouldn't be essential for some really good reason. I got the RedEye several years ago. It's the only piece of gear I've gotten in quite a while and has been a good investment. Like I've said before, simplicity and reliability are it for me.
I understand completely. Especially if you live outside the U.S. Since most bassists use a Fishman Full or Realist Life Line Pickup those pickups are hotter than the Ehrlund EAP. The Headway EDB-2 H.E. can reasonably handle a mic and those pickups with plenty of headroom. I was thinking that in my setup adding the RedEye twin in front of the Headway would also work well, but ty the time you add the cost of those two boxes together you’re getting closer closer to the cost of the Grace.
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I don't think that's what he meant... 99.999% of us aren't using any effects, so I always wonder "how are they using that?" when I do see someone with pedals. So, like... How are you using that, if you don't mind my asking? This may be veering off topic, but I am genuinely curious.
I've seen Miles Mosley (with Kamasi Washington) and he definitely put a large pedalboard through its paces in a way that I personally thought was interesting. Of course there were 47 other musicians on stage, so "chaos" was part of it. Other than that, I can only think of Nick Blacka from Gogo Penguin, and Paul Kowert on that one Punch Bros record/tour (not jazz) off the top of my head. I don't think I've seen fx boards on double bass from any of the local cats here in pdx. I'm seeing a lot of fx boards with horn, guitar, keys, and bass guitar players in jazz scene here, though.
It’s still trial and error for me. I prefer the acoustic phenomena, but in Holland, I jammed with a cellist that was using effects and it was tasteful. I don’t expect any results worth keeping until I obtain some more familiarity with the board.
In your previous post about the Cellist in Holland, I was immediately thinking of Randy Brecker's effects on Trumpet.
