crossover pedal for splitting high/lows to two seperate amps

[dannybuoy]

Almost - but it has a built in amp sim with a mid scoop and treble rolloff which I for one wouldn't want. Is there a crossover on the 3 loops or just a lo/mid/hi eq boost on each one?

 

[Swift713]

That does look nice, can the scoop and rolloff be compensated for by the mid and high knobs or are they different frequencies? ie. would a flat eq look something like 12:00, 1:00, and 2:00?

 

[95svtcobra]

I know you said pedal, but if you are considering a rack solution, the Rane DC-24 is a variable crossover compressor that will let you plit the signal, then compress each band separately and then you could rout them to each amp that way.

 

[dannybuoy]

It shouldn't be too much work to adapt the Moosapotamus Paralooper to do this task. It could have 2 loops instead of one, which you could either blend together to one output, or just route the fx to separate amps instead of the fx return sockets for bi-amping.

 

[tocs100]

Almost - but it has a built in amp sim with a mid scoop and treble rolloff which I for one wouldn't want. Is there a crossover on the 3 loops or just a lo/mid/hi eq boost on each one?

Yes, a x/o on each loop. "Amp sim" here is just fancy for a 12db treble rolloff @3.4kHz. This does double-duty as the natural roll-off on a nice Celestion guitar speaker AND noise reduction on bass. Above that freq the harmonics are about 50/50 with hiss on bass, which is why most woofers rolloff at about 2k, and bassists usually turn-off their tweeters.
(And if you want to bring back a bit of the stuff above 4k on guitar when miking a cab, that's what the amp's standard treb knob is for.)

There is a huge boost available also, to compenstae for passive basses, to keep the signal strong to fx, and even allow a boost when engaging the pedal, if desired. I even designed an overlap on the mid and hi loops, so you can footswitch-on a gnarly, distorted and echoed amp in the high loop, but still not lose highs when you switch that dist amp off--Cliff Burton galore!)

That does look nice, can the scoop and rolloff be compensated for by the mid and high knobs or are they different frequencies? ie. would a flat eq look something like 12:00, 1:00, and 2:00?

See above for the rolloff--although when designing it, I figured by bootsing the freq between about 1k--4k with the high knob, you can more than "compensate" for the hissy treble that's rolled-off.
The mid scoop is a gentle, 6db dip at 400Hz. The only instrument that really uses that freq is vocals and maybe some wood instruments. SO many people complained about the Sansamp not having a mid control, I just incorporated that as part of the x/o circuit, to save parts and cost.

I know you said pedal, but if you are considering a rack solution, the Rane DC-24 is a variable crossover compressor that will let you plit the signal, then compress each band separately and then you could rout them to each amp that way.

The DC-24 is only 2-way btw. I have a Rane stereo 3-way x/o too, and the 24db per octave slopes are just too steep to be used as a musical-eq--part of my inspiration for the Samurai Eq in fact. I used the Rane and a 12dB drawmer as part of my prototype (and to do the audio for my film, as a mastering eq) and the eq-ing to compensate for those improper slopes was madness.
Behringer makes a $300 version of the $1.400 Aphex Dominator (multiband-limiter) but it's for glitching. and has no loops for fx.

"SAMURAI SPEC SHEET"

If anyone is serious about trying one, pm to get on the tour. We will NOT be taking advanced deposits so neither can we build more than a couple in advance

The Samurai EQ features:
1) 1.2"D x 3.7"W x 4.7" H Hammond-type box
2) 1% tolerance Metal-film resistors, CLIFF switches, Neutrik jacks, buffered in & out
3) A slight mid scoop and high-end roll-off for correct EQ direct-to-tape.
4) 3 FX loops suited for optimal EQ ranges of specific fx:
a. RED LED HI honor loop: for solo boosts that really cut and also long echoes in just the upper-mid-band--no more tinny, digital echoes or boomy repeats that mask your fast rhythms
b. ORANGE LED banzai MID loop: for fat but not boomy reverb and slap-bass compressor
c. YELLOW LED LO kick loop: for fat phaser fx and light overdrive while your upper frequencies stay clean
d. WHITE LED master true bypass.

 

[Swift713]

So what are the x/o frequencies and/or eq centers?

 

[tocs100]

^I have to be careful because of the cloners ya know? Basically, below 300Hz (with a lot of special touches on that band to blow your mind, but not your speakers), around 800--3.4k (down -6dB at 400Hz), and around 1-4k (down -12db by 8k).

 

[Nyarlathotep]

does anything like that exist in a low/mid/high 3 channel setup?

i'd love to keep the subs clean, and run mids/highs through two differnt pedalboards, similar to the madness bootsy used to plug into.

Came across this zombie thru the LS-2 thread.

You could easily make a 3 band by running the high output to another of the crossovers. Basically the 2nd xover would be splitting the mids and highs.

Smaller than a rack unit, or at least it should be

 

[Bassmunnky]

hi,
i have a waterstone 12 string bass and would like to split the signal (highs and lows) to a palomino v16 (highs) and lows to a ampeg v4 4x12.

any advice i would be grateful for.

Some of the suggestions are great...but man, expensive and overly complicated for me.

I own and us both the Waterstone TP12 and the TP4 live and studio.

I just split the signal instead of using a crossover with the Radial Bones Twin-City ABY switcher. I then just roll off the some low end on the guitar amp where the highs are going. The TP12 Sounds Amazing through and old Marshall, like a cooler, nastier rhythm guitar.
The Radial boosts the passive signal, no loss of tone and has a phase switch that insures that you don't kill your sound going to two different rigs.

No Signal Loss, more control over my sound without loosing any fundamental from the higher strings.
Try that first, I could go with the high end splitting scenario, but this really works for me!

m