You're right--the onboard doesn't give you everything the pedals do (and certainly not the drive), but I find the basic preamp sound to be similar. Could just be old ears, though.
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
You're right--the onboard doesn't give you everything the pedals do (and certainly not the drive), but I find the basic preamp sound to be similar. Could just be old ears, though.
not being big into Distortion/grit/OD, it’s taken me a while to find a usable option for my tastes.
the microtubes X is it!!!
after comparing videos upon videos I actually preferred the sound on the MT X. Usually I go for bells and whistles but this little pedal is bad arse.
Anyways, @CDSh , if it were me, I’d leave that glock in place, and try a DG harmonic booster and the MT X (or other Dg option) its not the same as the tone capsule but will get you to a unique voice of your own that will definitely be a crusher. as @AmazingMumford mentioned, that passive tone control is a very big asset to have in the tool chest. I with the DG loaded Canadian basses had it loaded as well.
and honestly, despite the glockenklang being a very “clean” pre, it sure takes a Deep low B punch and makes it sound even more monstrous.
I found out the other night while recording that cranking the mids all the way with a DG preamp into a B7K ultra gives it a totally different type of high gain overdrive. Kind of reminds me of a cranked Fulltone Bass drive when I used that back in the day.
While that's fun to play around with, I'm still having a hard time deciding what to put in my Combustion. I like the DG pre but I'm definitely going to go a different route.
While that's fun to play around with, I'm still having a hard time deciding what to put in my Combustion. I like the DG pre but I'm definitely going to go a different route.
It can add sparkle or air in the top end, and boosts on higher frequencies can also give the impression of bigger low end.
That's just the center point of it, not the only frequency that gets boosted. It's actually very, very well thought out EQ system.
I should mention that my earlier comment as to the 18k treble control was based on the hearing of a guy in an almost-grandpa band who used no hearing protection when he first started playing. I hear that it's great; I just don't hear that it's great.
In my limited experience mixing bass, when I run a bass signal through a spectrum analyzer, there's basically nothing above around 8K. Boosting frequencies that aren't even really there at all doesn't make a ton of sense to me.I should mention that my earlier comment as to the 18k treble control was based on the hearing of a guy in an almost-grandpa band who used no hearing protection when he first started playing. I hear that it's great; I just don't hear that it's great.
On the Reeves 225 there is a Presence control which raises frequencies substantially above 5K & as
you turn it more clockwise it begins to have an effect from 1k upwards. At maximum the 15K area is raised by
15dB. The impulse response trace becomes much sharper & all this is clearly audible when playing ,even the
low B string, resulting in a much tighter bass sound. So I can imagine the Glockenklang 18K would add to
the perceived attack of the lows.
you turn it more clockwise it begins to have an effect from 1k upwards. At maximum the 15K area is raised by
15dB. The impulse response trace becomes much sharper & all this is clearly audible when playing ,even the
low B string, resulting in a much tighter bass sound. So I can imagine the Glockenklang 18K would add to
the perceived attack of the lows.
Interesting. I haven't ever set the treble control very high--certainly nothing close to 15db boost--out of fear of "old rock bassist EQ." You know, all treble-y...because Def. I may have to throw caution to the wind and check out the effect on the lower registers, just in case it does something like the Reeves.
P.S. I know that the Raiders moved to Las Vegas, but when did Las Vegas move to New Mexico?
Seems to me that the high on the Klang would be most useful when playing with the presence filtering as mentioned. @AmazingMumford can you explain what you mean by the passive tone control? Does one of the knobs act like a tone control in passive mode? Thats pretty awesome, ill have to play with it.
edit ah i see on the Glockenklang docs the treble knob is the tone control in passive. So cool...
edit ah i see on the Glockenklang docs the treble knob is the tone control in passive. So cool...
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The Glockenlang treble control is a full function passive tone pot when the preamp is disengaged, but also in active mode it is a treble boost from the center decent going clockwise and a passive tone cut going counterclockwise from the detent.
I always found this to be such an incredibly smart design. I suppose the only shortcoming is if you’re in active mode and you don’t want the resonant hump associated with a passive tone control, and instead want a smooth high frequency roll-off like you get from an active treble cut. Seems like a very minor complaint, and one that didn’t slow me down from specifying the Glock preamp on my Super J.
Historically speaking it was there first. The Wild West Frontier. Google it, as everyone says nowadays.
A very understandable addiction! I've only given myself a month or 2 to do a full comparison between this (Super JP) and my NG-3, and then I'll find a new home for one of them. The neck on the Super has pretty much won me over already, though.
