Passinwind
I know nothing.
- Dec 3, 2003
- 23,051
- 45,918
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- Designer/Toaster Tech @ Passinwind Electronics
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Ok, thanks. Hope he's doing well.
I'm finally just testing the Hi / Low pass I was building up since New Years. It's a 12db/octave with linear controls, But I think I'll try an audio taper for the low pass. The range from about 1Khz to 4Khz is pretty close together in the pot's sweep.
Here's my prototype board. I want to relocate the filters a little further from the regulators, even though the regulators run cool; I'm only dropping 4 volts across them. That, and tightening up the component placement in some other areas.
Yep, there's not much a bass guitar produces lower than 30Hz, or most instruments for that matter.
And cutting below 30hz eliminates those power sucking subsonics
!!!DISCLAIMER!!!
I apologize in advance for the wall of text, read it if you wish, or feel free to ignore it otherwise.
I apologize in advance for the wall of text, read it if you wish, or feel free to ignore it otherwise.
I utilize a faux, EQ based, cab simulation, basically rolling off some low end and a good deal of high end.
Though, while I do have a HPF in form of the build in HPF of my Art tube preamp last in signal chain, fixed at 40Hz (12 dB/Oct), I don't have an actual LPF, but instead combine a couple of bands of the fully parametric equalizer model in my Zoom MS-70CDR together with the HiShlv filter with a quite steep slope in my Artec graphic equalizer to mimic effectually the same effect as a LPF would have (look at the approximate effect of all the EQ'ing done in my setup on the graph at the end of the post).
As I already have my entire signal chain listed and explained I am just going to copy paste it here, then you'll have to dig out the parts that related to low and high pass filtering yourself, and as said I included a graph showing the approximate effect of the EQ'ing done in my setup last in this post.
Ideally I should just get the SourceAudio EQ2 to replace all the EQ'ing done here, but as it is I can't afford one at the moment so have to make due with what I already got, and actually, even if a bit circumstantial, my current setup gives me exactly the tone I want, so getting a device to do it all would really more be a matter of simplifying my setup and save a bit of space, rather than actually contributing with any obvious tonal improvements.
My entire signal chain explained in written form :
(*pedals listed in [ red/bold/underline text ] are "always on" effects*)
4 string 28,6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, wired directly to the output jack socket, and strung with gauge .95 - .72 - .54 - .40 D'Addario XL nickle roundwound steel core strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->>
TC Electronic SpectraComp (always on compressor) ->> TC Electronic Sub'N'Up Mini (always on digital polyphonic octaver, used as an 1 octave up effect mixed with clean bass signal, giving an effect similar to that of an 8 string "octave" bass, with pairs of respectively bass and octave strings) ->> Boss LS-2 [A+B Mix <-> Bypass] (always on, parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Orange Juice (always on low gain overdrive, really primarily used to enhance harmonic content, [Tone] set at about 11 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +3dB pre gain stage, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> (empty effects loop for clean {bass+octave up} signal blend with Orange Juice in effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 55/45 ratio) }=>> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] Behringer SF300 Super Fuzz (Boss FZ-2/Univox Super Fuzz clone, octave fuzz, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> Joyo Orange Juice (lower medium gain grindy kind of overdrive, always used stacked into the Metal Zone in front of it, and always mixed with the Rat distortion in parallel effects [Loop B]) ->> Boss MT-2 Metal Zone (distortion, used with a relatively low gain setting, and always used with the Orange Juice behind it stacked into it, and always used mixed with the Rat distortion in parallel effects [Loop B]) ->> Behringer VP1 Vintage Phaser (EHX Small Stone clone, used in the high feedback and deep sweep mode, always used boosted by the Hotone Trem in front of it, and almost always used mixed with flanger in parallel effects [Loop B]) ->> Hotone Trem (Tremolo with rate and depth at 0, always used to boost either the Behringer phaser placed behind it and make it a bit brighter, since it's a few dB above unity gain when engaged and got a tone control) ->> [Loop A Return] ->||<- [Loop B Send] ->> Mosky Black Rat (RAT clone, in original classic RAT [Vintage] mode, quite raunchy, fuzz-esque, high gain distortion, always used mixed with the Metal Zone distortion in parallel effects [Loop A]) ->> Monarch MFL-22 (flanger, most often used mixed with phaser in parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Artec SE-EQ8 Graphic EQ (always on 8 band graphic equalizer: [100Hz LoShlv= +1dB ; 170Hz (low Q)= 0 ; 280Hz (high Q)= +3dB ; 500Hz (high Q)= 0 ; 800Hz (high Q)= +1dB ; 1.4kHz (high Q)= +3dB ; 2.3 (low Q)= +3dB ; 5kHz HiShlv= -10dB]) ->> Zoom G1Xon (Used for an always on 2 band parametric equalizer [Freq=63Hz Q=4 Boost=+1dB ; [I]Freq=200 Q=2 Boost=+1dB], and additionally used for 3 patches (all including the EQ at the end of the chain), which respectively are as follows: Tremolo+VintageCE (Boss CE-1 emulation), chorus patch :-: Plate Reverb+HD Hall Reverb+Tape Delay, prominent reverb patch :-: Plate Reverb+HD Hall Reverb+Tape Delay, extremely thick lush reverb patch, used as a reverb pad effect with volume swells) [/I]->> NUX Tape Core Deluxe (Roland Space Echo tape delay emulation) ->> Zoom MS-70CDR (always on 2 band parametric EQ [Freq=400Hz Q=2 Boost=+1dB ; [I]Freq=1kHz Q=4 Boost=+1dB], subtle plate reverb, and faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=12kHz Q=1 Cut=-18dB ; [I]Freq=20kHz Q=0.5 Cut=-20dB], plus a lush Church Reverb model that can be switched on/off)[/I][/I]
->> Band rehearsal/jamming/gigging // ->> Home practice / Home recordings :
->> EHX Black Finger (always on tube driven optical compressor, dialed in to a quite subtle compression, primarily functioning as a tube preamp stage) ->> Art Tube MP Project Series (tube preamp, with HPF at 40Hz) // ->> Band rehearsal/jamming/gigging ->> [Effects Return] (poweramp input) of Peavey Solo Special 112 (160W, solid state guitar combo, with the build in 4 Ohm 12" speaker unit disconnected and instead hooked up to a The Box PA 502 PA speaker) ->> The Box PA 502 (full range PA speaker with 1x 15" + 1.7" high frequency tweeter horn) // ->> Home practice / Home recordings ->> Behringer Eurorack UB1202 (mixer) ->> [ ->> Sennheiser HD 380 Pro (headphones) ]/[ ->> Behringer Tube Ultragain MIC100 (tube preamp) ->> M-Audio Fast Track (sound interface) ->> Reaper (DAW) ]
The EQ'ing done with the above setup approximately forming an EQ curve looking like this (some of it is qualified guesswork, since I don't have the exact Q and gain settings for some of the frequency bands used) :
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“New
!!!DISCLAIMER!!!
I apologize in advance for the wall of text, read it if you wish, or feel free to ignore it otherwise.“
Thank You. I thought I was going to have to read it.
!!!DISCLAIMER!!!
I apologize in advance for the wall of text, read it if you wish, or feel free to ignore it otherwise.“
Thank You. I thought I was going to have to read it.
I read it - it's easier than reading all four volumes of "War and Peace" by L. N. Tolstoy, although I mastered them at school 24 years ago
I want to read it, I enjoy NoiseNinja's posts, but ...
For the love of Gord, or Dave or Hazel ... Bite-size chunks man!
For the love of Gord, or Dave or Hazel ... Bite-size chunks man!
I read it as well. Thats a lot of OD options!
Im interested to hear the result of the F# tuning combined with the the SubNup (poly but set at +1 Ocatve?). Do you have a clip you can share?
Also, Im using the spectracomp and a monocomp which I keep moving around (use them apart and even experimenting doubling up ala Tony Levin). Do you use one of the facoty settings or all out custom?
On topic I always have my trusy Fdeck at the very start of my chain (set at 35hz) and have added a Messenger at the end (on which I vary the HPF and LPF to suit the mood).
Im interested to hear the result of the F# tuning combined with the the SubNup (poly but set at +1 Ocatve?). Do you have a clip you can share?
Also, Im using the spectracomp and a monocomp which I keep moving around (use them apart and even experimenting doubling up ala Tony Levin). Do you use one of the facoty settings or all out custom?
On topic I always have my trusy Fdeck at the very start of my chain (set at 35hz) and have added a Messenger at the end (on which I vary the HPF and LPF to suit the mood).
Realized I made a mistake when plotting in the EQ settings in the parametric equalizer VST and boosted the 100Hz LoShelv +3dB, where it should really only be +1dB.
So this is how it would approximately really look like with that fixed :
Which would also make the HPF of the Art Tube preamp act close to how it is by it self, that is -3dB @ 40Hz 12dB/Oct, and not at 30Hz.
No, I haven't recorded anything yet, but I'll try to pull myself together to get a sample of it recorded soon, maybe even later today.
I need to record the songs and riffs I have been working on for a while to my drummer anyway, who I just started rehearsing with last month, in the sort of progressive psychedelic stoner/doom rock, in lack of better genre category, bass/vocals and drums/vocals duo we have, which is what I use this setup for and how I wrote those songs I have been concentrating on creating bass parts for, like for the past year or so.
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Seems like you're using a lot of EQ for what is pretty close to a flat FR from ~60hz to ~2.5khz. +/-1db is inaudible to the human ear, or so I've read on TB. Looks you would get the same end result by shelving everything below 300hz -3db (or everything above +3db) and also keeping your LPF and HPF. Of course, since this is working for you, no need to change anything. Just maybe something to think about should you ever get the desire to simplify. Your Zoom pedals probably have the appropriate EQ effects to do this.
Strange cause I hear a, for me, essential difference.
I doubt I am imagining that, or else I gotta find a way to control it so I can make everything sound exactly like I wish just by adjusting my mind.
I don't adjust my EQ totally randomly just for the sake of adjusting it, I do it according to what I hear, what makes you think I would do otherwise?
Especially with how specific I am explaining it.
But it is worth to note that in my experience the narrower a bandwidth of the frequency area adjusted around the center frequency the more prominent it will sound, and the smaller changes in gain will be noticeable (kind of like in much the same way that stepping on a tiny sharp pebble will be more noticeable than stepping on a huge flat rock).
So you could be right about if one was to boost the entire spectrum between 60Hz to 2.5kHz +1dB it would probably be hard to detect the difference it made, though the mid frequency spectrum is actually what the human ear hears most clearly and distinct.
And no, I wouldn't get the same result, it would look roughly to the same on a graphic representation, roughly, but not anywhere near exactly the same, and it sure wouldn't sound the same.
You might not be able to hear the difference, but I am, and to me it makes an essential difference.
If theorizing about tone works for you I am not going to stop you, but for me actually listening works better (which I realize is pretty ironic with how much I wrote without providing any sound samples. But I am working on that).
Also feel free to think I am crazy, but at least I don't claim that the color of the finish on my bass makes a notable difference to it's tone.
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Jeez, I didn't mean any offense. Like I said before, you found what works well for you and that's fantastic. I was just making an observation based on what I've read.
"If theorizing about tone works for you I am not going to stop you, but for me actually listening works better...." It's possible for one to do both. I'm an engineer (not an audio engineer, tho) and a gigging bassist. I enjoy the science of what we do, but in the end, I go with what my ears tell me too.
