That's the one that's a blender/HP right? What exactly are the other functions on the board that you designed in?
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That's the one that's a blender/HP right? What exactly are the other functions on the board that you designed in?
- Feb 12, 2006
- 60,963
- 5
- 220,651
- Disclosures
- Development Engineer-Mesa Boogie, Development Engineer-Genzler (pedals), Product Support-Genz Benz
I used the Broughton Always On HPF twice-so far live. I have it set to approx 80% (I think it is around 40hz). I can't hear or feel any loss of low end, but it appears punchier and good note definition and sits very well in the stage mix. (we don't mic anything but vox, kick and keys) The big difference is that my drummer praised my sound-- he used to complain of loudness (boomy-ness). I also got other band and crowd compliments! So, in summary, so far this thing works!!
Thanks, yes, read your post. You've said the HPF works fine.
Pretty darned sure now that what I have is a Clone-PCB of the guitar-electronics.eu board.
Are you selling any extra PCBs of your blender?
Sure, PM me. Anybody else interested I offer the same. Understand it's DIY and right now I have some of the parts to build it, otherwise everything is pretty much available on eBay....or whatever internet site you prefer.
Hi all. I'll start with a pre-emptive apology, as my question may have already been addressed somewhere in this thread...but I just don't have time to read through 107 pages to find out. And my search inquiries have not yielded the answer I'm seeking.
TB is where I first heard of the wonderous and mysterious HPF. I was intrigued, but not enough to run out and buy one. Then I watched a Rig Rundown on YouTube of ZZ Top, and noticed that Dusty Hill used one. Then the tech said that the filter was used after his Pog octave pedal to filter-out anything below a low-B. That got my attention! He indicated that the Pog could always be on, and Dusty could play any note on the fretboard without any problems because all notes below a low-B weren't there. I thought, "Perfect!"
Off I went to Broughton, bought the HPF, and tried it exactly the way Dusty's is setup. Much to my disappointment, it didn't work like that at all.
No matter where I set the dial on the HPF, all notes below a low-B "passed" through. I thought the HPF was supposed to stop frequencies below a set point? If I set the HPF at 30Hz, why is 28Hz still audible? I turned it all the way up to 190Hz, and still ALL notes that I played "passed" through.
If I set the HPF at 30Hz, yet frequencies below that still "pass" through, then what exactly is an HPF doing? Note: I can hear the HPF removing some "boomy-ness" from the signal, and I can see a possible advantage in improving my overall tone. But I still don't understand what it's doing if frequencies below 30Hz are still "passing" through.
For this question, feel free to talk to me like I'm 5.
TB is where I first heard of the wonderous and mysterious HPF. I was intrigued, but not enough to run out and buy one. Then I watched a Rig Rundown on YouTube of ZZ Top, and noticed that Dusty Hill used one. Then the tech said that the filter was used after his Pog octave pedal to filter-out anything below a low-B. That got my attention! He indicated that the Pog could always be on, and Dusty could play any note on the fretboard without any problems because all notes below a low-B weren't there. I thought, "Perfect!"
Off I went to Broughton, bought the HPF, and tried it exactly the way Dusty's is setup. Much to my disappointment, it didn't work like that at all.
No matter where I set the dial on the HPF, all notes below a low-B "passed" through. I thought the HPF was supposed to stop frequencies below a set point? If I set the HPF at 30Hz, why is 28Hz still audible? I turned it all the way up to 190Hz, and still ALL notes that I played "passed" through.
If I set the HPF at 30Hz, yet frequencies below that still "pass" through, then what exactly is an HPF doing? Note: I can hear the HPF removing some "boomy-ness" from the signal, and I can see a possible advantage in improving my overall tone. But I still don't understand what it's doing if frequencies below 30Hz are still "passing" through.
For this question, feel free to talk to me like I'm 5.
Frequencies below the cut-off are reduced but they're not eliminated.Think about turning down the Bass control on your stereo, when you're listening to your favorite albums. Turning down the Bass control makes the bass quieter (attenuates), but it doesn't make it vanish completely!
28hz is very close to your cutoff of 30hz, so 28hz won't be cut very much. Maybe like -4dB or -5dB, which is an audible difference, but not a drastic difference.
But I gotta ask: What amp and cabinet are you using, that can go down that low??? Most bass cabs roll off pretty steeply below 60-80hz, somewhere in that range. Are you sure you're not hearing higher-frequency overtones?
Dusty Hill was playing arena/stadium gigs, through massive PA systems, with subwoofers that really do go down that low. But the typical bass amp that the average TB'er has at home (like an Ampeg SVT or Fender Rumble, for example) doesn't go down anywhere near 28hz. So you're probably not going to hear much difference, practicing quietly at home with a 30hz HPF. Try setting it higher (like maybe 80hz is a good place to start) and I think you will definitely hear a difference.
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@Mushroo, thank you for your response!
I may have fallen into a rabbit hole where I don't belong. Remember that old esurance commercial where the younger lady said to the old lady, "That's not how this works. That not how any of this works." I'm starting to feel like that old lady.
OK, that answers a lot!
See, this just confirms how little I know. No, I'm NOT sure if I'm just hearing higher-frequency overtones, but they sound like super-low notes to me. And similar to my initial question, if most bass cabs roll-off steeply below 60-80Hz, then why can I hear my low-E at 41Hz, and it comes out so powerfully? Or, for that matter, the 30Hz low-B on my 5-string?
I may have fallen into a rabbit hole where I don't belong. Remember that old esurance commercial where the younger lady said to the old lady, "That's not how this works. That not how any of this works." I'm starting to feel like that old lady.
It's an illusion, basically. Your ear hears the overtones and harmonics, and then your brain fills in the missing "fundamental" frequency.
It's like when you see someone sitting at a table: Your brain can fill in that they probably have legs (even though you can only see them from the waist up).
It's like when you see someone sitting at a table: Your brain can fill in that they probably have legs (even though you can only see them from the waist up).
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Because what you hear is overtones ....most likely...
it is a slope not a wall, frequencies are attenuated below the set frequency as a slope. If it were a wall
@Mushroo, thank you for your response!
OK, that answers a lot!
See, this just confirms how little I know. No, I'm NOT sure if I'm just hearing higher-frequency overtones, but they sound like super-low notes to me. And similar to my initial question, if most bass cabs roll-off steeply below 60-80Hz, then why can I hear my low-E at 41Hz, and it comes out so powerfully? Or, for that matter, the 30Hz low-B on my 5-string?
I may have fallen into a rabbit hole where I don't belong. Remember that old esurance commercial where the younger lady said to the old lady, "That's not how this works. That not how any of this works." I'm starting to feel like that old lady.
Physics, a musical note (on the bass or any other instrument) is not a pure sine wave and includes upper and lower harmonics etc.. As a side note, I've observed that the first harmonic on the electric bass is the dominant (heard louder) and the fundamental attenuated. On a double bass, I believe, the fundamental is more prominent.
scottfeldstein
Roots and fifths and a little extra.
All of which is why I don't worry about shelving off the 31Hz of my low B string. No one wants that, my speakers can't do it, and when I do play that note it still sounds huge.
Hi @filwitheneff ! If your read (and re-read if needed, I did it 5 or 6 times) the OP (High Pass Filter (HPF) and Low Pass Filter (LPF) Mega Thread), you'll find sense to some of your doubts. Then, the use of the HPF in a band situation will show you some of the benefits: rehearsals, gigs, ...
It's maybe the less intuitive filter, but has a huge impact in your tone, feel and speakers protection.
I just scored a combined version of HPF+LPF. I bought some new pedals lately and I'm running out of place in my pedalboard. I want to see if it will be more useful than 2 separate pedals. It seems to sound a little bit different, probably because of the built-in knob for boosting.
What is the consensus here on Talkbass, which option (separate or combined) do we prefer?
What is the consensus here on Talkbass, which option (separate or combined) do we prefer?
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I just scored a combined version of HPF+LPF. I bought some new pedals lately and I'm running out of place in my pedalboard. I want to see if it will be more useful than 2 separate pedals. It seems to sound a little bit different, probably because of the built-in knob for boosting.
What is the consensus here on Talkbass, which option (separate or combined) do we prefer?
I guess you should think about whether you want to shape the signal before or after other effects, it's always a discussion. There's good arguments for placing an HPF before and after other effects.
I prefer the single LPF+HPF pedal, sits at the end (before any spatial effects like reverb or delay - if you use 'em). Saying that, I actually have an always on HPF at the beginning of my chain as well (LOL).
