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^^^ If you two need to hug/embrace, please go out back.
Edit, now several posts up
On the phase shifted blend issue, I wonder if something like this might be the best solution: Phase inversion and pedals
Of course if already have a blender with a 180 flipper or another means to shift the phase 180, I think it's worth trying. It works in NZ. Other means to shift phase may well be lurking in one of the pedals you already have, without a switch or label. There is a pretty good list and bit of info here: A list of pedals that invert? The list is a few years old, so missing recently released pedals.
More good info., ingest what bongo says here: Phase inversion and pedals
Although NZ signals are 180 deg shifted from N. America, it should work the same because both parallel channels are 180 shifted from here in the big cornfield.
Pinging @boomertech and @bongomania who probably have more knowledge on phase in the muscle memory of their thumbs than I do in my brain.
Edit, now several posts up
On the phase shifted blend issue, I wonder if something like this might be the best solution: Phase inversion and pedals
Of course if already have a blender with a 180 flipper or another means to shift the phase 180, I think it's worth trying. It works in NZ. Other means to shift phase may well be lurking in one of the pedals you already have, without a switch or label. There is a pretty good list and bit of info here: A list of pedals that invert? The list is a few years old, so missing recently released pedals.
More good info., ingest what bongo says here: Phase inversion and pedals
Although NZ signals are 180 deg shifted from N. America, it should work the same because both parallel channels are 180 shifted from here in the big cornfield.
Pinging @boomertech and @bongomania who probably have more knowledge on phase in the muscle memory of their thumbs than I do in my brain.
Lots of blenders have a phase return option. Set up spare one just as a loop of 100% wet with reverse phase. Put that inline with the pedals that invert their return. Turn off and on to suit. Use another blender as a mixer.
Wounded Paw multi channel does both for me with the last channel looped as a series.
Here's some HPF-related info on the Euphonic Audio EA Micro iAmp 550. There is an HPF built into the amp but no operational information in the manual other than noting the HPF is controlled with a trim pot. The info below is from Gary Gibilisco at EA. The first graph is from email in Summer 2016. The rest of it was a few days ago. He states an interesting view on HPF vs. equalizer. Of course, an equalizer is usually a large piece of gear esp. compared to a HPF pedal. It needs to be really worth it to lug around!
Summer 2016
March 2018
When I asked him to confirm the HPF range, he said:
Summer 2016
The HP filter on your amp has a very gradual slope and was designed to help with feedback when using a microphone; it is not a tone control. The effect is very subtle. The range is about 50-180Hz. In fact, with electric bass, you may not notice any difference at all. This circuit was suggested by one of our endorsers and reportedly worked well for him. I have to say that reports from the field indicated that the effect was less than what we expected.
We improved the HP filter function on the new Doubler. It has a 3 position switch on each input channel that allows you to choose a 20Hz, 50Hz, or 80Hz rolloff, and the slope is much steeper. For electric bass, you would put the switch in the 20Hz position and leave it that way. If you are playing upright and experiencing feedback issues, you would try the 50Hz and 80Hz positions and see which one works the best.
Please note that the variable notch filter is the better way to attack the microphone feedback issue. This control is only on the Doubler models.
If you are looking for better low end control and the tone controls on the unit are not sufficient, I think you would benefit from a multi-band external equalizer rather than experimenting with the HP filter. The equalizer would allow you to focus on specific frequency points, where the HP filter cuts a broad range of frequencies. You would use the equalizer in the effects loop.
We improved the HP filter function on the new Doubler. It has a 3 position switch on each input channel that allows you to choose a 20Hz, 50Hz, or 80Hz rolloff, and the slope is much steeper. For electric bass, you would put the switch in the 20Hz position and leave it that way. If you are playing upright and experiencing feedback issues, you would try the 50Hz and 80Hz positions and see which one works the best.
Please note that the variable notch filter is the better way to attack the microphone feedback issue. This control is only on the Doubler models.
If you are looking for better low end control and the tone controls on the unit are not sufficient, I think you would benefit from a multi-band external equalizer rather than experimenting with the HP filter. The equalizer would allow you to focus on specific frequency points, where the HP filter cuts a broad range of frequencies. You would use the equalizer in the effects loop.
March 2018
The variable HPF circuit on the Micro is primarily for use when using an upright bass with a microphone. It is to help eliminate acoustic noise/feedback at the low end of the instrument. The slope is very gradual and is centered around 50Hz. This feature was suggested by one of our endorses back then.
Quite frankly, it proved not to be as useful as we had hoped, and the circuit was changed in the later models.
Try the trim pot in both extreme positions and see what it does for you. If you are playing electric bass, you will likely not notice any difference except on the low B string of a 5-string instrument, and even then the effect will be minimal. I hope this helps. gG
Quite frankly, it proved not to be as useful as we had hoped, and the circuit was changed in the later models.
Try the trim pot in both extreme positions and see what it does for you. If you are playing electric bass, you will likely not notice any difference except on the low B string of a 5-string instrument, and even then the effect will be minimal. I hope this helps. gG
When I asked him to confirm the HPF range, he said:
I believe it's 50-150Hz.
That was a great thread. Lots of good info and myth busting.
I did a bit of a shootout. Found the Broughton to be a bit more transparent, but I could be full of it
On my Traynor, I enjoy using both sides of the Broughton. Dime the lows and highs, then use the HPF/LPF to set the limits. Works for me, anyway
Last edited:
Is there a name for this kind of thing? I’m quite interested in pursuing something like this.
Just came to chip in:
I had Broughton make a custom fixed frequency HPF/LPF for me.
HPF at ~60Hz, LPF at ~4kHz.
Works in every room, and with every rig.
My thought process was to have a signal to give sound guys that they just have to plug in and turn up, no EQing or futzing needed.
I had Broughton make a custom fixed frequency HPF/LPF for me.
HPF at ~60Hz, LPF at ~4kHz.
Works in every room, and with every rig.
My thought process was to have a signal to give sound guys that they just have to plug in and turn up, no EQing or futzing needed.
I meant for the circuit itself? Would have to do some research and figure out how to add the boost right above the cutoff. Could be above my paygrade tho...
Aw shucks. I was all set for the unveiling of PraiseBassing HPF/VarLPF/Upper Knee Cutoff Boost Filter.
Or if you put it in a floor box with a foot switch it could be the PraiseBassing Itchy Cat Pedal.
Since there would probably be a hump around 50-60Hz I think I would called it the BoomBox. Car subwoofer tuning reference. I’m sure sure that’s trademarked tho.Aw shucks. I was all set for the unveiling of PraiseBassing HPF/VarLPF/Upper Knee Cutoff Boost Filter.
Or if you put it in a floor box with a foot switch it could be the PraiseBassing Itchy Cat Pedal.
Since there would probably be a hump around 50-60Hz I think I would called it the BoomBox. Car subwoofer tuning reference. I’m sure sure that’s trademarked tho.
How 'bout a PraiseBassing Kitty Shaker?
The “Thirsty Camel”!
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