I could have the variable HPF as one section of the pedal and the boost as another section. Then name each section Des and Troy because when you put them together they destroy! (Thor: Ragnarok reference)
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Must be a Bactrian because we got two hump jokes worked in.
This does not express how good that was!
- Jun 6, 2012
- 4,837
- 6,859
- Disclosures
- I don't wait 30 minutes after eating, to go swimming.
Just got mine in time for my gig, tomorrow 
Review to come 
Review to come 
Yeah, maybe what I should have said was my variable HPF allows me to control lots sub harmonics where it seems I can turn up more volume w/o booming to a point but different venues need adjustment sometimes.
Agreed 100% - using an fdeck HPF-3 has allowed me to get a lot more out of my Rumble 200 Combo, for sure... It won't quite cover every gig I do, but it could cover a majority of the ones I've done the last year or two...
Absolutely;, I use the Broughton L+HPF but I believe they serve the same purpose and sometimes I think I can get away with using one cab and a hpf instead of two cabs w/o a hpf, but haven't tried that yet.
One has to be careful though... It becomes easier to drive an amp too hard when we add outboard gear like this. Just because it seems like we can crank it more didn't mean that we should.
This is true; But I'd love to know my gear's limitations because I actually never maxed it out yet. But I don't want see smoke to find out either
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If you had say, a Rumble 200 Combo with a Rumble 15" extension cab. I would think a HPF still be useful for taming booming when necessary but wonder if you would still have to worry about cranking it? Unless, the HPF causes the amp to exceed the ratings for the speakers?
I've only used my Rumble Combo 200 by itself when I've gigged it - tilted back, with a DI send to the PA, though... It's worked pretty well that way - adding the HPF definitely improved things - and yeah, I believe the Broughton serves the same exact purpose...
Seems to that pointing cabs at your ears and/or getting a cab close to ear level would solve a lot of stage volume and FOH issues.
Add an HPF and you're golden.
I missed this piece of information in my Phil Jones Bass FlightCase BG-150 combo user manual. Buried in the page of specifications is this line under "Frequency Response":
Low Cut Filter: 24dB/Octave at 40Hz
I was looking for "High Pass Filter" but I guess LCF is the same? I presume the cut point is 40Hz. Can anyone describe the layman's meaning of 24B/Octave for this amp? This appears to be a fixed setting.
The amp has four 5" drivers, which is about the equivalent of a 110. It's intended for quieter acoustic gigs so not played at high volume. I loved the tone of this amp the moment I plugged it in. No doubt due to the HPF -- er, LCF. Whatever.
Low Cut Filter: 24dB/Octave at 40Hz
I was looking for "High Pass Filter" but I guess LCF is the same? I presume the cut point is 40Hz. Can anyone describe the layman's meaning of 24B/Octave for this amp? This appears to be a fixed setting.
The amp has four 5" drivers, which is about the equivalent of a 110. It's intended for quieter acoustic gigs so not played at high volume. I loved the tone of this amp the moment I plugged it in. No doubt due to the HPF -- er, LCF. Whatever.
I deleted my reply to think about this, but the hpf helps your speakers becomes 'more efficient' and not increase amp or speaker ratings...I think.
I looked inside my filter and it seems to be something I can build-where were these things 20yrs ago? Was this some sort of studio secret?
...and on the topic of Low Cut Switches, I have another device with this feature. It's the Noble tube preamp/DI. The low cut switch "drops 6dB/octave below 150Hz" according to the one-page instruction sheet. Is this functionally identical to a HPF set to 150Hz? Flipping the switch on makes the low end feel tighter. Leaving the switch off makes the low end more pillow like in feel. I usually have the Noble in front of the PJB Flightcase (into FX return).
If you're asking what 24 dB/octave means, it's the filter's slope, how much the signal drops per octave below the cut frequency. In this case, you'll see no cut at 40 Hz, -24 dB at 20 Hz, -48 dB at 10Hz, -72dB at 5 Hz, etc.
