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High Pass Filter (HPF) and Low Pass Filter (LPF) Mega Thread

#701
lowplaces said:
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@lowplaces:
Just received my Broughton HPF (always on version)

Am I correct to assume it is not a set and forget device ? In other words using the same instrument, rig, etc. it will depend on the room as far as how I dial it in ?

Also if I power it with more than 9 volts, other than increasing Headroom, will it also have any effect on dialing it in ? The reason I asked that is because here in my music room it appears I am setting it at around 90HZ to find my sweet spot. I didn't expect to have to set it that high, but the room is quite boomy.

( I was using the Broughton by itself..... I'll try it with my Keeley Bassist and Radial Dragster after work this evening )

@Stumbo said:
I also have the Bro Always On HPF.

IME, for dealing with a room/rehearsal/venue, it gets set where the mix sounds the best. No preconceived notion as to where it should be set.
 
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#703
Stumbo said:
Anyone have experience with the Broughton H/LPF boost?
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I just bought one, I have it on my board but need to run power to it. I connected it briefly, but we run all in-ear for rehearsal and I couldn't hear a difference on or off, and I didn't mess with the output level. I will fool around with it and report back.
 
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#704
primussucks9126 said:
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@primussucks:

Alrighty, Brent, had a chance to run them side by side (Zoom B3N and Silicon B:assmaster) and here's what I came up with. SUPER long post ahead, but hopefully the info will be relevant to you.

First, I have the silicon B:Assmaster, so I'm not sure how the germanium one compares.

Just raw A/B, the (Zoom) B3n model has deeper lows, even with no clean blended.

The B:Assmaster, is definitely thinner, and really puts an emphasis on the upper-mids/highs. However, the character is very similar. There's a certain splatty-ness to the B:Assmaster that you can hear in the B3n, but it's still pretty different overall.

I prefer the B:Assmaster.

I haven't done the A/B with a band or in a mix, but it just cuts better, and the switches make for nice options that can't be easily replicated with the B3n.

To me, the whole point of multi-fx units are their tweakability, so with that in mind, I tried to make the B3n sound more similar to the B:Assmaster, and here's what I came up with.

First, I ran it into the Low EQ set to HPF at around 80-120hz. That thinned it out like the B:Assmaster, but lets you tailor it to your own tastes more. Then I ran it into the splitter, set to 630hz, and really cranked the Hi level and dimed the lows.

This let the upper mids shine through a little more, and now all the harmonic content of the B:Assmaster came through in the B3n as well.

However, now the highs we're a littler harsh, so I ran it into the High EQ set to LPF around 2.5k-3k. This tamed the extreme highs without putting much of a damper on the usable stuff.

Doing this, it sounds MUCH closer to the actual B:Assmaster. At this point, the differences were very subtle, and I'd be willing to bet that further tweaking would close that gap even more.

One thing I haven't nailed with the B3n is the touch sensitivity. It's definitely there, but the gate on the B:Assmaster just makes everything SUPER clean and synthy (staccato, not a clean tone) when you play with a light touch. The B3n also responds to touch in a similar way, but it just isn't as clean. Maybe the ZNR can help me with that.

The dry mixes also work differently.

The B:Assmaster dry knob is still kind of distorted and brighter, whereas the B3n is your clean signal without any "enhancements."

I'll try and record some clips of the B:Assmaster and the B3n so you can decided for yourself. I'll try to get the standard Octave fuzz, as well as a clip with all of my additional processing.

I'd be happy to share a patch with you as well, just let me know.
Hope this helps!
Paul
 
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#705
BassikLee said:
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@BassikLee said about the Mooer Radar Pedal:

So I dunno if this has been mentioned before, but the five band graphic EQ has movable eq points.

It's a swept graphic, or "semi-parametric". You can choose that, or if you need truly surgical eq, there is a four band fully parametric eq.

That's in addition to the HPF/LPF sections, power amp, cab, and mic modelling. I haven't dug too deep yet, but this little thing is killer.
 
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#706
Broughton always on HPF is now on order, and I will pick it up on my trip to the USA in a couple of weeks. I'll try it out on bass amp, PA, monitors etc as opportunity presents itself, which probably means August at volume. I'll try to report back in a useful way.

Ultimately for PA and monitors I will possibly grab a Behringer dual channel EQ unit, as that has a low set HPF, but also a crossover which I believe I could use as an HPF. That then also gives me EQ for general sound sculpting and feedback control. But I can prototype that with the Broughton
 
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#709
scuzzy said:
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View attachment 3038315

@scuzzy said about the Line 6 POD HD500X:

Got it in this past Thursday. Been reading manuls and tinkering since. I was really skeptical the first 24 hours, but this morning I was able to use my new knowledge and dial in a span of patches for my Ovation Magnum and I am left impressed. Pretty much working on a list of clean and gritty amp packages. Svt, B15, GK 800rb, HiWatt 100, Fender Bassman, Marshall Super Lead using different bass cabs and different mics. All of them sound great. It takes tinkering and work and the volume matching for the patches is tedious, but the tones are quite impressive.

The high and low pass filters available are great and really cleaned up my sound.

The tube comp is a very nice sounding compressor. Dual channel amping is quite easy and opens up nice opportunities for pitch shifting and delay/reverb for a nice rhythm guitar fill for those times I only accompany an acoustic but we need fullness and grit.

The more I learn it, the more I like it. Truly a great sounding modeler, but you gotta work at it. Them tones don't come easy. I haven't put my stomp boxes up for sale yet, but a few of them are in danger of a departure. If anyone has any tips for use, let me know. I am working on three different banks for my 3 styles of basses right now. High output passive, high output active, and low output (nordy and Magnum). This seemed to be the best solution instead of manually tweaking each drive patch with each bass change.
 
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#711
RoadRanger said:
Why both? I was using an MS-60B and just got in a B3n, mostly for the new HPF and LPF modules ...
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I use the 60B for amp/cab sims with four bands of ParaEQ and noise reduction. The B3n is set up in patch mode, so I have a clean tone, a couple filters, a fretless sim, OD, etc. Each patch has LPF, HPF, a B7k sim plus the various FX. I also use the MarkBass sim in most patches as a way to tailor the FX.
 
#712
Johno Dunn said:
I use the 60B for amp/cab sims with four bands of ParaEQ and noise reduction. The B3n is set up in patch mode, so I have a clean tone, a couple filters, a fretless sim, OD, etc. Each patch has LPF, HPF, a B7k sim plus the various FX. I also use the MarkBass sim in most patches as a way to tailor the FX.
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Oh, and Glam compressor!
 
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#713
Looking to take out piercing highs yet retain presence, clarity and nice harmonics. My reading is saying to set a low pass at about 5k. Is this reasonable? I initially set at 10k and it's a bit harsh at times. Going to lower, I just don't want to lose needed clarity and presence when I get into a mix.
 
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#714
scuzzy said:
Looking to take out piercing highs yet retain presence, clarity and nice harmonics. My reading is saying to set a low pass at about 5k. Is this reasonable? I initially set at 10k and it's a bit harsh at times. Going to lower, I just don't want to lose needed clarity and presence when I get into a mix.
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I think 5k is a good starting point. See how it sits in the mix.
Are you wireless so you can go FOH during sound check. Adjust from there.
@JimmyM sets his around there.

Based on some @Passinwind graphs, where the bass eq. control was set affected the overall response of how the HPF interacted with the bass setting, same thing should be happening with the LPF.

When you set the LPF at 5k you can also adjust the amp eq. highs to see if it sounds more to what you want.
 
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