Also allows you to have them at different points in your signal chain, and easily accessible and adjustable at your fingertips during a gig
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Also allows you to have them at different points in your signal chain, and easily accessible and adjustable at your fingertips during a gig
Knowing the difference between one's room tone and a gig/mix tone is above the comprehension of too many musicians.My greatest joy in that band was highpassing the crap out of his guitar tracks when mixing our basement jams. "Oh yeah! Sounds really great! Nice work on the mixing!"
10 key chord piano players, beating-a-dead horse drummers and
bassy bar-chord guitar players go a long way in creating poor FOH mixes.
Based on the above, bass players need to test and use, without preconceived notions, EVERY tool in the tool box to be sure that one's bass tone on stage and FOH helps create a balanced mix within the context of the musical genre presented.
Oh, and play your recording w/o the HPF on the guitar to your guit player and the group. Tell how that screws with the mix and that the guit player needs an HPF for gigs.
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- Feb 12, 2006
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- Development Engineer-Mesa Boogie, Development Engineer-Genzler (pedals), Product Support-Genz Benz
should be a fascinating yet one sided conversation
should be a fascinating yet one sided conversation
Sorry, but Carvin died a year ago.
scottfeldstein
Roots and fifths and a little extra.
Sorry, but Carvin died a year ago.
Nevertheless, when I asked them if my amp had any baked-in HPF they responded within an hour to say no. So someone's still at home minding the support anyway.
And that answer I believe is correct. Love it or leave it, at least the BX series is rated at 20 to 20 KHz in my understanding. Good that they answer tech questions!
Brother Stumbo, this remark reminded me of another thread that I didn't reply to beyond this post:Based on the above, bass players need to test and use, without preconceived notions, EVERY tool in the tool box to be sure that one's bass tone on stage and FOH helps create a balanced mix within the context of the musical genre presented.
NEED HELP! shredding 18"s with my SWR SM 400
The OP of that thread would do well to experiment and see if the HPF works best pre-biamp crossover or post. Without knowing the exact details of the crossover built into the amp (and a very good understanding of the electronics), there is no way of knowing which is best. If the HPF doesn't affect the tone when place before the crossover, it still reduces wasted bandwidth in the circuits before the crossover (presumably that would be the pre-amp section).
At this point would be good to have a list of known pedals, heads and other stuff named here to help people to choose (me included). Also all these artifacts work different so there are options without going massy( Berhinger-Boss path someone mentioned). Do you @Stumbo as the OP want to do that list? Maybe in the openning post. Thanks.
scottfeldstein
Roots and fifths and a little extra.
I think the takeaway was that there aren't "massy" options. There are boutique options only. But, yes, I would love a comprehensive list!
- Feb 12, 2006
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- Development Engineer-Mesa Boogie, Development Engineer-Genzler (pedals), Product Support-Genz Benz
There are options that are not boutique as well. Some pedal preamps do have high pass filters in them, and variable ones to boot.
Unless he crossed over below where he would high pass, not actually any question there. The crossover low pass gets the high pass filter, the high pass of the crossover goes to the 410 jusf as before.
rllefebv:
I went with the cigar-box bass, fDeck HPF, Fender Rumble 40 setup. Simple, solid stuff that just plain works!
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Sub bass filter would seem to be a technical sounding name that tells no lies. However you'r right, I do observe a definite tendency for names that are just woo sounding. My new @markbass is no exception- Low, Low mid, High Mid, High, VLe and VPF? I'd rather have had a 6 band tone control.
Lets think...
Sub Bass would be a steepish HPF with variable frequency from maybe 80hz at 0 to say 30 hz at 10.
Bass would be +- about 80hz maybe?
Low Mid +- about 400hz
High Mid +- around 900hz
Treble +- about 2K perhaps, and
Upper Treble, sharpness, brilliance or something a LPF, with maybe 3K at 0 to something in the 10 to 20K at 10? I haven't thought much about that area...
It would probably work well in either position. Which is best I think also depends on how steep the crossover is and if the preamp section is being driven hard (desirable or not).
Passinwind
I know nothing.
- Dec 3, 2003
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Yep, that was going to be my choice on my DIY amp builds (just "Sub" actually), but at some point "HPF" started being somewhat of a meme and I decided to just stick with that. People still ask what it is/does pretty regularly though.
I own both.
The Fdeck lives velcroed to the tailpiece of my DB. The added volume function allows my DB to function much like an electric bass with an onboard preamp.
The broughton lives on my pedalboard and I use it mostly for electric bass. Being in the smaller box it doesn’t have the option of a battery so I generally only use it with my board.
I haven’t measured or test them but in term of what the HPF does it is close enough to not matter for me.
scottfeldstein
Roots and fifths and a little extra.
This is what I imagine! It's a simple enough operation to slope off at a certain frequency that I suppose most of these all "sound" the same.
And it's not like your typical HPF is adding anything to your sound (it's subtractive by nature), so aside from a gentler or steeper slope, how different can they really sound.
Yes, some filters may add resonance at the cutoff frequency, but that's not what I'd call a "typical" filter in this case.
One fairly significant difference is with the broughton the volume control all the way down is Unity gain ( or close) and then you can get a huge amount of Boost from there. With fdeck volume control all the way down is mute and all the way up is unity gain.
