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JGR's 1200 watt micro - let the madness begin!!!!!

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#361
The 700-800hz area has always been weird to me.

When mixing bass guitar in PA systems, that's a good area to boost a bit to bring definition, tone, "cut through", bring out overdrive tones, etc.

In most bass cabs though it seems it just translates to nasally honk, gank, etc.....not what I'd call "musical" at all. I almost always want to cut there in that case if I do anything in that area other than leave it alone.

This due to the varying speaker systems being used, not to do with that particular band or nothing wrong with having a knob there.

Also our ears are really sensitive in that area. A little goes a long way.
 
#362
The classic hard rock SVT setting is the mid selector at the 800hz spot bumped a bit with the bass knob cut a notch, and it sounds good in that particular rig, though running the volume up enough to get just beyond clean has a lot to do with the harmonics as well.
 
#363
will33 said:
The 700-800hz area has always been weird to me.

When mixing bass guitar in PA systems, that's a good area to boost a bit to bring definition, tone, "cut through", bring out overdrive tones, etc.

In most bass cabs though it seems it just translates to nasally honk, gank, etc.....not what I'd call "musical" at all. I almost always want to cut there in that case if I do anything in that area other than leave it alone.

This due to the varying speaker systems being used, not to do with that particular band or nothing wrong with having a knob there.

Also our ears are really sensitive in that area. A little goes a long way.
Click to expand...

I use a 15/6 style cab with the insanely powerful 18Sound 6ND410 midrange driver. Those cabs tend to have a big hump in the upper mids that can be tough to deal with on a lot of EQs. Having a band right there will allow me to cut it down to a level that's more balanced. I love the inclusion for those purposes. It's also a great place to cut for slappers.

Rarely a band where I'd do much boosting.
 
#364
I agree about the 800Hz - it was always a band I just left alone. Didn't like the sound boosted or cut. That's why I've always avoided it. I have to say in this circuit, for whatever reason, I love cranking it.
 
#365
silky smoove said:
I use a 15/6 style cab with the insanely powerful 18Sound 6ND410 midrange driver. Those cabs tend to have a big hump in the upper mids that can be tough to deal with on a lot of EQs. Having a band right there will allow me to cut it down to a level that's more balanced. I love the inclusion for those purposes. It's also a great place to cut for slappers.

Rarely a band where I'd do much boosting.
Click to expand...

FWIW, if you are using the stock CBG crossover, another 2dB of padding will make a world of difference. Much better balance IME.
 
#366
Mine isn't a fEarful, but it does sound shockingly similar. It's an LDS 15/6 built almost to fEarful spec, but with Ralf Patterson's 800hz crossover. I've played it side by side with a fEarful built to spec, and the two were virtually indistinguishable.

All that said, those 6ND410s put out a tremendous amount of sound when working in their optimal range. This additional EQ band will be really helpful for this.

Notice that I said "will be" as opposed to "would be." It will be mine. Oh yes. It will be mine.
 
#367
Somewhere on the fEarful forums there is/was a filter addition mod to the crossover to take the ear-piercing output out of the 18sound/smooth it out.

More padding would help too, but that would retain the same voice. The filter smoothed out the voicing.
 
#369
I've thought about replacing the crossover in mine with the True 3-Way. I even got a quote from J-Hawks (an authorized fEarful builder) to make one for me, along with the 15subby sub crossover for the 15sub I'm planning on having Don (LDS) build to match my existing 15/6. The reality is that a quick twist of the high mid control on my amp typically gets it done. It sounds ugly at home, but sits nicely on the gig. The downside to this is that it eats up one of the my four available EQ bands to fix an issue.
 
#370
smeet said:
Thread on the true 3-way crossover:
[Invalid or Expired Link Removed]

Plans: https://www.dropbox.com/sh/m21ynd2vzmoktys/s_7yfe2Tkp

Basically it rolls off the mid driver before the nasty 4K peak, and lowers the crossover frequency for the tweeter. Big improvement in smoothness, and gives you the ability to get brighter without taking your head off with upper mids.
Click to expand...


Indeed, and a very nice piece of work if I do say so. Well done.
 
#371
silky smoove said:
I've thought about replacing the crossover in mine with the True 3-Way. I even got a quote from J-Hawks (an authorized fEarful builder) to make one for me, along with the 15subby sub crossover for the 15sub I'm planning on having Don (LDS) build to match my existing 15/6. The reality is that a quick twist of the high mid control on my amp typically gets it done. It sounds ugly at home, but sits nicely on the gig. The downside to this is that it eats up one of the my four available EQ bands to fix an issue.
Click to expand...


That was my issue with my SM400s. Lot's of eq flexibility, but used too much of it to "fix"/"bend things into shape", so limited controls to help the room or enhance tone.

Other rigs with far less eq ability worked better because they already sounded right out of the gate and didn't need "fixing", other than room correction or sound "enhancement" rather than sound "fixing".
 
#374
So with the rack preamps, I like to use hardwired power cords because I don't have to worry about the cord coming out in the back of the rack with everything else that gets jammed in there. Mike brought up a good point in Reading that the micro should have an IEC power connector because it will likely get stuffed into some kind of bag which will put more strain on the cord over time. I agree, so I'm going that route (I'd love to use a powercon connector but I know that would give folks fits, at least until they become more popular). The front panel controls will be protected as good as can be expected with handles. So that leaves the rear panel. I have low profile fuse holders I can use, so that just leaves the toggles for the DI. Just got these in which should mitigate any risk of getting sheared off:

ATTACH=full]473725[/ATTACH]
 

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#376
Just did a bit more tweaking - finally got the treble control where I want it - not too high to where it only affects string noise, and not too low to where it gets brash.

Also changed the first stage power supply filtering - filtering has a profound effect on the way things overdrive/saturate and the harmonic overtones, clarity, warmth, the low end response, and how the amp "feels" under your fingers and responds to the players dynamic attack. Big design parameter to mess with, and a bump either way can make all the difference. It really varies a lot from design to design, with particular tubes, and in concert with voltage levels being used. These are the little things that it's nice to finalize over a period of time before setting the final design.
 
#377
Dude, I just checked out your studio pre on 'the youtubes' - that's great stuff, man! You "get it". I could deal with a little more gain (saturation/clipping) but man does that sound good & useful!!! I'm running rackless these days, but this could change things... what does that pre run - are they for sale?
 
#379
scotch said:
Dude, I just checked out your studio pre on 'the youtubes' - that's great stuff, man! You "get it". I could deal with a little more gain (saturation/clipping) but man does that sound good & useful!!! I'm running rackless these days, but this could change things... what does that pre run - are they for sale?
Click to expand...
I'm focusing on doing the full 1.6 HP head but it can also be done as a standalone preamp. Nothing for sale - yet.
 
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