Probably Broughton. Are there any others I should take a look at?
Where do you usually put these in the signal chain?
Where do you usually put these in the signal chain?
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Looking for an HPF
- Thread starter Nebraska
- Start date
There's F Deck as well, but I can't seem to find the website for you (Seems like Google is getting worse every year...). Usually, early in the chain, after the tuner.
hpftechllc
I have one of fdeck's, but I've mostly just used it on upright bass when experiencing low-end feedback. The bass pickup plugs right into it, anything else would go after it.
There's also this sexy little number:
Fishman Platinum Pro EQ/DI Analog Preamp Pedal
HPF, notch filter, tuner, EQ, compressor, DI, boost, phase switch. Works with guitar or bass.
Fishman Platinum Pro EQ/DI Analog Preamp Pedal
HPF, notch filter, tuner, EQ, compressor, DI, boost, phase switch. Works with guitar or bass.
There are sooo many posts about this. All approach things a little differently. Broughton’s is a more gentle roll off and variable. Sfx microthumpinator is steep and static at 25hz. Fdeck is almost a combo of the previous two as it has a static filter pretty low and a variable filter that might be steeper than Broughton’s.
Then you have eq pedals that have built in filters, like Sine effects, Source Audio EQ2, Tech21…the list is sizeable at this point.
As for placement, just experiment. Some can handle line level and be in the effects loop of your amp to make the cab/drivers more efficient. I’ve also seen and played with them first in line and anywhere in between
Then you have eq pedals that have built in filters, like Sine effects, Source Audio EQ2, Tech21…the list is sizeable at this point.
As for placement, just experiment. Some can handle line level and be in the effects loop of your amp to make the cab/drivers more efficient. I’ve also seen and played with them first in line and anywhere in between
Sine Effects actually has a stand alone hpf, the H24, which has a -24 db/octave slope.
Only the fdeck Series 3 has the dual filters, one fixed at 35 Hz and one variable from 35 to 140 Hz. The Series 1 and 2 models have only the variable filter. All the filters are 2-pole, so 12 dB/oct slopes, so the Series 3 provides 24 dB/oct below 35 Hz but only 12 dB/oct above 35 Hz because of the two filter design.
I have both the FDECK Series 3 and the Series 3 mini (smaller footprint, no battery option). I use my HPF at the very beginning of my board (or, as mentioned by @Sam Evans right at my upright pickup when that's the bass of choice) because I find the tracking improves significantly on my pedals when I do that. You often see recommendations for HPFs to help your speaker(s) and amp--and they do--but many of my effects, primarily octaves and filters, also really benefit from a cleaned signal.
I have a Broughton hpf/lpf. Works well in front of the amp input as well as in the fx loop if I want to tame the EQ section. I don’t use it often, mostly because I’m not playing out and having to deal with room dynamics that vary from one venue to the next. But I’m hanging on to it in case I ever do need it. The LPF is also handy sometimes if I want to tame the high end a bit.
D
Broughton works fine and does what it's supposed to.
I don't always use a HPF (and certainly not to "fix" a poor sounding room, it's not really a suitable tool for that). But when I do, I use it after all pedals that may add lows, like preamp, eq, dirt, basically anything that boost the lows. If you have a HPF early in your signal chain, and boost the lows downstream, you may end up adding the stuff you wanted to remove in the first place. I also like to have the HPF in front of any compressors, because filtering out the deepest lows may prevent the compressor from "overshooting" on low notes and provide smoother compression (although MOST bass-specific compressors should be able to handle this on their own).
I don't always use a HPF (and certainly not to "fix" a poor sounding room, it's not really a suitable tool for that). But when I do, I use it after all pedals that may add lows, like preamp, eq, dirt, basically anything that boost the lows. If you have a HPF early in your signal chain, and boost the lows downstream, you may end up adding the stuff you wanted to remove in the first place. I also like to have the HPF in front of any compressors, because filtering out the deepest lows may prevent the compressor from "overshooting" on low notes and provide smoother compression (although MOST bass-specific compressors should be able to handle this on their own).
I have this one, it was a little expensive but they threw in an amp to go with free of charge…
Some players put HPF early in the signal chain, some put it at the end. I can think of reasons for either solution.
I place HPF at the of the signal chain if my chain contains either octaver or synth/sub synth. The reason is to tame the lows created by these pedals.
If my signal chain does not contain either octaver or synth/sub synth, I place the HPF at the beginning of the signal chain ...in order to help other pedals work properly (especially compressor).
Besides Broughton, I would look into Trickfish Signal Filter (recent release).
There are preamps that contain variable HPF as one of its features, such as Source Audio Zio Bass, Broughton Messenger, Mesa Subway Plus, etc.
There are preamps that contain fixed HPF as one of its features, such as Tech 21 Q strip.
Good luck!
Comparing the Series 3 Mini to the Series 3 do you feel like you're really missing out on anything when using the Mini... i.e. do you ever "miss" the volume/gain control or the phase switch when using the Mini? (for either electric or upright)?
I see the Broughton always-on pop up in the classifieds sporadically. Mine sits just before the compressor. Even my multi-FX offers a "low EQ" option which can be configured as a HPF.
Riis
- Apr 29, 2003
- 9,078
- 9,800
- Disclosures
- Contributor- Bass Musician Magazine | Marketing Manager- Trickfish Amplification
Since it hasn't been mentioned yet, one thing to keep in mind is how steep the curve is, some are 12 DB per octave, some are 24 dB per octave and that'll have a pretty significant effect on the way the high pass filter functions with the perceived low end. For example the F deck is 24 dB per octave and works well to remove subsonic rumble while retaining functional "low end".
If I recall correctly, the Broughton is 12 dB per octave and from what I remember, it works as more of a tone shaping tool than a subsonic filter/speaker excursion protection device. Personally I prefer the steeper curve, so I can protect the speakers and optimize the amps power output while pushing usable low end.
If I recall correctly, the Broughton is 12 dB per octave and from what I remember, it works as more of a tone shaping tool than a subsonic filter/speaker excursion protection device. Personally I prefer the steeper curve, so I can protect the speakers and optimize the amps power output while pushing usable low end.
What I consider an ideal solution is a combination of two filters - a static one and variable one...like on Broughton HPF-DI or Fdeck version 3.
https://www.broughtonaudio.com/product-page/high-pass-filter-di
"The variable high pass filter ranges from 25 to 190 Hz with a slope of 12 dB/octave. An additional fixed filter is set at 25 Hz at 12 dB/octave to remove subsonic artifacts, which can help protect speakers from over excursion."
The Broughton Buffer Bandwidth Amplifier has built-in fixed high and low frequency filters, but I don’t know the frequencies or slopes. I have guitar>BBA>compressor>HPF/LPF. I can even replace the HPF/LPF with a second BBA. Whichever, that second frequency filter does make a difference.
