Plus the builder is on TalkBass and he's a really good guy to work with.
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As of late I've been redoing my pedal boards. I have all of these great preamps, and needed to bump up my board game. I did three, with the following criteria:
Board 1: very portable, easily replaced if something happened to it (like someone spills a beer on it. It happens a lot, especially on Bourbon St.). Designing this one to take different preamps (easily swappable).
Board 2: mid sized, compromise of size vs. tone & capability.
Board 3: larger, no need to worry about size.
All the boards need to have the ability to switch between fretted and fretless basses (need a parametric EQ), an envelope filter and a bass synth.
Getting the boards together now, I'll post results when all is done.
Board 1: very portable, easily replaced if something happened to it (like someone spills a beer on it. It happens a lot, especially on Bourbon St.). Designing this one to take different preamps (easily swappable).
Board 2: mid sized, compromise of size vs. tone & capability.
Board 3: larger, no need to worry about size.
All the boards need to have the ability to switch between fretted and fretless basses (need a parametric EQ), an envelope filter and a bass synth.
Getting the boards together now, I'll post results when all is done.
I get it somehow that those of us, who are into metal and rock mostly, need some of these bass preamps or the overdrive and distortion they offer. Maybe.
But it surprises me that people, who have owned or tried 20+ different bass preamps never even considered using what most pros use in studios since decades: high quality mic-preamps and/or tradional gear that is used in studios like 1176 and LA2A like compressors.
For playing live, the first amps that really convinced me were Markbass amps and I never felt the need to replace them for playing live. I'm satisfied.
For recording I was never satisfied with using bass-amps and I can not recollect that I ever heard that a professional record was made using the DI-out of a bass amp or the output of a "bass-preamp" (micing is a different use-case).
For recording I'm simply that satisfied with using a UA LA610 or a Warm Audio TB12 followed by a WA76 that I never even considered trying a bass amp or bass preamp again. I kind of like the SansAmp VT Bass DI, but wouldn't use it for recording.
Besides the typical effects or a brilliant pedal like the H9 from Eventide, I despise most pedals - with the exception of the Cali76 comp pedals that at least are somehow close to 1176 rack compressors.
Maybe the API TranZformer pedal is good, but never had the chance to try one.
But it surprises me that people, who have owned or tried 20+ different bass preamps never even considered using what most pros use in studios since decades: high quality mic-preamps and/or tradional gear that is used in studios like 1176 and LA2A like compressors.
For playing live, the first amps that really convinced me were Markbass amps and I never felt the need to replace them for playing live. I'm satisfied.
For recording I was never satisfied with using bass-amps and I can not recollect that I ever heard that a professional record was made using the DI-out of a bass amp or the output of a "bass-preamp" (micing is a different use-case).
For recording I'm simply that satisfied with using a UA LA610 or a Warm Audio TB12 followed by a WA76 that I never even considered trying a bass amp or bass preamp again. I kind of like the SansAmp VT Bass DI, but wouldn't use it for recording.
Besides the typical effects or a brilliant pedal like the H9 from Eventide, I despise most pedals - with the exception of the Cali76 comp pedals that at least are somehow close to 1176 rack compressors.
Maybe the API TranZformer pedal is good, but never had the chance to try one.
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I can't believe some people are so stupid that they have a different opinion from mine.
Sweet, I also have multiple boards of
different sizes that depend on what my needs are for each.I see you talk of a parametric EQ as a must for fretless.I have been using the Wampler Equator for mine and I'm really liking how musical it responds.I will admit that though I've used different types and brands this one is the first that grabs me by the ears so to speak.
I've used a ton of pro gear, studio strips, etc. I moved away from rack gear due to portability, and a lot of the preamps today sound even better. I also rarely record, I mostly play live, but when I do have an La1a and a Cali76 (also on two of my live boards). I used Markbass amps for a long time, but really prefer the board set up, I get a lot of variety. Also, I'd put my Noble and my Oracle up against any studio gear any day of the week. I certainly like them both more than the Avalon.
I was looking at the Equator, but I ended up buying quite a few different EQs. I really like the Sine Effects mini - it's a top notch piece of gear, studio quality. I also have the Orange Two Stroke, it's a two in one, but it's a little overkill, especially since I started using speaker sims.
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Did you know that Tim is working on a updated version of this pedal with a switchable boost (so you can turn on and off the rail tone)
Also this would have a XLR out and a unaffected pass through (that is my biggest complaint on a lot of these preamp pedals...I wish the Starlifter had one)
Here is the thread with a poll on it...
GK analog preamp pedal with XLR and Rail/Boost sound
I know rack gear is not your thing but I was curious if you tried running any of your preamps into straight up power amps?
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Thanks for your reply. I was fearing that, because I thought my journey has finally come to an end - but it seems I need to try out one more
Would you say the Noble is worth spending that kind of money on it? Does it bring across the low notes with authority ?
I use Trace Elliot Series 5 and 6 preamps - incredibly flexible and awesome, but this past April 2021 I got my fully functional Trace Elliot MP-11 with the working midi footswitch and am in heaven.
I posted back in 2011 on talkbass that it was my dream preamp and 10 years later i am living that dream in glorious black and green.
I posted back in 2011 on talkbass that it was my dream preamp and 10 years later i am living that dream in glorious black and green.
Thanks for your reply. I was fearing that, because I thought my journey has finally come to an end - but it seems I need to try out one more
Would you say the Noble is worth spending that kind of money on it? Does it bring across the low notes with authority ?
There is plenty of authority on tap.
Cranking the bass and treble with the hpf switch on gets a nice fat and tubey sound/feel. Love it on my in-ear gigs.
Bro, you're way above my pay grade with all things FX.And to think I got into this as a way to fill time after retirement.Sadly I doubt the gig situation will ever get back to pre-lockdown levels especially for a geezer like me.But my love of all things bass are stronger than ever.
To be honest, LA-2As don't fare well on the road. You have to kind-of baby them, especially if they are old. 1176s do fare better but who wants to travel with a rack full of stuff like that?
But it can be fun to try new stuff... Especially if your wallet can handle it... ;-)
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That looks awesome! The boost is super cool! I don't need the XLR out though, but it's good to have options
I use the Quilter BB800 as my "power amp." I haven't owned a rack power amp in a few years, but I used to use one.
Every time I think mine comes to an end something else cool comes out!Thanks for your reply. I was fearing that, because I thought my journey has finally come to an end - but it seems I need to try out one more
Would you say the Noble is worth spending that kind of money on it? Does it bring across the low notes with authority ?
The Noble is definitely worth it. The best way to describe it is that it makes my tone very full, clear, and 3d-ish. It's got the quality to it that I miss when I don't hear it, if that makes sense.
I haven't seen one of those in years, great score! I have the TE graphic EQ pedal, it's essentially the 7 band pre in pedal format. Nothing like the sound of a Trace!
That's exactly why I have the Cali76
That's exactly why I have the Cali76
Absolutely. Took a Cali76 into the studio and AB-ed with a few 1176s and it's surprising how close they got to "about the same." There are individual differences between 1176s so I was pretty impressed!
On one of my boards I use a Carvin Mach 100 power amp pedal.It only has a volume control and my preamps work fine.I don't know if that counts.That looks awesome! The boost is super cool! I don't need the XLR out though, but it's good to have options
I use the Quilter BB800 as my "power amp." I haven't owned a rack power amp in a few years, but I used to use one.
Maybe more people are like me and should try it. The first time - after many different pedals, preamps and amps - I've used an 1176 (the budget Warm Audio clone that is really good) I was like: this is the first time I have the sound, I was always looking for. It wasn't tubes or just compression. Maybe my ears were trained to this sound from too many records. Most of the players that influenced me are more straight to the board types anyway.
And yes, the Cali76 comes pretty close, even the one without a transformer.
And the dry poti, that allows to dial in the dry signal and the HPF that works like a poor man's sidechain are great, too.
