I bought a kemper and a paid profile of a noble and to my ears, it sounds exactly like what I hear in all the noble videos I’ve watched. Best bass tone I’ve ever had and I gain all the other benefits of a digital system. Really amazing
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Noble Amps Preamp
- Thread starter IanMartinAllison
- Start date
Hey y’all…I’m sure this topic has been beat to death, but I’m hoping someone can help me out. Jack let me know my Noble is on the way and I’m wondering your opinions on set-up order. I have a small pedalboard and plan on putting the Noble at the end. I only use a Broughton HPF, Boss WAZA tuner, and a Keeley Bassist compressor. I’m just wondering if any of you longtime pedalboards guys can help me figure out which set-up order makes the most sense. Thanks much, Keith
You might not need the HPF as the Noble has one built in at 90Hz.
bass ….. tuner … comp … noble
is how I’d do the chain.
Thanks…I just set my HPF at around 40hz and leave it. Kinda the same with my comp. Any other opinions are welcomed. I’ve played for many years but never used pedals. Always had a comp in the studio and the tuner on the board is handy since I drop tuning now and then.
It's odd, in a way, how my use of in-line effects has declined since getting a Noble more than six years ago. My main bass then was a '97 Fender Am Deluxe Jazz V with a Sadowsky preamp, which I loved. After a year or so I noticed it sounded better in passive mode with the Noble. Had all kinds of pedals. Now, mostly gone. Even on the Noble, quite often I'll have hardly any EQ added. And while tracking, it's all flat. We love to rave about how good the Noble sounds, but it's also helped me hear the tone with more awareness of everything shaping the frequencies. So, I would keep an open mind as you plug in your new Noble and maybe add one thing at a time instead of the whole nine yards. You might be surprised at what you learn!
When you say flat, are bass and treble straight up (noon) or completely off (7 o’clock approx)? I think I saw you say sometime ago that you’ve used yours both into the front input and effects return. Have you settled on a preference? Also, I think Jack told me that the volume unity gain is around 11 o’clock. Once I find a sweet spot I tend to do very little tweaking and use the instruments tone control, technique, and right hand position to alter my tone if needed… “Simple Man”
When you say flat, are bass and treble straight up (noon) or completely off (7 o’clock approx)? I think I saw you say sometime ago that you’ve used yours both into the front input and effects return. Have you settled on a preference? Also, I think Jack told me that the volume unity gain is around 11 o’clock. Once I find a sweet spot I tend to do very little tweaking and use the instruments tone control, technique, and right hand position to alter my tone if needed… “Simple Man”
Flat = knobs all the way to the left. "Off" position.
If I'm plugging into an integrated amp with its own preamp, I plug the Noble 1/4" out jack into the amp's effects return jack. That bypasses the preamp on my Phil Jones BG-150. Results could vary depending on how the amp is wired.
Thanks…I plan on trying it both ways, but have it in my mind that I will like the effects return more myself. I really appreciate your input, anymore advice or opinions would be greatly appreciated!
The most interesting feature is a toggle switch between the bass and treble knobs. That's what trips the Noble's built in HPF (or what Jack calls, a "low cut" switch). When it's flat (to the left), all frequencies flow through. When it's enabled (to the right), the HPF kicks in by dropping 6dB/octave below 90Hz. Enabling it can be useful if you want to use the bass EQ at extreme settings without making the tone run thicker than gooey molasses. I find that's more useful in a live setting. For serious tracking, I leave the HPF flat so the mixing engineer can adjust as needed in post. With EQs and HPF flat, it's 100% of the bass's signal that's captured instead of printing a subset. I'd rather give the engineer a full palette of options!
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That all makes sense, thanks. Yeah I think when I’m setting my Broughton HPF at 40hz it’s dropping 12db/octave which I do as protection for my 12” Bergs.
The function of the two HPFs are very different. The Noble HPF is for tonal purposes and the point of the Broughton (and others with steep roll offs of at least 12db/octave) is for speaker protection/gaining functional volume out of a bass rig by not forcing a speaker to produce unnecessary sub-harmonics. Depending on the speaker, a HPF with a steep roll off makes a HUGE difference in useful volume before farting out, all without affecting the tone. I would place your Broughton before the Noble so that when you run a DI to the house, you can ensure the main PA also gets the benefit of clearing up sub-harmonics. My HPF is built into the poweramp, so I have to just trust the FOH engineer is doing some sort of cleanup work on their end for subharmonics.
Tonally, I rarely run the Noble flat (but it depends on the person/bass/mix). I use a passive P bass with flats, and the way I touch the strings, I seem to settle in on two general "settings" with the bass depending on how I want the bass to sit in the mix. After that, I do all subtle tone shaping with my right hand. My bass has no knobs, only a switch that subtly alters the location and amplitude of the resonant peak.
1. Bass switch to the left (HPF disengaged) and the bass knob 8-9 o'clock for a slight bit of extra weight and treble flat. That is just what my bass/fingers need for certain mixes. 8 o'clock is what I sent the engineer (who gushed over the tone) for this session. I'm sure Brett did some further eq for the specific mix, but the final tone is pretty faithful to what I sent him (except for a couple short sections that he is clearly effecting).
2. Bass switch to the right (HPF engaged) and the bass knob anywhere from 11:00-2:00. Treble maybe 9. This sits so well in both a funk and Americana group I play with. It essentially boosts the upper bass/low mids in such a useful way that provides weight and support to the band without stepping on the toes of the vocals or other instruments. It also stays clear and distinct due to magically perfect roll off of the low bass. This setting is a bit softer or rounder than the first and I've had so many compliments from live FOH guys.
Back on page 115 and 116 of this forum, a fellow TB'er graphed the various eq points with the HPF engaged and flat. It is a terrific reference, so thanks 600 Ohms! But always best to use your ears. Again, this is where I happened to end up and it'll be a grand adventure on your end to find the many useful tones the Noble has to offer!
Tonally, I rarely run the Noble flat (but it depends on the person/bass/mix). I use a passive P bass with flats, and the way I touch the strings, I seem to settle in on two general "settings" with the bass depending on how I want the bass to sit in the mix. After that, I do all subtle tone shaping with my right hand. My bass has no knobs, only a switch that subtly alters the location and amplitude of the resonant peak.
1. Bass switch to the left (HPF disengaged) and the bass knob 8-9 o'clock for a slight bit of extra weight and treble flat. That is just what my bass/fingers need for certain mixes. 8 o'clock is what I sent the engineer (who gushed over the tone) for this session. I'm sure Brett did some further eq for the specific mix, but the final tone is pretty faithful to what I sent him (except for a couple short sections that he is clearly effecting).
2. Bass switch to the right (HPF engaged) and the bass knob anywhere from 11:00-2:00. Treble maybe 9. This sits so well in both a funk and Americana group I play with. It essentially boosts the upper bass/low mids in such a useful way that provides weight and support to the band without stepping on the toes of the vocals or other instruments. It also stays clear and distinct due to magically perfect roll off of the low bass. This setting is a bit softer or rounder than the first and I've had so many compliments from live FOH guys.
Back on page 115 and 116 of this forum, a fellow TB'er graphed the various eq points with the HPF engaged and flat. It is a terrific reference, so thanks 600 Ohms! But always best to use your ears. Again, this is where I happened to end up and it'll be a grand adventure on your end to find the many useful tones the Noble has to offer!
This is more great information and I’m grateful for it! I always have trusted my ears in a live mix and combo me/engineer in the studio. 5 years ago I went through stage IV throat cancer…two side effects are hearing loss and severe tinnitus. I think I hear fine and have hearing aids if I need, but my point is that any outside recommendations I can get mean so much more now. I will tend to find a “sweet spot” and pretty much leave it live. Then, I will adjust tone with only my tone control on my bass (Fender Precision or Fodera P), and my right hand placement and technique. Your advice resonates and you’ve been very helpful, thanks!
I just listened to Shadow of a Cloud…really sweet sound…especially for a bunch of young Packer fans!
I wouldn’t have guessed that you were playing with your thumb most of the time, but your technique is great. I love how everyone “stays home” by not overplaying or trying to “out do” each other…that’s how a band is supposed to play. Once again, thanks for the advice and great job!Haha, all those other fellas live in Minnesota, and let's just say I don't fit the mold of typical Wisconsinites 
! I'm able to still be a part of that band and live in the hills of what we call "The Driftless." Such a vibey spot for making music. Appreciate the compliment, they all have such great ears and are a joy to make music with! Sorry to hear about the health woes, but super thrilled that you are still making music. Enjoy experimenting with the Noble; I almost find it annoying since everything sounds good, it just took time to find what, for me, sounds "best."
! I'm able to still be a part of that band and live in the hills of what we call "The Driftless." Such a vibey spot for making music. Appreciate the compliment, they all have such great ears and are a joy to make music with! Sorry to hear about the health woes, but super thrilled that you are still making music. Enjoy experimenting with the Noble; I almost find it annoying since everything sounds good, it just took time to find what, for me, sounds "best."
Hey guys! General / random question: Has anyone else had a sound engineer say the XLR output of the Noble is too hot?
I have a pretty early unit (#144 if that matters) and I’ve had multiple engineers over the years remark on the output level of the DI. There always appears to be a workaround, but I thought I’d ask if anyone else has had a similar experience
Thanks fellas!
I have a pretty early unit (#144 if that matters) and I’ve had multiple engineers over the years remark on the output level of the DI. There always appears to be a workaround, but I thought I’d ask if anyone else has had a similar experience
Thanks fellas!
I did have that on one occasion at an outdoor bluegrass festival where the soundman was using (not his choice) an old analog board that did not have a -xx dB button on the input gain. I just turned down the output gain on my compressor (placed before the Noble) and all good. Every other engineer has said they love what I am sending.
That's not been my experience. As a matter of fact, I use IEMs for shows and used to alternate between using the DI off the Noble or off my Genzler Magellan head (using Noble purely as a Pre) and I had the exact opposite experience where my Genzler was hotter than the Noble and I'd have to adjust the gain depending on what I was using. As I do amp/ampless gigs, I decided to just use the Noble as my always DI and use the Amp purely for stage monitoring and have never had a FOH engineer say anything other than they love what I'm sending them.
IvanBassist
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Never had any issues with the output being too hot, either.
Are you boosting a lot of bass on the Noble?
Are you boosting a lot of bass on the Noble?
I jotted a few notes on my Noble "manual" after email exchanges with Jack. He mentioned the XLR adds 6dB to the outbound signal.
As for the EQs, bass can add up to 18dB and treble up to 20dB.
I've got a rarely-used boost pedal just before the Noble. When switched on, it can really hit the tubes hard and boosts volume accordingly.
Lots of possibilities for why a signal seems "hot"!!
I had an engineer say the output of my Noble was too hot once in the studio. He put a Radial DI on the 3/4” output to get a lower signal. I take my RNDI to connect to the Noble now whenever I work with that engineer. Some engineers are more picky than others about such things. I had a FOH engineer on a festival stage last weekend wanting a lower level from my Aguilar Tone Hammer DI which I use live. Never had that before either.
