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Noble Amps Preamp

#341
Doner Designs said:
Anybody using some sort of clean boost in front of the Noble in order to overdrive the tubes and get a little grind and compression?
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Well I have a while before I get mine, but I will be feeding a Pork Loin into it for that exact reason. I want something subtle to boost for leads.

I'm hunting down a reverb/delay pedal too. I think it is going to sound sick once it hits the tubes. I love me some subtle effects now and then.
 
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#342
AngelCrusher said:
Well I have a while before I get mine, but I will be feeding a Pork Loin into it for that exact reason. I want something subtle to boost for leads.

I'm hunting down a reverb/delay pedal too. I think it is going to sound sick once it hits the tubes. I love me some subtle effects now and then.
Click to expand...

Check out the Earthquaker Devices Dispatch Master for Reverb/delay in one, sounds nice and warm... They also have the Sea Machine, witch is labeled a chorus, but it has a "dimension" knob that adds a delay-ish reverb that sounds amazing. I sent the Dispatch Master back ;)
These, of course, are to my ears, but well worth checking into.
Good luck
 
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#343
MTN.bass72 said:
Check out the Earthquaker Devices Dispatch Master for Reverb/delay in one, sounds nice and warm... They also have the Sea Machine, witch is labeled a chorus, but it has a "dimension" knob that adds a delay-ish reverb that sounds amazing. I sent the Dispatch Master back ;)
These, of course, are to my ears, but well worth checking into.
Good luck
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Great minds think alike. The exact pedal I want is the Dispatch Master. It sounds incredible to me. Hunting down a used one if possible. I will also check out the Sea Machine as well.
 
#344
AngelCrusher said:
Great minds think alike. The exact pedal I want is the Dispatch Master. It sounds incredible to me. Hunting down a used one if possible. I will also check out the Sea Machine as well.
Click to expand...

You're in luck my friend... Sorry for the typo, been on an ambulance all day brain is fried... I haven't actually shipped it yet.
I'll PM you tomorrow if you're interested ?? So we don't derail the thread
 
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#347
Agree. Its a staple in the studio but 150 is agressive for bass depending on the slope. Thats why one of my first moves will be to engage that high pass and then boost bass back in to see what happens frequency wise. Its honestly a pretty genius way to reset the lows to peak above the kick instead of only under it like on a sadowsky pre.
 
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#350
AngelCrusher said:
Well I have a while before I get mine, but I will be feeding a Pork Loin into it for that exact reason. I want something subtle to boost for leads.

I'm hunting down a reverb/delay pedal too. I think it is going to sound sick once it hits the tubes. I love me some subtle effects now and then.
Click to expand...

I occasionally run my reverb pedal into the noble. It's sick! Fender J Bass - Wampler Faux Spring Reverb - Noble.
The thing is with this preamp, I kinda prefer to plug just the bass, cause at the end of the day it's all I need anymore.
 
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#352
Dave Hill said:
Sound men and engineers have been using the HPF on us for awhile. My Arkham Zephyr has one and it's great. I saw the new Bassbone has dual setting HPFs (80 and 150 hz) for each channel. It seems that everyone (myself included) uses an FDeck now. I really think that this will be a more common feature on new preamps
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Interesting. Is this typically an issue with the room or with the PA? Sounds like the low cut is great for FOH, but I was thinking of adding back the ultra-low end to my stage rig (with my amp's EQ or an EQ pedal). For sake of the overall mix in the room would it be better (generally) to keep the subsonic rolloff on stage too? What sounds best to me may not be what sounds best out front.
 
#353
Remember, lots of rooms have bass traps. Containing low end rumble is what kept up at night every FOH guy I ever toured with. They memorized every room on the touring circuit and would be dreading how to deal with low end traps as soon as they got off the bus. The best mixes for rock in a FOH guys mind was what achieved the most average loudness while still sounding clean. Low end rumble takes up a ton of level in a mix and destroys it real fast. Adding ultra lows is a very slippery slope, you have to really know what you are doing. I will let Dave pipe in, as he probably knows a lot more than me on this.

I will say that the best rock band I ever saw who used a crap load of low end was Torche. If you check out their records, they are in the doom genre and just had massive sub lows. They played a room with a horrible bass trap that gathered right around the back wall near the sound booth, and somehow it still sounded amazing because they had a killer crew that knew what they were doing.
 
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#354
AngelCrusher said:
Remember, lots of rooms have bass traps. Containing low end rumble is what kept up at night every FOH guy I ever toured with. They memorized every room on the touring circuit and would be dreading how to deal with low end traps as soon as they got off the bus. The best mixes for rock in a FOH guys mind was what achieved the most average loudness while still sounding clean. Low end rumble takes up a ton of level in a mix and destroys it real fast. Adding ultra lows is a very slippery slope, you have to really know what you are doing. I will let Dave pipe in, as he probably knows a lot more than me on this.

I will say that the best rock band I ever saw who used a crap load of low end was Torche. If you check out their records, they are in the doom genre and just had massive sub lows. They played a room with a horrible bass trap that gathered right around the back wall near the sound booth, and somehow it still sounded amazing because they had a killer crew that knew what they were doing.
Click to expand...

Thanks! I absolutely love talkbass. You can learn anything you want to know. All you have to do is ask and there are lots of folks who are happy to help.

Next time out I'm going to use the low cut and crank the bass as needed to make it sound like a bass (somewhere between 10 and 2 o'clock I think).

I love how my basses sound at home with a narrow Q bump at 40 hz and medium Q cut at 500 hz, but that may not be a great idea in a live mix.
 
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#357
SpectorBass said:
Man, this thread has me wondering about a Cali 76CB, but I just can't see my tone getting better than it already is with the Noble.

I've never been a huge compressor guy live; does it really make that much of a difference?
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IMO no, but maybe yes. The 1176 is a studio beast but I have been in plenty of sessions where going through it was not great for the sound. Many engineers run bass through it flat just for the mojo of the box, but the real 1176 is huge. I can't see how just fitting one in a pedal can be the same thing. Guys who run real aggressive bass tones who really want to focus the frequency benefit a lot from it. So it is great for rock. If you want to squeeze the snot out of something in Nuke mode, it is killer, but thats more for vocals. I personally only compress bass in a studio mix, and I don't squeeze much at all. But I play mostly clean style.

If you are playing metal and really looking to accentuate the grind and focus the tone, it could be a sweet pedal.

At the same time, the Noble tube is going to compress your sound naturally, as it does distort (which is a form of compression). So just boosting into it a little with a Pork Loin or something like that can get you incredible grind on it's own. I've always been able to get great grindy tones with just a good Jazz bass and a RAT pedal set very low, so I've never even thought about compressing.
 
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#359
SpectorBass said:
Man, this thread has me wondering about a Cali 76CB, but I just can't see my tone getting better than it already is with the Noble.

I've never been a huge compressor guy live; does it really make that much of a difference?
Click to expand...

They work together very well :bassist: (Just be sure to order an optional 12V power outlet for it) Fits slick on my Nano board too :)

Noble%20Cali76CB%20ST-300_zpsyfcvd6wh.jpg
 
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