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Parametric eq?

I dislike them on bass amps and wouldn't buy an amp now with one.
The TE and SVT graphics were hideous and the latter best switched out.
Unlucky if you can't so you will have to 'flatten' them
which just means no cut or boost on the faders designated frequency.
A semi P is better imv because you have a better frequency choice as opposed to 5 or 7 band fixed graphic.
 
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Just playing around with some amps with them recently (Yamaha B100-III and SWR SM-400S) and essentially, they are a great feature to have if you really like to get specific on tone shaping, but are also patient enough to spend time learning how to do so.

Most amps without them use either a graphic or multiple band eq to shape tone in what some may consider a more intuitive manner. Parametric allows for more subtle adjustments to be made (typically in the mids) and isn't the same kind of "feel" as what is usually a boost or cut.

In my experience, things with these sorts of abilities (basses with parametric EQ, like Wal for example) can be adjusted almost infinitely it seems - which is a blessing and a curse. If you have so much control, sometimes it can be distracting or almost impossible to settle on the sound you like the most because there's too many options available. Or perhaps it's the other way around, you keep trying to find what you like and the window of it is narrow enough to where you almost can't find it.
That's where the patience with learning how they function can come in handy.

Or, if you're like me, you never really find what you "exactly" like and pretty much just set it where it sounds good enough and call it a day. And when you shop for amps, you don't necessarily seek something out with that feature in the future.
FWIW, I'm a GK fan as well and that is what I like for control simplicity in an amp's preamp section.
 
Most of the Eden WT series amps as well as the WTP series use three "semi-parametric" EQ's. "Semi-Parametric" seems to mean different things to different people. As it was explained to me the semi- parametric influences a wider band around the target frequency - like an upside down V (or a tee-pee shape), where as a "true" parametric influences much fewer frequencies around the target frequency, more of a needle point than an upside down V. Eden uses that because it's not as abrupt and arguably more musical, particularly when using multiple semi-parametric controls.

A full parametric can go either wider, narrower, or more or less the same as the Eden format if designed to do so. Many people do not cope so well with that greater power though, IMO and IME. I sometimes find semi-PEQ very frustrating, personally, but I'd definitelly still build many things that way if I were actually looking to sell stuff. ;)
 
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In my experience, things with these sorts of abilities (basses with parametric EQ, like Wal for example) can be adjusted almost infinitely it seems - which is a blessing and a curse. If you have so much control, sometimes it can be distracting or almost impossible to settle on the sound you like the most because there's too many options available. Or perhaps it's the other way around, you keep trying to find what you like and the window of it is narrow enough to where you almost can't find it.
That's where the patience with learning how they function can come in handy.

Heh...remember that DIY pedal you sold my friend a while back? That guy's a very well seasoned studio engineer but he still couldn't get to grips with the resonant LPF without some coaching. And then he found it to be way too powerful, exactly the opposite of your experience IIRC. Another very experienced sound provider friend saw it more like you did though, FWIW. ;)

The Wal/Alembic format with two filters split to the two pickups can be especially non-intuitive, IME. I just set one of my basses up that way to try to get smarter about how that works, it's a very interesting can 'o worms!
 
My fave thing about parametric EQ is that its precision nature makes it the most ideal EQ type for cutting or boosting troublesome frequencies. The nature of amplified bass is that the sound is greatly affected by whatever environment its in, how the amp is positioned, etc., so it's nice to be able to dial in the sound to adapt to the room you're in. If you play something like a hollowbody bass that is susceptible to feedback, it's great for helping to notch out enough of the feedback frequency so that it doesn't feedback easily. If you have a bass that has a dead spot somewhere in the fretboard, you can boost that frequency to help alleviate the issue.
 
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Kinda what lunarpollen says. I find when I do gig on bass without PA support (I'm a keys player first), I end up using the amp's tone controls (TH500) to best fit into the environment and band. That's the day job, audio engineer in me. A parametric EQ would be the better tool. When dealing with troublesome frequencies, avoid boasting specific low-ish frequencies that seem to be lost. Make sure to walk around and get some distance from your bass amp. Imagine an average of what you hear in all the places you've walked around to as being the tone for that place.
 
Hi! I’ve started rehearsing with friends in a rented studio where drums and amps are provided. I think we’ll be ready for a first gig in a few months. I practice on a 30w Roland bass cube at home and have my eyes on a used (400$ cad) Yorkville 250b combo plus a 15 inch cab (2 speakers total) I would use on stage.

This amp has both a « regular » and a parametric eq. I’ve read about the latter and watch videos on YT but never actually used one.

Here’s my question: when do you use the parametric eq? In wich situations? When I play with my band (drums, voice and two guitars), I fumble with the controls on the GK amp and manage to achieve a sound I like (rather clean, rather punchy) using the bass, mid, low mid, treble and boost. Why would I need a parametric eq on top of that? Thanks for your help!

(Edit: are the teos EQs used together? Do you switch from one to another? I’m confused…)

Nice choice for an amp but 400 for just that combo is a bit pricey. You can usually find the BM 400 heads and combos (Bassmaster 400, 400 watts), for that price and sometimes less on Kijiji (the older blue or black rat fur ones are better than the newer ones with the silver face and flimsier pots). The old school rule of thumb, which generally still applies to solid state amps/combos is a dollar per watt for used. If you plan on gigging and you buy used, it is a good idea to clean the internals and pots with Ideal or CRC contact cleaner (not 'specialty' guitar versions like Deoxit and not food grade). Also a good idea to invest in at least a 12 or 16 foot patch cord for the bass, the longer the better for stages/gigs with enough room to use it.
 
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for my money full parametric EQ is overkill for electric bass (beyond maybe an adjustable mid control); get a good initial pickup sound into a good amp and you won't need all that, plus it can get you into trouble if you use it wrong

now for upright bass, that's a different story! for live use through a pickup at least two bands of true parametric can be a lifesaver to find and notch out feedback resonances without carving a big hole in the overall tone. i just played my old '54 kay upright on a gig for the first time last week at "quiet rock band" levels, using a K&K bassmax pickup into my regular bass rig, and this old fishman dual parametric box from my collection was an absolute lifesaver:

Link Removed

i could switch on one EQ band, sharpen the bandwidth down to like .1 (basically one note), sweep it around until i found where the body wanted to feed back and then turn it down until the feedback went away while keeping a big full sound. we don't need all that for an electric bass IMO.

anyway i've been using analog parametrics forever doing sound, i think they just get better results than graphic EQs and force you to mix with your ears instead of your eyes (smiley face EQ curve anyone?) but the advent of digital mixers with touchscreens is what parametric EQ has been waiting for!

when you can see the curve and even push the bands around with your fingers, pinching and widening the peaks, it all becomes crystal clear
SDM16i-HTML5-web-browser-control-audio-mixer-software-Parametric-EQ-Phone-Size.jpg
 
Nice choice for an amp but 400 for just that combo is a bit pricey. You can usually find the BM 400 heads and combos (Bassmaster 400, 400 watts), for that price and sometimes less on Kijiji (the older blue or black rat fur ones are better than the newer ones with the silver face and flimsier pots). The old school rule of thumb, which generally still applies to solid state amps/combos is a dollar per watt for used. If you plan on gigging and you buy used, it is a good idea to clean the internals and pots with Ideal or CRC contact cleaner (not 'specialty' guitar versions like Deoxit and not food grade). Also a good idea to invest in at least a 12 or 16 foot patch cord for the bass, the longer the better for stages/gigs with enough room to use it.
Never use “contact cleaner” on pots, it’s a quick way to ruin them. Wrong tool for the job.

The tiniest spray of DeOxit D-5 is the best available cleaner/conditioner for pots, and it’s not a “guitar specialty product” either.
 
Never use “contact cleaner” on pots, it’s a quick way to ruin them. Wrong tool for the job.

The tiniest spray of DeOxit D-5 is the best available cleaner/conditioner for pots, and it’s not a “guitar specialty product” either.
Would that necessarily render them junk, as in they don't respond to adjustments or could just be anywhere?

Or... it depends? :)

Edit: I'm asking because i bought an amp where the knobs spin way too freely, so I'm suspecting they've been "cleaned". :)
 
Would that necessarily render them junk, as in they don't respond to adjustments or could just be anywhere?

Or... it depends? :)

Edit: I'm asking because i bought an amp where the knobs spin way too freely, so I'm suspecting they've been "cleaned". :)

This is one of the failure modes, the lubricant used on the shaft and thrust washer when the pots are manufactured provides some damping, but the contact cleaners wash this grease into places it doesn't belong, or in some cases washes it out of the pot and onto the PCB where it can attract debris and lower the dielectric strength causing leakage (mostly in higher voltage circuits like tube preamps). Some of the solvents can also break down the carbon track, or the silver ink that's used to transition from the carbon to the terminals. It can also wash grit onto the carbon track and wear out the remaining track very quickly.
 
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Never use “contact cleaner” on pots, it’s a quick way to ruin them. Wrong tool for the job.

The tiniest spray of DeOxit D-5 is the best available cleaner/conditioner for pots, and it’s not a “guitar specialty product” either.

I've been using commercial contact cleaners on pots since the mid 1960's with no negative results, Ideal and CRC being the products of choice for those who use the stuff for a living on electronics (including pots), since before I was born. This includes using it on low and high voltage pots on industrial machinery and any type of mounted control panel. I used it for three years cleaning contacts, switches, pots, etc on components on armored fighting vehicles, with it being supplied by the military. I used it for servicing arcade games and vending machines for close to 20 years. I used it for computer internals since the 1980's, including as a bench tech at a computer repair shop. I've used it since the 1980's for instrument pots and switches and amplifier internals. I also used it as the contract service tech for a 'Cash Converters' buy and sell, where a 14 dollar can averaged 400 dollars worth of profits for the owner on electrical and electronics items. I use it on almost every used instrument amp I buy as part of my post purchase inspection and cleaning. As someone who buys and sells about a dozen vintage amps a year I have yet to have a customer complaint or warranty return. I guess I could have used WD40 for pots instead but commercial contact cleaner is a better option, if you know the differences between their varieties. What exactly is your background again? Why shouldn't you use LPS food grade contact cleaner for instruments, amp internals or pots? Pretty easy question if you know your stuff. Then again, using a "tiny bit" of any brand of contact cleaner to clean a dirty pot is as useful as boobies on a bull and just a waste of the "tiny bit" of cleaner you used. That isn't how it is done.
Btw, I use Deoxit fader lube for faders. It is more convenient than the old method.
 
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Would that necessarily render them junk, as in they don't respond to adjustments or could just be anywhere?

Or... it depends? :)

Edit: I'm asking because i bought an amp where the knobs spin way too freely, so I'm suspecting they've been "cleaned". :)

Do they spin too freely compared to what you are used to, or is there an actual issue with them when you spin them, such as a 'scratchy' or 'dirty' signal or dead spots? Have you A/B'd it with a similar amp from the same manufacturer? It is better to focus on the evidence and the facts, rather than go down the conjecture rabbit hole and base your decisions on regurgitated forum opinions, hlaf assed blog posts and 'information' that originated with product marketing departments.
Different pot manufacturers have different mechanical resistance from the factory. Even between Switchcraft, Bourns and CTS there is a noticeable difference (these are commercial/industrial product manufacturers, not 'musical equipment component' manufacturers. There are forum threads on that on various instrument related forums. As a general rule, new pots and pots that function properly but have little to no resistance is a sign of the lowest quality tier, which goes hand in glove with lowest quality internals.
Very few pots less than 10 - 20 years old have ever been cleaned with anything and it is at the bottom of the possible reasons for what you are describing, statistically. A commercial/industrial grade pot is generally good for daily use for two or three decades of daily use before it needs replacing, cleaning is environment/application specific.
If a pot spins past its detents at 0 and/or 10 freely that means someone over cranked it and took out the detent. That is possible with any brand but again much more common with the bargain basement quality ones. That doesn't necessarily take the pot out of service but it is still a good idea to replace it if that happens on gigging/employment equipment.
Then you have new vs old, between 1990 and 2000 a lot of companies switched to lighter duty pots and other internals like jack inputs/outputs for their beginner and even mid tier amps, which again are less robust and easier to destroy if you are heavy handed. I've yet to see a class D amp that didn't have 'home audio' quality pots and often jack sockets, as they want the smaller form factor for the small units and the amps themselves are often now designed to be 'remove and replace', not repair.
The 'traditional' (inexperienced 1980's - 90's musicians), criticism of using contact cleaner on pots is that it 'dries them out' (the metal contact surfaces, not the shafts, the shaft rides on a bushing that doesn't require a lubricant). These items have dry contact surfaces from the factory and it has never been considered a real issue by either the manufacturers or those who service the stuff for a living. The newer 'warnings' against using it for what it was designed for originate with later, competing product marketing/sales departments, not engineers or technicians. The musical instrument market is littered with products like this and this marketing template existed before the Deoxit company did. They make good quality products but there is a surcharge because it is 'musician'. The brand name pretty clearly states what it is to a tech, an anti-oxidizer coating, not a cleaner. Guitar Center even came up with a deoxit ripoff using almost exactly the same name that actually does damage pots. Neither Ideal or the proper type of CRC damage pots in any way. 'Automotive' grade contact cleaner is too aggressive for electronics as well and will damage them.
The whole point of using contact cleaner is to clean, not coat. You wash out the pot (and/or fader), with it, using the access holes the better quality pot manufacturers have been supplying for that purpose since they were invented. Yes it is going to wash out whatever dust might be in there, that is it's purpose. If it washes onto other electronics components in the item keep washing. Pretty simple. You can hose down any internal component on any tube or ss amp (or electronics item/computer pcb board), with it without risking any damage. I saved an 1100 dollar Sansui audiophile power amp with a 'blown' left channel (nothing but static at any volume), by doing nothing more than that, for example. Dust is no friend to pcb boards either, something about the static electrical charge it can carry, which is what causes pots to get 'dirty'/'scratchy', to use the traditionally accepted terms in every industry that uses them. The only other known cause is wear, which is a service life issue, not a defect.
Why do you think they put that furry stuff on fader case slots where the shaft comes out? It was done to help keep the dust out of them, as they were mounted horizontally in a lot of applications and horizontally mounted ones went 'dirty' very quickly due to dust. Deoxit fader lube is a product I do use but people have been using WD-40 for the same purpose on electronic's faders without issue for decades.
Using an oil/lube as a 'cleaner' for dust is also a beginner mistake. When you mix dust with oil or grease you just get a thicker, dirtier oil or grease on the item you are trying to get or keep the dust off of. Ask any experienced millwright, garage door service tech or heavy equipment mechanic ;)
 
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I've been using commercial contact cleaners on pots since the mid 1960's with no negative results, Ideal and CRC being the products of choice for those who use the stuff for a living on electronics (including pots), since before I was born. This includes using it on low and high voltage pots on industrial machinery and any type of mounted control panel. I used it for three years cleaning contacts, switches, pots, etc on components on armored fighting vehicles, with it being supplied by the military. I used it for servicing arcade games and vending machines for close to 20 years. I used it for computer internals since the 1980's, including as a bench tech at a computer repair shop. I've used it since the 1980's for instrument pots and switches and amplifier internals. I also used it as the contract service tech for a 'Cash Converters' buy and sell, where a 14 dollar can averaged 400 dollars worth of profits for the owner on electrical and electronics items. I use it on almost every used instrument amp I buy as part of my post purchase inspection and cleaning. As someone who buys and sells about a dozen vintage amps a year I have yet to have a customer complaint or warranty return. I guess I could have used WD40 for pots instead but commercial contact cleaner is a better option, if you know the differences between their varieties. What exactly is your background again? Why shouldn't you use LPS food grade contact cleaner for instruments, amp internals or pots? Pretty easy question if you know your stuff. Then again, using a "tiny bit" of any brand of contact cleaner to clean a dirty pot is as useful as boobies on a bull and just a waste of the "tiny bit" of cleaner you used. That isn't how it is done.
Btw, I use Deoxit fader lube for faders. It is more convenient than the old method.

Do they spin too freely compared to what you are used to, or is there an actual issue with them when you spin them, such as a 'scratchy' or 'dirty' signal or dead spots? Have you A/B'd it with a similar amp from the same manufacturer? It is better to focus on the evidence and the facts, rather than go down the conjecture rabbit hole and base your decisions on regurgitated forum opinions, hlaf assed blog posts and 'information' that originated with product marketing departments.
Different pot manufacturers have different mechanical resistance from the factory. Even between Switchcraft, Bourns and CTS there is a noticeable difference (these are commercial/industrial product manufacturers, not 'musical equipment component' manufacturers. There are forum threads on that on various instrument related forums. As a general rule, new pots and pots that function properly but have little to no resistance is a sign of the lowest quality tier, which goes hand in glove with lowest quality internals.
Very few pots less than 10 - 20 years old have ever been cleaned with anything and it is at the bottom of the possible reasons for what you are describing, statistically. A commercial/industrial grade pot is generally good for daily use for two or three decades of daily use before it needs replacing, cleaning is environment/application specific.
If a pot spins past its detents at 0 and/or 10 freely that means someone over cranked it and took out the detent. That is possible with any brand but again much more common with the bargain basement quality ones. That doesn't necessarily take the pot out of service but it is still a good idea to replace it if that happens on gigging/employment equipment.
Then you have new vs old, between 1990 and 2000 a lot of companies switched to lighter duty pots and other internals like jack inputs/outputs for their beginner and even mid tier amps, which again are less robust and easier to destroy if you are heavy handed. I've yet to see a class D amp that didn't have 'home audio' quality pots and often jack sockets, as they want the smaller form factor for the small units and the amps themselves are often now designed to be 'remove and replace', not repair.
The 'traditional' (inexperienced 1980's - 90's musicians), criticism of using contact cleaner on pots is that it 'dries them out' (the metal contact surfaces, not the shafts, the shaft rides on a bushing that doesn't require a lubricant). These items have dry contact surfaces from the factory and it has never been considered a real issue by either the manufacturers or those who service the stuff for a living. The newer 'warnings' against using it for what it was designed for originate with later, competing product marketing/sales departments, not engineers or technicians. The musical instrument market is littered with products like this and this marketing template existed before the Deoxit company did. They make good quality products but there is a surcharge because it is 'musician'. The brand name pretty clearly states what it is to a tech, an anti-oxidizer coating, not a cleaner. Guitar Center even came up with a deoxit ripoff using almost exactly the same name that actually does damage pots. Neither Ideal or the proper type of CRC damage pots in any way. 'Automotive' grade contact cleaner is too aggressive for electronics as well and will damage them.
The whole point of using contact cleaner is to clean, not coat. You wash out the pot (and/or fader), with it, using the access holes the better quality pot manufacturers have been supplying for that purpose since they were invented. Yes it is going to wash out whatever dust might be in there, that is it's purpose. If it washes onto other electronics components in the item keep washing. Pretty simple. You can hose down any internal component on any tube or ss amp (or electronics item/computer pcb board), with it without risking any damage. I saved an 1100 dollar Sansui audiophile power amp with a 'blown' left channel (nothing but static at any volume), by doing nothing more than that, for example. Dust is no friend to pcb boards either, something about the static electrical charge it can carry, which is what causes pots to get 'dirty'/'scratchy', to use the traditionally accepted terms in every industry that uses them. The only other known cause is wear, which is a service life issue, not a defect.
Why do you think they put that furry stuff on fader case slots where the shaft comes out? It was done to help keep the dust out of them, as they were mounted horizontally in a lot of applications and horizontally mounted ones went 'dirty' very quickly due to dust. Deoxit fader lube is a product I do use but people have been using WD-40 for the same purpose on electronic's faders without issue for decades.
Using an oil/lube as a 'cleaner' for dust is also a beginner mistake. When you mix dust with oil or grease you just get a thicker, dirtier oil or grease on the item you are trying to get or keep the dust off of. Ask any experienced millwright, garage door service tech or heavy equipment mechanic ;)


As an EE in the industry designing and supporting these types of products (pro audio and MI) for over 40 years, your advice is simply bad, wrong and harmful to pots.

It’s up to the owner of the equipment of course, but I see the results of your recommendations and it’s usually a more expensive repair.