Being able to set each one differently?
I generally set the HPF to the limits of my speaker....how do you use it?
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I generally set the HPF to the limits of my speaker....how do you use it?
DB puts out a lot more fundamental than electric bass. And that increase in fundamental through piezo pickups means more boom. For DB, you set the high pass filter to remove boom. The frequency you set to remove boom is generally higher than what you would use for speaker protection.
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Correct, it's much more difficult than it might seem. I haven't forgotten about you guys however...
more as a 'room tuner', get rid of any nasty vibrations occurring due to low frequencies. Raised wooden stages, funky angles, loose junk in adjoining rooms rattling, etc etc. That's with electric. Also swampy boominess, ie, tighten up the lows.
True...pre and post effect EQ definitely has a different impact on OD. From an idealistic standpoint I would process OD in a parallel channel that can be blended back with the clean signal. I would apply an HPF and a few bands of parametric EQ pre effect that are independent from the amps global post effect EQ...we are getting extremely specialized at this point. I concede it might be better to have a variable HPF early in the signal chain if the amp has built in OD capabilities...but the HPF would probably be set pretty high for the OD tones and switched out for clean tones....least that's how I would us it as described above.
True...but you would greatly benefit from true parametric EQ and tunable notch filters as well. I never limited the low end of my upright with an HPF but I was not subtle with EQ to tune out unwanted resonances.
I played upright bass in concert bands and big bands for over 20 years and never needed an HPF. But my amps were always lifted above my waist to minimize the amount of energy the speaker pushed directly into the instrument's body.
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Seems like it’s evolving its way into extinction to me
I have a shuttle Max 12.2 myself, I do love the flexibility and shaping the two preamps offer, but I can honestly say I have never stomp-switched between the two preamps at a live gig. In fact, I’ve never even unwrapped the included pedal board. Cool, yes. Necessary? Not for me. I have manually switched between channels and combined the channels at gigs or rehearsals to fit the room, so again, the flexibility is nice, but the ability to switch on the fly between two completely separate EQ stacks, not so much.Early on in my DB playing, I wasn't familiar with HPFs. I used the amp EQ to remove boom, but found it was a balance between removing boom and sacrificing low end. Then I read the reviews on the FDECK HPF. I figured, why not try it, that's not much money. Glad I did. It makes a big difference. It's much easier to remove boom without affecting tone. I agree with you about the parametric and notch filters.
If you are referring to the Contour section, IIRC from the short time I owned a HA3500 those are just typical bass and treble tone controls; Larry just named then something other than what they really are.
Jim Carr
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My only interest in 2 channels is when doubling. Probably not typical. That said, the EQ defeat and Compressor/Limiter defeat on my old ART model 259 pre-amp are even more important to me—when playing upright. The fDeck ver. 3 HPF is a good thing with a piezo pickup, although an active Countryman type 85 DI handles piezo extremely well.
Using one rig as your stage monitor when doubling means you need 2 channels of EQ. An A/B box is basically pointless for doubling. Bottom line, I learned long ago that if you don't have separate pre-amps (or pre-amp channels) with different EQ for DB and slab, two DI boxes, and two channels into the front of the house, doubling is a drag, if not impossible.
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wmhill
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I would still enjoy a two channel amp- EQs & gains on both. I would have one for warm finger style stuff, and one hi-fi style for slapping.
When I get around to getting a footswitch, I'll kinda have 2 channels. (tube on/off)
I do alternate between clean and dirty - ish. And really dirty. So....
I do alternate between clean and dirty - ish. And really dirty. So....
If a version of the D800+ (I have one and LOVE it) were released with:
- the same EQ options on both channels
- variable HPF on both channels
- the option for a separate DI for each channel, or the ability to combine them, like the SansAmp Geddy unit
- maybe an effects loop for each channel, if we're dreaming here
- rack ears!
....I'd start saving up for it tomorrow.
- the same EQ options on both channels
- variable HPF on both channels
- the option for a separate DI for each channel, or the ability to combine them, like the SansAmp Geddy unit
- maybe an effects loop for each channel, if we're dreaming here
- rack ears!
....I'd start saving up for it tomorrow.
Dual Rectifier Bass Head.
Two completely independent preamps that can be blended for clean/dirty, similar to an MXR Bass Distortion or a Darkglass Alpha/Omega. The way I'd use it with the clean on 100% of the time and with the ability to kick the distortion on using a footswitch.
Include two separate DI outs (clean out/dirty out) so that the soundman can control each tone independently from what I'm doing on stage.
The EQ would need to be flexible enough that I could tailor the dirty midrange around guitarists using a variety of amps (High Mid/Marshall, low mid/Mesa, etc).
Put a speaker emulator on the dirty DI... include options for both popular bass cabs (410, 2x12) and guitar cabs (Rectifier 4x12/Vintage 30).
For inspiration...
Two completely independent preamps that can be blended for clean/dirty, similar to an MXR Bass Distortion or a Darkglass Alpha/Omega. The way I'd use it with the clean on 100% of the time and with the ability to kick the distortion on using a footswitch.
Include two separate DI outs (clean out/dirty out) so that the soundman can control each tone independently from what I'm doing on stage.
The EQ would need to be flexible enough that I could tailor the dirty midrange around guitarists using a variety of amps (High Mid/Marshall, low mid/Mesa, etc).
Put a speaker emulator on the dirty DI... include options for both popular bass cabs (410, 2x12) and guitar cabs (Rectifier 4x12/Vintage 30).
For inspiration...
Also, at some point someone is going to talk about the trade off of size & weight vs features, so I’ll go there. For ME, weight is much more important than size...to use an example I’m familiar with, I’m OK with the size & weight of a GK RB1001. 20 is lbs is fine, and nothing like lugging a big tube head. If a dual ch amp had the features I wanted, something larger than my D800+ wouldn’t slow me down. That said, no wider than the Subway cabs, please.
But there will always be a market for good smaller gear like the D800, I get that too. Love carrying my D800 in my gig bag as a backup (to a D800+, I’m spoiled lol).
I wasn’t in the bass world during the time of the prior generation of amps referenced in the OP. Was still lugging around a Dual Rec.
But there will always be a market for good smaller gear like the D800, I get that too. Love carrying my D800 in my gig bag as a backup (to a D800+, I’m spoiled lol).
I wasn’t in the bass world during the time of the prior generation of amps referenced in the OP. Was still lugging around a Dual Rec.
On bass, my experience with a two channel preamp is a Verellen Meatsmoke pedal with the independent 3-band EQs, which I mostly use with my Mesa Buster. Having the separate EQs for each channel is a great feature, and the shared EQ on the Verellen Meatsmoke amp is a strike against it, in my opinion. Footswitchable channel are also a must. I do not care very much about channel mixing.
On the guitar side, where I use/have used a lot of Mesa stuff, I really wish my Mark II was a real two channel amp--I'd probably have already swapped it for the JP-2C if the latter was simulclass. I love the tone of the Mark II, but trying to balance the settings to get clean, lead and heavy rhythm out of it takes work.
All that to say, I would strongly prefer a two-channel amp to have independent gain, bass, mid, treble and master controls for each channel. The channels should be footswitchable. A footswitchable 5 or 7-band EQ would also be nice, but not essential.
From the manual:
"Two fully adjustable contour knobs (high pass and low pass), which provide
further control over shaping your bass sound."
and,
"Two pairs of dedicated speaker outputs (one for high frequency speakers
and the other for low frequency speakers), along with front-panel Crossover
Frequency and Balance controls."
"High pass" and "Low pass" are assigned to specific channels:
Maybe they aren't technically filters, but function like filters. I guess they function well enough for onboard control.
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