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[sfx] user appreciation society

I have been seriously considering getting a Thumpinator or a Micro Thumpinator just to help my speakers cope with my rather 'headstrong' playing style

Is there a difference between the two other than the housing?
The Micro is meant to be used like a pedal, between bass and amp. The original is also able to convert signals between unbalanced and balanced, and works equally well at instrument and line level. So I use mine between a rack preamp (that has only unbalanced outputs) and other gear that works best with balanced line-level connections.
I actually don't know about the frequency ranges affected by either pedal I just assumed that both can have a not so good affect on the sub-sonic range.

It's true that octavers and resonant filters can and do boost the subsonics, so the Thumpinator is great for that particular aspect; it's just important to remember that most of the craziest peaks will occur in the audio range, so you have to deal with those separately (e.g. with a peak limiter).
 
re: Thumpinator...

You guys should really [Invalid or Expired Link Removed].

I too want a Thumpinator, and really appreciate the elegance and build quality of the [sfx] devices. So, count me in as a fan! :hyper:

My Mesa M9 Carbine already attenuates volume below 30Hz (as does the Thumpinator), but if I pull the Bass knob (Deep), it lets everything through (I don't do that, by the way). So I don't have to worry about my speakers busting...

However, it would be super sweet to have the same effect on my signal before it goes through my effects (or after) and into my amp (or through a DI into a board perhaps). Sure wouldn't want a sound engineer cutting my B string down (30.87Hz) to 'save' the house speakers. ;)
 
It's true that octavers and resonant filters can and do boost the subsonics, so the Thumpinator is great for that particular aspect; it's just important to remember that most of the craziest peaks will occur in the audio range, so you have to deal with those separately (e.g. with a peak limiter).

Cool, then I think I should be ok with it after everything. I keep everything under control pretty well (plus I don't want a limiter/compressor taking up space on my board,lol) I just didn't want all the effects undoing the good work of the micro-thumpinator if I had it first in the chain. Thanks a mil for the input.
 
However, it would be super sweet to have the same effect on my signal before it goes through my effects (or after) and into my amp (or through a DI into a board perhaps). Sure wouldn't want a sound engineer cutting my B string down (30.87Hz) to 'save' the house speakers. ;)

According to Bongo and everyone else, it doesn't seem like it messes with the B string at all.
 
Dang, I had no gas whatsoever for a Thumpinator before this thread, but I'm thinking it could be a valuable addition to my setup, especially as I use a small cab with a bass heavy amp, and 5ers.

Actually, would that frequency rolloff be detrimental to my low B flat? I'd imagine it'd definitely hit a low A or A flat...
 
Thanks everybody for the kind words.

I spend most of my time sitting on a desk designing and building audio units and reading that the quality of my work is appreciated motivates me like nothing else.

Keeping the quality high is sometimes difficult as the "dark side" (cutting corners, buying cheaper materials...) is strong :). Fortunately, my customers supported me in the idea the quality is a crucial factor in the signal path.

I’ll try to answer all the questions that have been asked. I’ll probably forget something. If I do please ask again :)

/// Thumpinator vs micro-Thumpinator
The audio processing is exactly the same – same circuit with the same parts.

The main difference is that the Thumpinator has balanced driver on the output and a balanced receiver on the input.

In practical terms, unless you need to connect the unit to a balanced line I suggest you buy a micro-Thumpinator.

Apart from the fact that the micro-Thumpinator costs less, it also has less electronics in the signal path which means that (at least in theory) it is has better specs.

/// micro-Thumpinator position in the signal path
In my opinion, the best place to put is just after the bass, especially if it is a passive bass.

The micro-Thumpinator is also an excellent buffer and it helps in strengthen the signal if it goes in a series of pedals. Moreover, the sooner the subsonic content is removed the better it is.

Having said that, some of my customers found that it works best between other pedals or between preamplifier and amplifier. The micro-Thumpinator can work at line level so you can put it in the send/return of you amp.

This is why I suggest my customers to try it in different positions in the signal chain.

/// Low-B
The Thumpinator has been designed to be used with a 5 string bass and it does not interfere with the low-B.

If you detune you bass to go below the low-B and you have an amplifier and cabinet that are able to reproduce the note you are playing, the micro-Thumpinator will remove the fundamental from the signal.

So far nobody ask me to do it but, if you are strictly a 4 string player, it is possible to tune the micro-Thumpinator to cut everything below the low-E. If someone is interested please contact me via email. I’ll do the mod free of charge to the first person that asks as I am interested to see the result.

/// What does the micro-Thumpinator do?
It removes the subsonic content. In other words that you cannot hear but you amp and speakers work to deliver.
It doesn’t simply attenuates or mitigate the effect of subsonic content. It removes it completely.

I hope the above helps. If you have more questions, please ask.

Max [sfx]
 
Recently, I have been busy with Custom Shop projects. One of them is a rack unit used by a recording studio.

It is something different from what you usually see in this forum and I though that as "[sfx] user appreciation society" you might be interested in having a look:

h_amp_01.gif

outside

IMG_0983small.gif

inside

h_amp_06b.gif

detail of the matrix mixer
 
Recently, I have been busy with Custom Shop projects. One of them is a rack unit used by a recording studio.

It is something different from what you usually see in this forum and I though that as "[sfx] user appreciation society" you might be interested in having a look:

h_amp_01.gif

outside

IMG_0983small.gif

inside

h_amp_06b.gif

detail of the matrix mixer

Seeing that makes me think maybe I should have gone with your idea of having that pre you made me as a rack unit...very nice!
 
Wow. That is a thing of beauty!

Thanks G. Technically it was a little bit of a challenge but fortunately everything worked as expected.

Seeing that makes me think maybe I should have gone with your idea of having that pre you made me as a rack unit...very nice!

Strangely enough, I am designing a 2 channel rack preamp right now. It is a 2U rack with mic and instrument input for every channel, internal signal blend, multiple DI outputs, microprocessor controlled switching... challenging :)

If you are interested in seeing completed Custom Shop projects I often post Link Removed some of the finished projects.
 
My main use for my EQ is to kill that the frequencies below my E string. I also happen to to boost the mids +1 or +2 db. The Micro Thump caught my attention time ago, but until this year, I haven't been ready to spend that much money on a pedal. Well, now that I've spent $200 on the FEA Growler, the converted $160-ish for the Micro Thump seems like a bargain! :D
 
Wow! I don't think I've ever seen the kind of quality craftsmanship Silent Fly brings to guitar pedals before. I have seen similar workmanship in Hi-Fi audio but you pay much more than what he's charging for those pieces.

Having said that, I'd like to give the Thumpinator a DIY go. Does anyone have any pics of what's inside their Thumpinator? Usually an active HPF is made with nothing more than a single or dual op-amp chip and a few resistors/caps. Has anyone else tried this on TB? I ran a search but didn't come up with anything.
 
Believe me, doing it well is not so simple. If you want a basic 18 dB/oct highpass filter, there are hundreds of easy schematics out there. But if you want a 30 dB/oct filter with zero tonal coloration and zero signal drop up to the filter corner... it gets into more serious work.
 
Wow! I don't think I've ever seen the kind of quality craftsmanship Silent Fly brings to guitar pedals before. I have seen similar workmanship in Hi-Fi audio but you pay much more than what he's charging for those pieces.

Having said that, I'd like to give the Thumpinator a DIY go. Does anyone have any pics of what's inside their Thumpinator? Usually an active HPF is made with nothing more than a single or dual op-amp chip and a few resistors/caps. Has anyone else tried this on TB? I ran a search but didn't come up with anything.

It's tiiiiiiiny in there. Two opamps I believe. Wellllllllll thought out!
 
It's tiiiiiiiny in there. Two opamps I believe. Wellllllllll thought out!
It could be a 2nd order (40 db/decade) or even 4th order (80 db/decade) HPF then. I'd like to know what the # is on the chips (op-amps). A close up pic would be awesome but I'll figure something out... You guys seem happy with the circuit of the Thumpinator, I thought I might as well start as close as I can to it.

Thanks for the thread fellas. I wouldn't have know about this stuff otherwise!:hyper: