worshiprocker
Tonepump Junkie
- Aug 12, 2011
- 4,683
- 1,782
- Disclosures
- Endorsing Artist: Spector Basses
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- Status
- Feb 3, 2005
- 7,331
- 10,198
- Disclosures
- Endorsing artist: Bergantino Audio Systems and GHS Strings
- Feb 3, 2005
- 7,331
- 10,198
- Disclosures
- Endorsing artist: Bergantino Audio Systems and GHS Strings
Thanks again, I found it. The Aguilar is definitely darker in sound and a little fuller whereas the EMG seems to have a bit more bite.
Totally! This is really an important part of any pedal setup... the order in which you put things together is vitally important.
There are a few different thoughts on this.
Here's how I have my full board set up:
Bass>>Volume Pedal>>Compressor>>Octave>>Envelope>>Wah Pedal>>Chorus>>Phaser>>Delay>>Distortion>>Fuzz>>EQ>>DI>>>Amplifier
This is based on research I did on several recommendations from experienced techs, Doug Wimbish (who is the Lord-Guru of insane Pedal Boards), his number 1 Padawan - Aalics Bronson, Darryl Anders at MXR/Dunlop, and then the recommendations of several bloggers, pedal websites, etc...
I've found that using the chain above and having both the 10-band EQ and the DI at the end of the chain, I don't loose signal... but with a couple of the pedals I have to worry about humming/noise. But that has more to do with the settings on the pedal itself.
In my experience it works like gain when you crank it up past 80%... of course you start blowing levels out on your EQ, so you have to turn everything down. But it adds some distortion to the tone in my opinion.
I use "gain" in the traditional/technical sense of the word. Which is to increase the power or amplitude of a signal from the input to the output, by adding energy to the signal converted from some power supply. It is usually defined as the mean ratio of the signal output of a system to the signal input of the same system. It may also be defined on a logarithmic scale, in terms of the decimal logarithm of the same ratio.
It's not supposed to color the tone and in the settings that are less than 80% to null, I've never know it to. It's purely an adjustment of the raw signal output from my understanding. The frequencies of the tone (EQ settings) should not change through the various settings you can choose.
This is an interesting idea. I personally like the idea. The trick is getting the engineer that made it for Spector to do something like that... LOL... PJ said it took two years for him to do the first trim pot versions after they asked for it.
It's a cool idea for sure.
Thanks! Q is an amazing bassist. He's got mad skills and you'd be really surprised who his influences are. He played some of them in this solo. LOL.
He's a real trip and a heck of a nice guy. He'll talk bass tech and show with you all day. I love Q.
I've talked with some famous bassists who don't know how to set intonation, change strings and have no idea what the truss rod is or what it does. They have techs for that.
It's always really weird when you run into someone like that.
Any time!
I've got some big projects that are soooooo close to being wrapped.
Mainly the new Bass Central website. I can't wait to put that site live.
It's going to be 10,000% better.
I took a break because I just didn't have any time to spare. My days were over-full. But I'm getting back on track.
Always great to talk to a fellow Spector-lover!
Thanks for this info. Love the TonePump! I told PJ it was my favorite preamp, and he grinned and said something along the lines of 'good, I put a lot of work into it' LOL!
He did. And when I first started posting here... back in late 2009, the nickname for that circuit was "ToneDump".
And everyone hated on it.
Ironically, very few that hated on it knew about the output trimpot.
So I started trying to get people to step back and look at what that circuit really was. And after the TonePump video I did, people started going, "Oh!" and I'm happy to say most people understand that circuit better now.
Sam has done comparisons that show with the right output setting you can get the TP very, very close to sounding identical to the USA 9v.
Which is what PJ wanted to do. Better tech, very similar sound.
So what is the major difference in the eq circuits (Tone pump vs obp-2). I will get my Forte 4-X next week, my first Spector btw, and it appears it comes with the Aggie OBP-2. Being primarily a passve pickup player (even with all the series/paralell options on my BCR's I almost NEVER use them) I don't have a lot of experience with these circuits.
- Jun 5, 2008
- 216
- 65
- Disclosures
- Endorsing Artist: Spector, Godlyke, Hartke, Hipshot, & AMT Electronics
I thought I recognized yours as a BassNW photo. Shucks, their practically siblings
I did get to see #19 in person ... I thought it had a nicer grain or tint to it, but it was the tad heavier of the two AND at the time it was $100 more (which sealed the deal on #16 for me.) I would've been thrilled with either of them for sure!
I don't think that was my bass you saw. I got it directly from Spector. PJ said it was being finished up. I'm really surprised as to how far apart the numbers are for the X's. even though mine is 3 numbers away, it's dated 3/11/11. I'm thinking that they were probably dropped the electronics in about the same time though.
Innit! X#16
Any more pics? I got number 14 coming form BassNW early next week.
Actually... because the USA 9v is made by hand... the cost and time associated with making the circuits wasn't logical for a bass that Spector planned on making at least twice as many on a monthly basis.
Also, the JFET tech is really much better. There is no signal loss from the pickups through the circuit due to oversaturation during the note's attack.
PJ and Stuart saw it as a way to get the newer tech into Spector basses and improve the overall performance of the circuit.
The ONLY op-amp based circuit Spector uses anymore is the USA 9v. And that circuit is so growly because Henry (at Haz) and Stuart designed an array of op-amps to handle the over-sat issue, but this distorts the tone (as in overdrive type distortion).
PJ flew over to the Czech Republic with his famous Brooklyn NS-2 #603 (you can see this bass here next to PJ's biography: Link Removed ) and sat side-by-side with the circuit's designer to get the tone-color of the TonePump as close to his NS-2 as possible.
So regarding the TonePump, PJ's main bass (which I know he plays more than any other that he owns... I've played it and it's AMAZING!) is the master "template" for the TonePump.
Some history that that's not on any of the official sites for you TonePump lovers out there.
ok ive got to speak up about something that has been bothering me, if the tonepump is so great and so close to the tone of the infamous US9V why do the american spectors that don't have the US circuits have tonepumps instead of the Aguilar circuits? Only the Euro branded basses get the Tonepumps. Is it because the Tonepumps are Czech made and in order to keep it a truely American bass you put the aggies in? Not trying to create drama, its just a question that has been on my mind.
Lee! I LOVE this!!! Ok...on my iPhone 5 & new Apple ear buds (awesome BTW) your bass came thru loud and clear! It's a different tone...a solid hard two three punch in da FACE type of tone bro!
I love the cuts and then POW here I am, I didn't leave! Awesome track Lee, awesome!
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Shaun, the legends are SOLID basses. There are pros that are endorsed Spector artist that tour international playing these. Top notch basses! I had a Legend 4 four more than 3 years. Sold it only because I went all 5's.
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