i would imagine that you do get it, but only if you turn up the knob. if you dont want it leave the knob alone. the send mix is not a send mix for the effects loop, it controls the voulme of the DI out.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Walter Woods Amps History and Development
- Thread starter Uncletoad
- Start date
i would imagine that you do get it, but only if you turn up the knob. if you dont want it leave the knob alone. the send mix is not a send mix for the effects loop, it controls the voulme of the DI out.
I'm not sure that is correct (i.e., that it controls the unbalanced 1/4" line out). However, I never used the loop or the line out (always uses an external DI when I was using my Walter). I was always told that it was a 'volume make-up control' for the effects loop, but again, could be wrong. Like many others, I just treated it as another tone control.
I use the 1/4 out to a DI every time I use my ww and the send knob does not control the level to the DI on mine.
I kind wish it did as it would be a way of balancing the output of my upright and electric without changing the gain or volume going to the speakers.
I wonder if it matters if you have the DI switch on pre or post? I have mine on post and the signal going to a REDDI (I know Walter suggests a passive DI, but te REDDI works great)
I'll mess with both of mine today and see if I can get the send know to affect the volume to the DI.
I kind wish it did as it would be a way of balancing the output of my upright and electric without changing the gain or volume going to the speakers.
I wonder if it matters if you have the DI switch on pre or post? I have mine on post and the signal going to a REDDI (I know Walter suggests a passive DI, but te REDDI works great)
I'll mess with both of mine today and see if I can get the send know to affect the volume to the DI.
I also had the same understanding. Lots of conflicting info on what that knob is actually designed for!
Ryan,
I always have the switch set to pre and I can control the volume with that setting, at least that's whats worked when they attach a DI to it, for the mains. Hope that helps.
Ric
I prefer to use the pre setting in respect to the level set at the FOH. That way any adjustments (I use the master volume for level on stage) made for the sound onstage won't screw with the sound guys mix. I have a small board with a compressor and eq do go to FOH, they come in handy for getting the level right at sound check. Having a great passive DI makes a big difference.....I like the Radial JDI.
On WW Electracoustic amps, the PRE/OFF/POST switch selects the source of the signal at the 1/4-inch DIRECT OUT jack:
Set on PRE, the signal comes directly from the input jack (via a buffer stage) before the PRE GAIN control or EQ, and so is completely unaffected by any other control settings on the amp. This is an instrument level output.
Set on POST, the signal comes post PRE GAIN and post EQ but pre the POST GAIN control. This is a line level output (which is typically hotter than the the PRE out signal).
Set on OFF, the signal is muted at the DIRECT OUT jack.
While the SEND MIX control may seem a bit mysterious, it really isn't. Its main function is to allow mixing in a "dry" signal with the "wet" signal from an effect (such as echo or reverb) patched into the SEND and RECEIVE jacks.
You can try a simple experiment, which might make this a little more clear: With the amp's gain controls and EQ set for a normal playing level and with the SEND MIX control set on "0," insert a dummy 1/4-inch phone plug into the RECEIVE jack, which will break the signal chain (there will be no signal at the speaker output). Now turn the SEND MIX control CW until the volume level is about the same as it was before inserting the plug in the RECEIVE jack.
When there is no plug inserted in the RECEIVE jack, the SEND MIX adds a side-chain signal which mixes with the normal, straight signal creating a unique effect of its own.
Hope this helps.
Set on PRE, the signal comes directly from the input jack (via a buffer stage) before the PRE GAIN control or EQ, and so is completely unaffected by any other control settings on the amp. This is an instrument level output.
Set on POST, the signal comes post PRE GAIN and post EQ but pre the POST GAIN control. This is a line level output (which is typically hotter than the the PRE out signal).
Set on OFF, the signal is muted at the DIRECT OUT jack.
While the SEND MIX control may seem a bit mysterious, it really isn't. Its main function is to allow mixing in a "dry" signal with the "wet" signal from an effect (such as echo or reverb) patched into the SEND and RECEIVE jacks.
You can try a simple experiment, which might make this a little more clear: With the amp's gain controls and EQ set for a normal playing level and with the SEND MIX control set on "0," insert a dummy 1/4-inch phone plug into the RECEIVE jack, which will break the signal chain (there will be no signal at the speaker output). Now turn the SEND MIX control CW until the volume level is about the same as it was before inserting the plug in the RECEIVE jack.
When there is no plug inserted in the RECEIVE jack, the SEND MIX adds a side-chain signal which mixes with the normal, straight signal creating a unique effect of its own.
Hope this helps.
From the manual:
Send Mix Knob: This knob has a variety of uses:
1. Blending effects with "dry" POST EQ sound, 50/50 maximum.
2. 4 channel usage including stereo P.A. In thsi setup, channels 1 & 2 are used as normal ( but are not limited to) instruments channels. A stereo mixer (or mono, via WYE cord) is connected to the RECEIVE input jacks. This will automatically disconnect the SEND preamp signal from the POST GAIN KNOB. By turning up the SEND MIX KNOB, the disconnected signal will be summed with the RECEIVE input signal at the POST GAIN KNOB. note: Send Mix will not function with POST GAIN KNOB set at zero.
Send Mix Knob: This knob has a variety of uses:
1. Blending effects with "dry" POST EQ sound, 50/50 maximum.
2. 4 channel usage including stereo P.A. In thsi setup, channels 1 & 2 are used as normal ( but are not limited to) instruments channels. A stereo mixer (or mono, via WYE cord) is connected to the RECEIVE input jacks. This will automatically disconnect the SEND preamp signal from the POST GAIN KNOB. By turning up the SEND MIX KNOB, the disconnected signal will be summed with the RECEIVE input signal at the POST GAIN KNOB. note: Send Mix will not function with POST GAIN KNOB set at zero.
Jazzdogg
Less barking, more wagging!
Hmmm, so it's a wet-blend knob for a parallel effects loop that also happens to modify the EQ when nothing is plugged into the effects loop. Interesting.
This sort of demands the question What Is The "Straight" Signal? From the way everyone here has been describing this control, it sounds to me like it's blending some pre-EQ signal in parallel with post-EQ signal.
(Or, if that's not entirely accurate, perhaps a more abstract characterization is that it's blending some X signal with some non-X signal (where X = a specific point in the analog circuit's flow diagram).
Another possibility is that it's blending the signal with an almost identical "copy" (sic) of itself, but it's not a perfectly phase-accurate summing so there's a bit of comb filtering going on as you turn up that knob.
This is way above my pay grade, but since I own a Woods Electroacoustic Ultra I think I'll just keep listening in until I understand the bullet points.
Ric
As much as I loved my WW when I had it, I always had this question in my mind. Although turning up the Send Mix varied the tone and added some color, I always felt like it also blurred the tone like there was some fuzz around the notes it produced. Turning the Send Mix all the way down made the amp sound lifeless.
I wouldn't call it blurring the sound at all, unless you over use it. I usually set mine at about 1- 2 o'clock for electric basses, and "off" for my upright. It's more like a sonic maximizer type effect,,,,, and who ever really understands what those do?
12 to 2 o'clock was where I ran mine.
I started using Walter's amps in '82. When the Electracoustic came out it was quite a change in sound from his early design. Lot less definition and for a lack of a better term, blurred. Eventually my ears grew accustomed to it and I went on to use the Ultra for about 8 years. I sold it and moved on to other gear and have since bought and sold a few WW Ultras thinking I might go back, but listening to it again compared to other high end gear I wondered how I ever liked the Electracoustic. The post '03 models are ever more burred than the earlier Electracoustics. Walter builds quality gear that never let me down and there times that the tone blew me away and of course I loved the weight, but there are a lot of good amps built these days that are light weight and a lot less money. Just my $.02.
i recently went out and bought one of the early all transistor class A versions, even though i own one of the electroacoustics. dont have it yet, but it will be interesting to play them side by side. those early versions are what made me want a woods in the first place
Don't know what cab you're using, but Walter always recommended 15's with his early amps and I always found those to work the best myself.
LC,
So you first Woods was possible a MI-100-8, yes? They are quite different from the Electroacoustic amps. Walter built MI series amps with a 400 watt MI-400-8 and a 600 watt MI-600-8 from 1990 to 1992. I have an MI-400 and it's incredible. It has that great class A pre amp coupled with a class A/B linear SS power amp. It sounds very much like a tube amplifier and Channel 2 just kills for upright. To do this he had to break one of his cardinal rules however. The MI-400 weighed 9 lbs. and the MI-600 weighed 11 lbs. At the original 7 lbs. of the MI-100-8, he had all his competitors beat, but in the 9 to 11 pound class there were SWR's and Eden's. Truthfully, I have one of the earlier Electroacoustic amps and it sounds really good, but I've never heard an amp like the MI-400-8. If you ever had one of these it might be the last amp you ever bought. Unless of course, you actually owned one.
Ric
First amp was the MI-100-8. Had it a week before I called Walter and ordered the MI-225-8. I've also owned the MI-400-8 and MI-600-8. I've also owned the MI-200-8 stereo with the 1000 watt upgrade(at least 3 of those) and Electracoustics Green, Amber, and Blue, and the Stereo model, several of each. Most of these I bought used. Just remembered I've also owned the MI-100-4.
