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Where can I get an easy to use HPF...
- Thread starter jlepre
- Start date
Not a lot of competition, and none of the big box pedal manufacturers are making them- so you gotta make it worth while for someone to build them.They aren't exactly giving them away, though, are they.
scottfeldstein
Roots and fifths and a little extra.
Yeah, I'm not knocking it too hard. I'm glad these items are out there and available. I wrote earlier that I might have gone their direction if I had known about them, but knowing that I got my always-on Broughton for $90 makes me think I made a wiser choice after all.
- Apr 18, 2008
- 16,016
- 1
- 31,730
- Disclosures
- I'm highly opinionated and extremely self-assured
They aren't exactly giving them away, though, are they.
Not sure what you mean - but this doesn’t seem expensive to me (that’s why I bought one): https://www.broughtonaudio.com/product-page/always-on-high-pass-filter
scottfeldstein
Roots and fifths and a little extra.
I was referring to the Thumpinator which appears to go for 129 pounds. That's like $160 US.
https://www.broughtonaudio.com/product-page/always-on-high-pass-filter
All you will need. Love mine.
This is exactly why I use one. Reduce excursion. That it makes my sound a little tighter is bonus for me.
scottfeldstein
Roots and fifths and a little extra.
Yes! And not only that, I, like a lot of other aging players, am trying to transition to smaller, lighter cabs. This is with the understanding that I might push them further than I would have done a 212 or a 410 or even a 210. I'm trying to go with 112 cabs. It's good to know that I won't be pushing 30hz mud through them.
I've expanded on my initial mega-thread post in my TB Wiki: https://www.sweetwater.com/store/detail/AmpWedge--on-stage-stands-rs100-amp-tilt-system
It pretty much covers everything everyone needs to know about HPF/LPFs and why you need one. Graphs, explanations and many comments from multiple pro-TB builders and bass players.
I use the always-on Broughton, simple and out of the way. Dial it in based on how I sit in the mix. Finé.
Based on info from knowledgeable TBrs like @Passinwind, @agedhorse and others, I now recommend the adjustable Broughton Audio HPF/LPF with gain control.
With the added LPF you can tame fizzy highs, hissing pedals, clanky frets, extend the use of your amp's bass and treble controls and with the HPF, in tandem, it can becomes a close cousin of cabinet simulators (cab sims) among many other functions. You can also get a bit of boost if you need it.
I think once it is understood how and why it works, more musicians, not just bass players, will move towards adding one to their signal chain. Its been used FOH and recording for decades.
With regards to the cost, why would you not spend $100-$200 on something that protects your speakers from being blown from over excursion, gives your amp a rest and extends its life by not having to work so hard(increases head room), reduces stage volume by eliminating sub-sonic lows(mud) from being amplified and, at the same time, allows you to get more volume out of your rig.
Kinda seems like magic.
It definitely does everything listed and more.
Side note: In addition to an HPF/LPF, other important changes to implement:
1) If you're using a vertical cab stack, put a pad under your cab.
2) If you're using a single cab, use an adjustable tilt-back padded wedge. Something like: High Pass and Low Pass Filters | TalkBass.com
3) Switch to wireless
4) Adjust your tone from the FOH
All in service of the only thing that really matters: how you sit in the venue mix that makes your band sound better.
Forget about your bedroom, rehearsal or stage tone.
It pretty much covers everything everyone needs to know about HPF/LPFs and why you need one. Graphs, explanations and many comments from multiple pro-TB builders and bass players.
I use the always-on Broughton, simple and out of the way. Dial it in based on how I sit in the mix. Finé.
Based on info from knowledgeable TBrs like @Passinwind, @agedhorse and others, I now recommend the adjustable Broughton Audio HPF/LPF with gain control.
With the added LPF you can tame fizzy highs, hissing pedals, clanky frets, extend the use of your amp's bass and treble controls and with the HPF, in tandem, it can becomes a close cousin of cabinet simulators (cab sims) among many other functions. You can also get a bit of boost if you need it.
I think once it is understood how and why it works, more musicians, not just bass players, will move towards adding one to their signal chain. Its been used FOH and recording for decades.
With regards to the cost, why would you not spend $100-$200 on something that protects your speakers from being blown from over excursion, gives your amp a rest and extends its life by not having to work so hard(increases head room), reduces stage volume by eliminating sub-sonic lows(mud) from being amplified and, at the same time, allows you to get more volume out of your rig.
Kinda seems like magic.
It definitely does everything listed and more.
Side note: In addition to an HPF/LPF, other important changes to implement:
1) If you're using a vertical cab stack, put a pad under your cab.
2) If you're using a single cab, use an adjustable tilt-back padded wedge. Something like: High Pass and Low Pass Filters | TalkBass.com
3) Switch to wireless
4) Adjust your tone from the FOH
All in service of the only thing that really matters: how you sit in the venue mix that makes your band sound better.
Forget about your bedroom, rehearsal or stage tone.
Last edited:
Thanks for that. I think I'm putting it at the end of my effects chain straight into my amp head personally. My main reasoning behind the purchase is putting it after my octave and synth pedals, hopening to tighten things up and lower the overall speaker excursion when it's time to get woofy. Could change.
Based on the thread, putting it before the octave helps it track better.
The bottom line in the thread, you have to experiment to get the best order.
One TBr has a HPF at the beginning and a HPF/LPF at the end. Regulates input and tempers output. Seems to work for him.
One of my octaves is set to purely wet sub signal, the other is a mix of wet and dry, and then the sub bass on my synth pedal is a whole different story lol. I might play around with it but I'm mostly just wanting to lower the dB of the inaudible subsonics and take some stress off speakers. Tracking hasn't been a big issue.
I love how these HPF threads will keep on truckin' long after the OP's gotten their answer and maybe already picked up a pedal and gotten to finding settings. Haha
Then again, the same thing happens in compressor threads, but those tend to have a whole lot more opinion than fact since frequency is an absolute constant, while gain reduction has at least 6 or 7 variables before you even get to the pedal, and then there's the compressor itself
That said, I still have my eye on the Broughton HPF/LPF. When I set it, I might chisel flathead valleys into the nubs where the knobs should be. LPF, btw, is great for when you have effects that introduce higher frequencies than you want (like some chorus effects), so for some, it's certainly a boon.
Then again, the same thing happens in compressor threads, but those tend to have a whole lot more opinion than fact since frequency is an absolute constant, while gain reduction has at least 6 or 7 variables before you even get to the pedal, and then there's the compressor itself
That said, I still have my eye on the Broughton HPF/LPF. When I set it, I might chisel flathead valleys into the nubs where the knobs should be. LPF, btw, is great for when you have effects that introduce higher frequencies than you want (like some chorus effects), so for some, it's certainly a boon.
Check out the HPF/LPF Wiki for some eq. graphs that detail how the are different from each other.
Passinwind
I know nothing.
- Dec 3, 2003
- 23,078
- 46,035
- Disclosures
- Designer/Toaster Tech @ Passinwind Electronics
Not even close in most cases. What amp or EQ appliance are you using, specifically?
