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Passinwind

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  1. Yep. And boosting and cutting often benefit from different bandwidths. Then there's the factor of how many bands we are using, because interactivity comes into play. I've measured and/or designed and built quite a few bass preamps, and to me this yet another "just depends" kind of a thing.
  2. According to Pat Quilter it's a modified Class D module from the QSC K Series powered cabinet line, built on the QSC production line in California. QSC originally = Quilter Sound Company.
  3. Looking forward to seeing what you come up with John. I'm not a fan of powered cabs or combo amps as a DIY thing at all, so it'll be fun to watch someone else suffer through the engineering challenges this time!
  4. Yep, I've built around half a dozen. For starters, I assume you are OK with the fact that to do it right this will cost you more than a commercial solution? You can see an brief overview of most of my builds here: http://passinwind.com/DIY.html I've also posted build threads on Talkbass, including: https://www.talkbass.com/threads/a-diy-500-watt-bass-head.1061473/#post-15624273 https://www.talkbass.com/threads/a-diy-1-2-rack-bass-preamp.1135423/#post-16982343 The latter thread morphs from preamp to matching power amp to a couple of all in one bass amp builds. I've done a couple of separate tube preamps as well.
  5. Thank you. I used to gig a lot on electric upright bass and, as it is for acoustic upright, killing wolf tones is often a dire need. I've been using PEQs for decades as a sound provider, so that is a very intuitive format for me, especially for dealing with room issues.
  6. Cool. My friend uses a fair amount of Noll stuff and I'll ask him to get a Mixpot for us to play with. So far I've just been using a standard passive front end control set into the preamp inputs. Personally, I generally prefer two volume controls to vol-blend, and these days I tend to embrace pickup loading as a natural and often good sounding deal. But as usual, that just depends. In some builds I use conductive plastic or cermet pots, and I have used stepped attenuators in some tube preamps where signal/noise was well better than 110dB. Yep, pots continue to be a major thorn in the paw, no doubt. I've also looked at using digital encoders, which may not please purists but do offer some tangible advantages. My friend has asked me about active blends and I'll probably get around to that soon. On my new fretless I'm looking at trying discrete signal paths all the way from the pickups to two amps, and also at a clean/dirty split with a blend function for that instead. I'm always interested to hear what does or doesn't work for others though, as my wants and needs are far from typical.
  7. All of my preamps have signal/noise ratio and distortion specs comparable to most good commercial bass amps. Headroom is sometimes not as good, mostly due to 9V powering, but still more than good enough IMHO. Job one is a vanishingly low noise floor and anything that fails that is not going into my builds in the long term. Each bass has a different onboard preamp format and my main two players came from a luthier who explicitly wants me to experiment a lot. So right now I have my DIY'er oriented open source "filter" one in my fretted 5 string bass, and my modular 2 + 1 band boards in my new fretless. The fretless features outboard power and can easily be configured to a Ric-O-Sound sort of format since I used a 4 pin XLR output. Most of my amps have variable high pass filters and a single band full parametric EQ. I see those as mostly tools for room correction, but the HPF interacts greatly with my onboard bass control and allows bass peaking at a wide variety of frequencies, which can have other useful applications than just avoiding room nodes, aka unwanted boom or dead zones. Bass, mid, and treble controls are all crafted to interact in musically beneficial ways. Neither the onboard set or the ones in the amp are "better", and the idea is that the sum of the parts is greater than the individual bits might suggest. At this point I'm just s retired tech/hobbiest, but I have done a couple of commercial designs for my luthier friend. Right now they only are available in his basses, but he expects that to change sooner than later. I have nothing to do with the marketing, and am wrapping up pre-production building after having done several runs of around ten boards at a time. The most popular format at NAMM over the last couple of years has proven to be active bass and mids coupled with a standard passive treble control - this is my friend's standard offering for his Jazz Bass oriented active bass builds these days. When you switch into passive mode the tone control is just like a stock Fender format, more or less. We're currently working on at least three different active treble control modules, some of which may keep the passive one in play as well. Most of the amp builds are detailed over on Talkbass, and there is also a brief overview here: http://passinwind.com/DIY.html
  8. All three of my basses are always active, with no bypass switch even installed. As usual, I roll my own preamps. What they do better for me is interact well with my amps (which I also built, naturally). I design the whole ball of wax as an integrated system, as much as possible.
  9. Personally, I think we all lose in a very real sense when music becomes a ".vs" thing. But I'm still enjoying many of the responses to this thread, as I so often do on Basschat.
  10. I used T-I JFs on my fretless for a dozen years. When I replaced them with Ernie Ball Cobalt Flats in the lightest gauge I did need to do a pretty small neck relief tweak due to higher tension, but the overall play feel is fairly similar and the Cobalt Flats sound much much better to me on that particular bass.
  11. A custom set of neo sidewinder humbuckers. There's a huge range of humbucker formats outside of MusicMan and the P-Bass.
  12. Well, you missed every single one of my favorite US bands, so... Just for starters: Jefferson Airplane, Grateful Dead, Santana, Allman Bros. Band, Frank Zappa, Talking Heads, Ornette Coleman, Pat Metheny Band, Duke Ellington, Miles Davis, Charles Mingus, Buddy Rich, The Supremes, Johnny Cash, and the MC5.
  13. I'm a very happy user of the Pure Blues strings. I briefly tried Sunbeams on the same bass but the gauges were too small for the way the nut is cut. Preferred the feel and sound of the PB in the next size up, but this was certainly not a fair fight. In any case, the PB last a good year or so on my fretted fiver, with very little tonal changes after the first week or three.
  14. I like this tune much better than anything I've heard from those three bands. Vive la difference! But OTOH, I very rarely watch the video portion of YouTube music clips. Good music takes my mental imagery to much different places than cheesy vids, at least hopefully.
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