Jump to content

agedhorse

Member
  • Posts

    396
  • Joined

  • Last visited

Everything posted by agedhorse

  1. If you like what the envelope filter does modulating the filter off of the subharmonic noise, that that's the way to do it.
  2. I would place it before the compressor. That way the detector won’t key off of the low stuff you are filtering out.
  3. Generally, early in the signal path has the most benefit with the fewest drawbacks.
  4. Except that it's almost completely different.
  5. I should trademark that saying, as well as "headroom isn't actually headroom if you are using it".
  6. From memory, those are all the same speakers. How they are rated depends somewhat on their application and the products they are used in.
  7. Correct, when cabinets are different the reactive loads can interact in less predictable ways. When this is done with identical drivers, like in a 210 cabinet using 2 x 4 ohm drivers in series, there is no problem. Not really. Even though the power to the two cabinets would be less, the gain due to coupling as well as at high output levels the reduction in power compression might make the two end up being quite close in practice (depending on the sensitivity of the cabinets of course).
  8. Use the tiniest amount of D-5 possible. Less is more in this case.
  9. It's not what I would call a preamp pedal, it's a filter-eq pedal.
  10. Impedance balanced, or ground compensated outputs can be either depending on the designer's choice as well as the nominal calibration choices (including where an output level control may be set). That said, the maximum output level (for a given power supply) will be 6dB lower.
  11. There are still products (including g interfaces and mixers) that can’t accept true nominal +4dBu line level balanced signals. This alone makes a mic signal more universal as a line level signal won’t work in that situation.
  12. The RE/Q pedal is not what I would consider a preamp pedal, nor is it intended to be a preamp pedal.
  13. Looks to me to be closer to 18dB/oct.
  14. Except that 8dB/octave is a tough filter to design (successfully). Typically, ~30Hz is about the lowest that a HPF needs to go IMO and IME. The average player seems to settle right around 45-50Hz, but it depends on the bass, the pickup location, the type of strings, playing style, speakers and acoustic environment. Every player is in fact a little different.
  15. A couple of important differences, the first being that on the Q-strip there is a parallel through jack on the input, which allows the signal to pass through the pedal onto whatever else may feed the input of an amp while the eq'd XLR output feeds something else, and while the Q-strip is an eq-DI, the RE/Q is a HPF-LPF-EQ pedal, the filters being sweepable and each function being foot switched. Both are pedals that combine different functions, and different players will have different needs for the different functions.
  16. You can still impedance balance the signal, it just requires a custom cable with matching resistance in the ring line.
  17. If you wish to have a DI output, any passive DI will work, and just about all have a parallel in/out on the unbalanced side. 1K output impedance is very common, and is intended to drive any input of typically 10K or greater. Passive DI’s are all greater than 10K. This pedal was not intended to be a DI. It’s a filter-EQ pedal.
  18. Many amps have HPF's, mostly added in the past 15 years, once designers recognized how valuable they are to the performance. All amps I have designed over the past ~20 years have had them, between 12 and 24dB/octave, and in the Subway amps, all but the D-800 have variable HPF's. Differences in slope and alignment are representative of the specific task and character desired for the amp's overall goals.
  19. If you knew how many tubes marked 7025's are in fact just plain 12AX7 in "different clothes" (counterfit), you might be surprised. If you knew how many tubes we reject because they are either out of spec, noisy or microphonic, you might be surprised. If you knew where these rejected tube end up, you might be surprised. If you knew how many issues related to a user or tech not understanding the concept of correctly biasing an amp, you might be surprised. Preset bias and "matching tubes for that bias level" is an essentially foolproof way of being able to change out power tubes without the need to re-bias, as well as keeping fingers out of the electronics. This way the bias is exactly as the designer intended. Your comment about "bullsh*t marketing" is uncalled for because it's based on your lack of knowledge of why these decisions were made. You don't have to agree with them, you don't have to buy our amps either, but calling it bullsh*t isn't right.
  20. Glasgow Studio Electronics is another good option IME.
  21. Yes, the folks at Westside are excellent, and run a tight ship.
  22. With the ongoing COVID case numbers throughout Europe, parts and materials from that region is remaining a serious challenge. Materials and shipping from Asia remains a nightmare, with some regions getting worse rather than better. Eastern Europe (a major source of tubes) is getting worse, which compounds tube shortages from China’s issues. South America (another source of speakers and materials) is also not improving as hoped for. Some things in the US are improving, but backorders and global parts shortages are impacting our abilities to produce finished goods as well. Ultimately, we are all in this together. That’s how a global economy works.
  23. Yes, that's the best option. If there's hum due to a ground loop, most PA companies carry XLR pin 1 lift barrels for that purpose.
  24. With your Streamliner, you have enough power on tap to destroy those speakers. Beware.
  25. Least likely is either ported or sealed next to a folded horn IME.
×
×
  • Create New...