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Post subject: limiter
Posted: Fri Nov 20, 2009 4:30 am
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on one of my amps I have a selectable limiter I can use I know why I use it .but is there a time when you would want to turn it out...


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Posted: Fri Nov 20, 2009 6:09 am
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Yes if you want to overload the amp for distortion, grit, grunge or that sort of thing. Also if playing outdoors and the amp sound anemic turning off the limiter can make the amp sound louder, but again you have the distortion, grit, grunge thing going on. Solid State distortion on bass is not a very desirable effect though.


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Posted: Fri Nov 20, 2009 3:24 pm
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ok thanks for that Dave..could you tell me a bit about...Scoop control and paramertric mid control........thanks


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Posted: Sat Nov 21, 2009 2:57 am
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1969 wrote:
ok thanks for that Dave..could you tell me a bit about...Scoop control and parametric mid control........thanks


SCOOP buttons or controls are common on bass preamp circuits. It is usually a fast and easy way to reduce the midrange without fiddling with knobs. Engaging the scoop button or turning a scoop knob effectively cuts the midrange frequencies that get through the tone circuit. "Scooping the mids" is a common EQ practice for certain types of music with certain types of basses like fusion and thumb slapping. It can also make a modern active bass sound more old school as many active basses are midrange heavy.

PARAMETRIC equalization is far more complicated. A parametric EQ or parametric tone control will have either two or three knobs for each frequency range to be controlled. Recording & mastering consoles or recording software can have many, many parametric EQ control points but on a bass preamp tone circuit you are way more limited. Often only the midrange has a set of parametric controls. Sometimes you get two sets of parametric controls for lower mids and upper mids.

The CENTER POINT CONTROL will be labeled with various frequencies like "0.5k, 0.75k, 1k, 1.25k" etc. This is the knob that sets the CENTER frequency. That is all it does, set a center point frequency.

The second knob is the actual tone boost/cut control, typically set to 12 O'Clock high would be flat, or zero boost/cut, while rotating left reduces the selected frequency range set by the center point control and turning it right boosts it.

On units with only the above two knobs the "Q-Factor" (which is defined as the bandwidth control range) is preset by the manufacturer and you can't modify it. All you can do is change the center point taking some frequencies out of the scope of the control of the boost/cut knob while bringing other frequencies into the scope of control for the boost/cut knob.

You must use care on units with only these two parametric controls because since the "Q" is preset you can overlap and have two tone controls boosting the same frequencies. Say for example you set the center point on the midrange control to the highest possible point, like 3.5 K and then boost it 10 db. If the manufacturer set a 1000 Q-Factor you actually are getting into the 4.5K range which may also be controlled by the upper mids control knob or even the treble control knob. So now you have two knobs boosting or cutting the same frequencies which can have undesired effects. Usually again 12 O'Clock is a good place to start for the both the center point and the boost cut and then adjust from there. As a general rule the farther you stray from 12 O'Clock on the center point knob the more trouble you can create for yourself.

True parametric tone controls will have a third knob for "Q-Factor" which allows you to set the scope of control. So if you set the Center Frequency at 1,500 hz (1.5k ) and the "Q" at 200 the boost/cut knob's scope of control is from 1400 to 1600 hz. Setting the "Q" at 500 would control everything from 1250 to 1750 hz. Higher Q settings have a bigger impact on your sound.

Full range parametric EQ allows you a great deal of very specific control whenever you have something annoying you because you can isolate it and eliminate it, like 60 hz AC hum which you can cure by setting a center point of 60 hz, a very low Q-Factor like 10 and then cranking the boost/cut control all the way to CUT.

For live performance setup, many PA techs cut everything from 50 hz down. They set the Parametric to a center point of 30 hz with a Q factor of 20 and that eliminates stage rumble. Anything below about 50 is just robbing power from the mains and subs and isn't really being heard anyway.


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Posted: Sat Nov 21, 2009 4:15 am
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ok thanks again Dave, a bit confusing but I'll get it...my tone controls are Bass,low -Mid,parametric, Hi -Mid , Treble, scoop,... so I suppose I just start with the 12 oclock positions and start playing with it... any orther tips


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Posted: Sat Nov 21, 2009 5:11 am
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1969 wrote:
ok thanks again Dave, a bit confusing but I'll get it...my tone controls are Bass,low -Mid,parametric, Hi -Mid , Treble, scoop,... so I suppose I just start with the 12 oclock positions and start playing with it... any orther tips


If you have a RUMBLE amp, then that is a SEMI-Parametric EQ circuit, meaning no Q-Factor control.

Full Parametric has THREE controls:
1. Center Frequency
2. Q-Factor (range of control is specified in Hertz)
3. Cut/Boost

Semi-Parametric is more common on bass amps. You get two controls:
1. Center Frequency
2. Cut/Boost
With these types of tone circuits the Q-Factor is preset by design and you can not control it.


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