| Author | Message | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 3620 Registered: 6-2002 |
Saw this on a search on line and wondered if this is ok to put bass and treble series outputs into the F1-x like in this picture.  Jazzyvee | ||
| fc_spoiler
Senior Member Username: fc_spoiler Post Number: 1484 Registered: 5-2006 |
From the manual: "Two instruments may be played simultaneously by using both jacks, the signals will be equally weighted." Pretty much the same as using the Mono out into one input I think... | ||
| count
Intermediate Member Username: count Post Number: 119 Registered: 10-2003 |
cool! I didn't know that was a feature of the f-1x.! | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 3621 Registered: 6-2002 |
Well I haven't tried it yet,as i thought it might be going out on a limb or damage something. But if it says so in the manual then I guess I will try it tonight. "Pretty much the same as using the Mono out into one input I think..." Hmm should be better as the individual outputs are stronger in stereo out of the DS-5 than taking them from the combined mono signal jack. So maybe I will get the full signal from each pickup through my rig that this way. Something to try out after work this evening. Jazzyvee | ||
| jimmyj
Senior Member Username: jimmyj Post Number: 478 Registered: 8-2008 |
I suspect you will get exactly the same results. The F-1X's two inputs are probably summed with resistors just like the mono out of the DS-5R. (Mica?) This setup might look cooler though! Jimmy J | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 3623 Registered: 6-2002 |
Yep Jimmy J you are absolutely right sounds pretty much the same. it looks cool in that picture but my leads are a bit long so I just need to make up some short leads to keep things tidy now. Jazzyvee | ||
| lbpesq
Senior Member Username: lbpesq Post Number: 5534 Registered: 7-2004 |
I think this would work better with a F-2B. Bill, tgo | ||
| sonicus
Senior Member Username: sonicus Post Number: 3033 Registered: 5-2009 |
I agree with Bill . I can see an expansion of functionality used with an F-2B . With an F-2B one could have the benefit of the discrete dual channel function as well as the the mixed channels from the mono output. | ||
| cozmik_cowboy
Senior Member Username: cozmik_cowboy Post Number: 1576 Registered: 10-2006 |
With the 2 p/ups going into the single-channel preamp, what would this do except require you to buy one more cable? I'm confused..... Peter | ||
| terryc
Senior Member Username: terryc Post Number: 2133 Registered: 11-2004 |
jazzyvee..go to Maplins, they have short patch leads at a reasonable price(all in different colours!, bLue to the Left, Red to the Right) | ||
| jazzyvee
Senior Member Username: jazzyvee Post Number: 3624 Registered: 6-2002 |
You are right Peter, Wolf & Bill, so that leads me to a different scenario. Ultimately I'm looking for another F1-x so I can eq each pickup individually. However I haven't seen any on this side of the pond that have been at the right price yet. :-) So I'm looking at how to get the best of the two outs before that time comes. How does this scenario sound then? I currently use my SF-2 in the send and return path of the F1-x so if I took that out, took the bass and treble to separate channels on the SF-2 then put the SF-2 outs into two inputs on the F1-x. I would then have the option to process both signals separately using the SF-2 then get the signals back to mono by going through the front of the F1-x. Would that be a better use of my setup? Would I be in danger overloading the F1-x by putting the SF-2 in front of it? I'd still need one more cable though. :-) Terry C, I have some of those in my guitar pedal board so will pinch one from there. :-) Jazzyvee ( Still looking for the elusive tone) | ||
| keith_h
Senior Member Username: keith_h Post Number: 1902 Registered: 2-2005 |
Does it even out the additive boost when you switch from one to two pickups in mono mode? Other than that I see no reason for it. Keith | ||
| malthumb
Senior Member Username: malthumb Post Number: 546 Registered: 5-2002 |
Some real funny things about this...... 1) That was my rig. Seriously. My rig, my picture. 2) I read through all the posts in this thread about balancing outputs and my mind went numb. I'm sort of a luddite when it comes to signal processing. 3) You can't tell from the picture, but one F-1X output went to the Crown, the other went to a GK1001RB and a separate set of speakers. I used the outputs from the back of the F-1X to connect to the two amps. Typically, one line was clean, the other line had some minimal effects (chorus, envelope filter). Sometimes at home I would send both outputs to the Crown because plugging into the second amp was just a teeny tiny bit of overkill. At one point I got a second F-1X so that I could really differentiate the tones going to each amp (the Crown and the GK100RB). Eventually I sold both F-1Xes because I don't think I was getting good use of them. They were more than I needed or could handle. I also significantly downsized my total rig(s). Sold off both 85 lb SWR Triads and both Goliath Jrs. Everything in this photo EXCEPT the DS-5R and the tuner got sold, as well as the GK 1001RB. Then I bought a MarkBass Combo and a MarkBass 2X10 extension cab. So I can play them together through the MarkBass combo amp or use a GK MB500 amp with the extension speaker and split the Series I or II signal between the MarkBass Combo and the GK MB500/2X10. Again, one side clean, the other with effects. That's what's going on in this photo. The MarkBass 2X10 with the GK MB500 is just barely out of the picture...stage left of the acoustic.  | ||
| cozmik_cowboy
Senior Member Username: cozmik_cowboy Post Number: 1579 Registered: 10-2006 |
Not to be nit-picky, but "stage left" of the acoustic would be the blonde. As directors give instructions to actors from the house, "left" and "right" are the from the director's perspective (because, well, [s]he's The Director, and don't you forget it!); "stage right" & "stage left" are directions from the actor's perspective, facing the house. Thus, to the guitarist's left (our right) is stage left; I think your cab is left, not stage left. Peter (who was a theater major many decades ago, and sometimes can't help himself) | ||
| malthumb
Senior Member Username: malthumb Post Number: 547 Registered: 5-2002 |
Ok then......stage right it is. | ||
| jimmyj
Senior Member Username: jimmyj Post Number: 479 Registered: 8-2008 |
Yes and just to add to the confusion, downstage is towards the audience and upstage is towards the back. Ha! James, when you say you "used the outputs from the back of the F1-X to connect to the two amps", do you mean the "high pass" and "low pass" outputs? It is only a single-channel mono preamp so the way it was connected in the top picture of this thread would have the bass and treble pickups summed together at the input - just the same as having only one jumper cable and the DS-5 set to mono. But using the crossover in the F1-X is a cool way to split the signal for using a couple cabinets - or, as you say, maybe running effects only on the "high pass" side and leaving the "low pass" clean. That's a kind of stereo too but it's like a vertical one as opposed to left and right. Really the series "stereo" output is also kind of vertical in this same way, it's not actually left and right either. Back in the day when I ran a stereo amp rig I would add chorus to the treble pickup only. I liked that it left the bottom end intact so the bass note would still be solid. Running the pickups through their own separate amp rigs is a bit over the top in most situations but it sure makes for an amazingly LARGE tone! Yum! Jimmy J | ||
| malthumb
Senior Member Username: malthumb Post Number: 548 Registered: 5-2002 |
Jimmy J, ****Luddite Alert - I know not what I do**** I recall trying it both ways and noticing a significant difference between the two setups. It's been so long ago that I honestly cannot tell you which way I defaulted to. The stuff you guys are talking about (which I STILL don't get) might be a strong clue as to why I no longer use that setup. I couldn't make it work because I apparently wasn't doing it right. In any event, even if both pickups were going to both channels and the tones coming out of the F-1X were identical (I think they were) the effects and different toning settings at the amps made for interesting end results. ***aside*** Jimmy J....you might find this Talkbass thread fairly interesting http://www.talkbass.com/forum/f8/paul-reed-smith-credited-first-modern-5-string-1016543/ | ||
| lbpesq
Senior Member Username: lbpesq Post Number: 5537 Registered: 7-2004 |
Jimmy wrote: "Running the pickups through their own separate amp rigs is a bit over the top in most situations but it sure makes for an amazingly LARGE tone! Yum!" LARGE and Yum indeed! I was fortunate enough to see the Dead's "Wall of Sound" several times when Phil Lesh played his quadraphonic Alembic. Each string had its own pick-up which went to four separate MacIntosh 2300 power amps which then ran four separate speaker columns, the tallest of which was 32' as I recall. Definitely "Yum"! Bill, tgo | ||
| jimmyj
Senior Member Username: jimmyj Post Number: 480 Registered: 8-2008 |
There's no right or wrong way to hook the gear up. (Well, I suppose you shouldn't run the power amp backwards...) We all just experiment until we hear something we like and THAT becomes the right way! For example different size speaker cabinets will each have their own sound. So connecting two different cabinets to one mono power amp might be just the sound you're looking for. Or maybe the cabinets each get their own channel so you can balance the levels, or maybe bi-amped, or maybe treble pu to one and bass pu to the other... etc. etc... It's all good! Regarding your basstalk aside; thanks for representing Alembic there. Some nice comments by folks. Not that it matters at all but I don't claim to be first to "go low" on electric bass, I usually defer to Anthony Jackson for that. But obviously the mid-70's were a creative time for custom instruments and Alembic was one of our most important contributors. Jimmy J |
