| Author | Message | ||
| funkyjazzjunky
Senior Member Username: funkyjazzjunky Post Number: 459 Registered: 5-2007 |
P-Style pick-ups with separate filters and outputs for the Bass side (B-E-A) and the Treble side (D-G-C). That way I can get super deep, yet solo (I play Jazz mostly). What are your thoughts on this set-up? Any potential draw-backs? | ||
| elwoodblue
Senior Member Username: elwoodblue Post Number: 771 Registered: 6-2002 |
I like the idea!! I have a homemade bass with the P-style pickups. ...might just have to try that. | ||
| davehouck
Moderator Username: davehouck Post Number: 8463 Registered: 5-2002 |
What does the rest of the path look like? Where does the low side signal go, and where does the high side go? | ||
| elwoodblue
Senior Member Username: elwoodblue Post Number: 772 Registered: 6-2002 |
I could see a TRS jack and cord with a splitter box before it feeds separate amps...after goin through an SF-2 in stereo mode of course : ) | ||
| davehouck
Moderator Username: davehouck Post Number: 8467 Registered: 5-2002 |
Then what? I'm guessing the two separate amps would be EQ'd differently. And the point I'm leading to, in addressing the question of potential drawbacks, is that let's say you're playing a repeating major pentatonic pattern, 1-2-3-5-6-5-3-5 for instance, in E starting on the seventh fret on the A string. So you have E and F# on the A string, G# and B on the D string, and C# on the G string. If your A string is EQ'd differently than your D and G strings, then in this example the first two notes of the pattern will sound different than the rest of the pattern. And being a repeated pattern, than difference will be repeated. I'm just thinking out loud in response to the question. I suppose it depends on how the two amps are EQ'd as to whether the difference on notes played in a pattern that crosses over the threshold moving from the A string to the D string will be significant or not. | ||
| elwoodblue
Senior Member Username: elwoodblue Post Number: 773 Registered: 6-2002 |
I hear ya, A switching option to sum or separate the signals might be a fix, hit the switch on the bass that isolates the pickup halves for certain passages where the separation is desired...then back to a summing mode where each amp sees both pickup halves. Then the only EQ difference would be the SF-2 settings...given the amps are EQ'd the same. Each half pickup would see three strings unless they are drastically skewed...so that might help with continuity, or complicate things more. You bring up very good concerns. On Phils Wall of sound Quad set-up I imagine each string stack must have been EQ'd very close to each other to avoid just what your talking about. Even though it is just a homemade bass I would consider this experiment on, I really appreciate the input...it'll help avoid those "D'oh" moments after the point of no return. G&L makes some guitar pickup that are somewhat similar (three poles per half)...they are called Z-coils and I have been considering doing the same thing on a guitar and the same issues would apply. | ||
| davehouck
Moderator Username: davehouck Post Number: 8470 Registered: 5-2002 |
Yes, a mono/stereo switch; good idea. And to expand on that, a mono/stereo switch for each pickup. So, for instance, the bass side of the neck pickup and both sides of the bridge pickup go to one amp, while the treble side of the neck pickup and both sides of the bridge go to the other amp. (Message edited by davehouck on July 30, 2009) | ||
| tmoney61092
Intermediate Member Username: tmoney61092 Post Number: 158 Registered: 9-2008 |
Alembic did this before, go to the custom archive and look for "Ocean Blue" [or click here] (Message edited by davehouck on July 31, 2009) | ||
| elwoodblue
Senior Member Username: elwoodblue Post Number: 774 Registered: 6-2002 |
oops...posted in stereo :: ) ) (Message edited by elwoodblue on July 30, 2009) | ||
| elwoodblue
Senior Member Username: elwoodblue Post Number: 775 Registered: 6-2002 |
Man that's a massive neck...thanks for the heads up. | ||
| tmoney61092
Intermediate Member Username: tmoney61092 Post Number: 159 Registered: 9-2008 |
Hey man, go for it anyways, a 6 string would be slot easier to have, and it's always cool hearing the stories behind the behemoths ~Taylor Watterson | ||
| hieronymous
Senior Member Username: hieronymous Post Number: 631 Registered: 1-2005 |
I think it sounds really interesting. My impression is that it would depend on what kind of music you were doing - if you were just playing "traditional" basslines then it might not work so well, in the way that Dave describes above, but if you were doing more experimental stuff like solo bass a la Trip Wamsley then I bet it could be really cool! The one Dead tape that I heard where I recognized that Phil was running different strings through different speakers, it sounded like it was just in stereo, and the strings sounded really different - in fact, it was kind of unsettling! Unfortunately, I don't know which tape it was and haven't listened to it in over 10 years, so it could be faulty recall... | ||
| dadabass2001
Senior Member Username: dadabass2001 Post Number: 1227 Registered: 6-2002 |
I heard Phil use the quad bass setup in Madison WI at the Dane County Coliseum in winter '72 or '73, pre-"Wall of Sound" but Phil had 4 stacks (8-15s each I believe) spread out across the full backline of the stage. Very cool! In an enclosed space like the Coliseum you could hear his bass runs moving across the sound field. When he switched off the effect, all four strings came through all the cabinets. Mike | ||
| hieronymous
Senior Member Username: hieronymous Post Number: 632 Registered: 1-2005 |
Mike, that must have been awesome! | ||
| funkyjazzjunky
Senior Member Username: funkyjazzjunky Post Number: 465 Registered: 5-2007 |
The 'Bass' output will go thru an F-2B with the controls flat, the 'Treble' thru the other channel and a MoogerFooger at times. Thanks for the Ocean Blue info as well (Message edited by FunkyJazzJunky on August 03, 2009) |
