Active circuits (preamps) that have the ability to boost/cut certain parts of the frequency spectrum can open up a lot of tones. Manufacturers have designed their active control circuits in the most musical way that they believe will benefit the tone of a bass.
As a player, you need to decide if you want to maintain the current layout of knobs and switches or if you are willing to add new holes. Most preamp configurations have multiple potentiometers (Quick definition - potentiometers are the controls that reside inside your bass and are controlled by your knobs) to control the EQ of the preamp as well as control the blending of pickups and master volume, for basses which have two pickups. When thinking about purchasing a preamp that has more controls (potentiometers or switches) than the number of holes currently in the bass, keep in mind that you will need to drill additional hole(s) or use a stacked potentiometer. Adding additional holes is not a difficult task if you are handy with tools or have a tech that can drill the hole for you. Many players will have a tech do the full installation of a preamp, and in that case, you can have them drill the extra holes needed for the new preamp.
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4. Active-Passive Control - What is Active/Passive switching, and do I need it?
Some preamps come preconfigured with an independent switch or a push/pull potentiometer (usually found on the volume) that will route the signal through the preamp or bypass the preamp. This is called the Active/Passive switch.
2. 2 Band VS 3 Band?
Aside from spatial considerations, the 2 vs 3 band question is largely one of deciding whether you want the ability to adjust the mid range frequencies. Two band preamps have the ability to adjust treble and bass, whereas 3 band preamps have treble, mid and bass adjustable frequency ranges.
Personally, I like to add just a touch of mid to most basses when playing with a band. I find that it helps the bass sit a little closer to the front of the mix. In general, the price difference between a 2 and 3 band preamp is not that much, and for me it is worth it.
By in large, players tend to boost more than cut. That being said, most of us have probably played basses where it is nice to roll off the treble or mid control a bit, depending on the bass itself, the amp or the room in which we are playing. For that reason, I prefer to use a preamp that has both boost & cut control. Boost & Cut preamps account for the vast majority or preamps sold.
Obviously, this will depend on your experience and expertise with wiring/soldering in general, as well as your familiarity with circuits for basses/guitars. By no means, do you need to be a professional tech to install a new preamp, but having the ability to solder cleanly is necessary.
Making declarative statements about the various brands of preamps is not what this article is about. Writing a post on the 'Best Preamp Brands' or 'Top 10 On Board Bass Preamps' may get some views, but we'd be breaching boundaries of intellectual honesty with those kinds of articles.
California Special and California Classic acoustic guitars are equipped with a specially voiced Fender- and Fishman-designed PM preamp. California Player acoustic guitars feature a standard Fishman pickup/preamp system.
The MARCUS RETRO 01 electronics is based on that of the J-Retro, except that the bass & treble contours are voiced to be similar to the preamp that Marcus uses. This unit is supplied as electronics only and must be fitted to an existing plate.
Most modern amplifiers are also designed to distort from their preamp sections, especially as 12AX7 tubes are made to a high-gain specification. This causes them to compress and break up more effectively than other tubes.
Some guitarists, especially metal players, use overdrive pedals into their distorted amps in order to achieve a tighter and more saturated sound. Tube Screamer-style pedals are most commonly employed, as they typically shelve some low-end and boost mid-range frequencies for extra clarity and definition. Using an overdrive pedal into a high-gain preamp pedal should create the same effect.
Whether your stock preamp is on the fritz, rocker switches aren't working or you're just tired of all that noise, Vintage Vibe has the solution for you. Our new preamp kit includes everything needed to replace your old Clavinet preamp with our brand new Vintage Vibe Preamp!
The Vibanet preamplifier boasts an ultra quiet noise floor, extremely versatile 3 band fixed EQ and a killer onboard auto-wah that will take your funk to a new level. These design improvements not only allow for easily achieving classic clavinet sounds ( without the noise) but also present a ton of new tonal opportunities. You can be sure it will inspire you and take your playing to new heights.
The preamplifier has a healthy output level, quite close to line level, therefore when putting effects after the preamp's output it is possible that depending on the EQ and volume settings that an effects unit could be overloaded into distortion. The FX loop was designed and located within the circuit in order to happily interface with most effects units.
There is a slight level increase when the autowah circuit is engaged. This is a side effect created by the swing of the wah. During the design and testing stage we found that without a sufficiently wide swing the autowah did not get as funky as desired. The consensus between the play testers and design team was that the level bump was a worthwhile trade off for a better wah feature.
We've asked a lot of the folks who are using the preamp out on the road about this and the feedback has unanimously been that they simply work the volume pot if they feel they need to and after a short it has become second nature to them.
AMT makes a lot of distortion pedals - at the moment, we're talking 14 solid-state pedals, three single-tube pedals, two twin-tube pedals and a twin-tube rack preamp - all different. Analog Music Technology, indeed! Apart from the SS-10 rack unit (available in the U.S. only by special order) this single-tube unit is the most versatile pedal of their entire lineup. As has been pointed out elsewhere, the docs that come with the unit are a page of quasi-engineering marketing speak but from fig. 4 it's clear that what we have is a hybrid design with Class A JFET buffers (no op-amps) driving an Electro-Harmonix12AX7 dual triode running at a common high (300V) anode voltage. An additional JFET in the Lead channel accounts for the extra dirt "when the gain is above 7", with some light saturation (according to the docs) happening somewhere in the output section. Could this be a side effect of running the device's FX Send JFET at 12V for output limiting purposes? Hmm...
BTW, if what you're looking for a bit of light preamp warmth along the lines of the ART TubeMP, take note of where the tone stack sits on this channel - pre-tube! Very nice for tonal shaping, light overdrive and bass guitar purposes.
Note: If you're considering running this pedal dirty into consumer (-10dBv) gear or the clean channel of a guitar amp, use the cab emu out. But for best possible tone, consider bypassing your amp's built-in pre by plugging the SS-20's non-speaker emulated out directly into your head's FX return. This output runs at 0dBu (-2.21dBv), so unless your amp's FX loop is fixed at +4dBu, pushing your power amp shouldn't be a problem. I have it on good word that AMT's original sound samples were recorded this way, and it does sound best when auditioned in this fashion through my Celestion-loaded Flextone II. This brings up an important point: Don't think of the SS-20 as a tube distortion pedal... think of it as a tiny tube preamp!
The MAGELLAN PRE is an all-analog full featured preamp pedal with a wide-range input gain control, 3-band equalization with sweepable mids, our unique foot switchable dual curve adjustable contour circuits, foot switchable mute circuit, aux input, headphone output, balanced/unbalanced main output and balanced XLR direct output. This compact, lightweight pedal brings all of the tone and versatility of our MAGELLAN series bass amplifier designs into a small pedal format.
IR-X isn't simulating a Friedman tube preamp. It is one. While many available preamp pedals utilize tubes to 'warm up' their digital or solid-state circuit, two glowing hot 12AX7 preamp tubes, running at the proper high voltage, are this pedal's beating heart. A genuine preamp in every way, IR-X delivers all the tone, response, gain characteristics, and harmonic complexity you expect from a Friedman design.
One of the features I like across FLAMMA pedals is the seven-segment display they all use. To change between different preamp models, you press the Save/Select button to scroll through the seven positions as shown below:
If you want to learn how to dial in the best tones from any guitar amp or a preamp pedal like this, check out my Ultimate Guide to Guitar Amp Settings. It covers everything you need to know about setting up good guitar amp tones.
As you scroll through the different preamp models, you may recognize some of the tones. I instantly recognized the AC30, the Plexi, the Mesa Boogie, and the 5150 as I regularly use those amp models in plugins.
The sound quality of the preamp models is perfectly fine and I would have no hesitation using them as a part of my normal rig. In fact, I really like the Mesa Boogie preamp model and have been using it a lot while jamming at home.
I did this with my guitar amp and it felt and sounded completely natural. The big benefit of using a preamp pedal like the FS06 is that you can use this setup to access a wider range of amp tones than what your amp can normally produce (unless you have a modeling amp).
If you want to get the most out of this pedal, I suggest reading my Ultimate Guide to Guitar Amp Settings. While the guide talks about how to dial in a good guitar amp tone, all of the ideas apply to this preamp pedal. be457b7860
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