Commonly known in muso circles as an "Octaver" much favoured
by guitarists who don't like bass players and frustrated guitarists
playing bass incapable of resisting "widdling" up the neck.
(can you guess I play bass and can't play guitar ?)
Basically requires a single note input in the basic versions,
the more advanced versions support polyphony , i.e. chords.
As far as I know an accurate half octave generator does not
exist - i.e. you can't use one for bass signals in a hi-fi system,
but I presume in a HT context with some judicious filtering
you could get away with it at extremely low frequencies.
sreten.
by guitarists who don't like bass players and frustrated guitarists
playing bass incapable of resisting "widdling" up the neck.
(can you guess I play bass and can't play guitar ?)
Basically requires a single note input in the basic versions,
the more advanced versions support polyphony , i.e. chords.
As far as I know an accurate half octave generator does not
exist - i.e. you can't use one for bass signals in a hi-fi system,
but I presume in a HT context with some judicious filtering
you could get away with it at extremely low frequencies.
sreten.
>As far as I know an accurate half octave generator does not
exist.<
That has been my experience, too, but it could be simply because no one (that I know of) has tried all that dilligently to do a good job.
I've wished for years that a decent-sounding clock divider / half-octave generator did exist, as there are many recordings that could benefit from this.
I believe that there are TDM plug-ins that could be used to accomplish a similar function if you are (re)mastering a digital recording on a PC.
Or maybe a sampler synchronized to play one octave below would do the trick, with the output passed through a high-cut filter and mixed back into the main output.
jonathan carr
exist.<
That has been my experience, too, but it could be simply because no one (that I know of) has tried all that dilligently to do a good job.
I've wished for years that a decent-sounding clock divider / half-octave generator did exist, as there are many recordings that could benefit from this.
I believe that there are TDM plug-ins that could be used to accomplish a similar function if you are (re)mastering a digital recording on a PC.
Or maybe a sampler synchronized to play one octave below would do the trick, with the output passed through a high-cut filter and mixed back into the main output.
jonathan carr
The DBX 120 was somewhat polyphonic by using six bandpass-filters and six dividers foollowed by filtering again. This is still quite coarse. Irf you want to do it with a finer resolution this would mean quite some effort.
It would be possible however to do such things in the digital domain (the way harmonizers work).
Regards
Charles
It would be possible however to do such things in the digital domain (the way harmonizers work).
Regards
Charles
Octaver for bass
Hello sreten,
I play bass as well, and I also have an octaver. It's really cool on some tracks, although it does limit your range somewhat, when playing lower than C on the A string tracking isn't as good as I would want it to be. I hear the newer units are better at this though (I have an old Boss stompbox octaver).
Couldn't agree with you more on guitarists
Hello sreten,
I play bass as well, and I also have an octaver. It's really cool on some tracks, although it does limit your range somewhat, when playing lower than C on the A string tracking isn't as good as I would want it to be. I hear the newer units are better at this though (I have an old Boss stompbox octaver).
Couldn't agree with you more on guitarists
Most of these devices work by fooling the perceptual system rather than creating more bass...
They synthesise artificial harmonics of the original bass notes, add them to the signal, and then your ears and brain fill in the missing bass notes, making the Bass seem louder and clearer. After all, the last thing you want in live sound is to create more low bottom end that needs more big heavy amps and speakers, when you can just play with peoples's heads.
The original, (analogue, I think), Sabine and BSS units were pretty good, and should be available dead cheap S/H these days.
They synthesise artificial harmonics of the original bass notes, add them to the signal, and then your ears and brain fill in the missing bass notes, making the Bass seem louder and clearer. After all, the last thing you want in live sound is to create more low bottom end that needs more big heavy amps and speakers, when you can just play with peoples's heads.
The original, (analogue, I think), Sabine and BSS units were pretty good, and should be available dead cheap S/H these days.
The DBX's listed range from Today (120 A {year 2000}) to yesteryear (500 {year 70's})
The Behringer Pro is the current one in the market.
The Audio Control Richter Scale is still around.........
The DBX 120 DS gives you the option to manually alter
each frequency (28, 34, 40, & 50Hz) The 120X and, 120A
offeres a Bass Control (110 - 55 Hz ) and, Subsonic Control
(48? - 26Hz)
The Behringer "Claims" that it can step down the frequency
2 octaves below its original state. (16Hz) It also has a
limiter. (DBX, & the Audio Control claims 1 octave)
The Audio Control offeres a Tunable Crossover, Warble Test
Tone Generator, and, an adjustable equalizer (22, 31.5, 45?
63, and, 125 Hz)
I own all the models I listed in my previous thread,(With the
exception of the Behringer Pro Ultra Bass. I own the Ultra Bass) for the simple fact, I couldn't determine which one was better.
I will say this though. If your speakers can't handle a
strong emphasis in the 40 - 20Hz region, you shouldn't
buy it.
Any one of these devices can/will destroy your speakers,
if you do not know what you are doing. (The manuals
offer disclaimers on this as well)
Great for electronic music. But, for music using instruments,
I wouldn't recomend it.
The Behringer Pro is the current one in the market.
The Audio Control Richter Scale is still around.........
The DBX 120 DS gives you the option to manually alter
each frequency (28, 34, 40, & 50Hz) The 120X and, 120A
offeres a Bass Control (110 - 55 Hz ) and, Subsonic Control
(48? - 26Hz)
The Behringer "Claims" that it can step down the frequency
2 octaves below its original state. (16Hz) It also has a
limiter. (DBX, & the Audio Control claims 1 octave)
The Audio Control offeres a Tunable Crossover, Warble Test
Tone Generator, and, an adjustable equalizer (22, 31.5, 45?
63, and, 125 Hz)
I own all the models I listed in my previous thread,(With the
exception of the Behringer Pro Ultra Bass. I own the Ultra Bass) for the simple fact, I couldn't determine which one was better.
I will say this though. If your speakers can't handle a
strong emphasis in the 40 - 20Hz region, you shouldn't
buy it.
Any one of these devices can/will destroy your speakers,
if you do not know what you are doing. (The manuals
offer disclaimers on this as well)
Great for electronic music. But, for music using instruments,
I wouldn't recomend it.
Any Pro Audio Shop, will carry the DBX, and, Behringer.
As for the Audio Control, possibly a Medium - High End
Home Audio store.
Its ashame Ebay in the UK is not so popular for selling
audio like in the states. For, you will always find no less
than three of the same models (DBX) floating about.
(Ebay USA)
As for the Audio Control, possibly a Medium - High End
Home Audio store.
Its ashame Ebay in the UK is not so popular for selling
audio like in the states. For, you will always find no less
than three of the same models (DBX) floating about.
(Ebay USA)
http://diyaudio.com/forums/showthread.php?s=&threadid=21929
I have an Ultrabass Pro.
I completely agree with OMNIFEX on the requirements to use this unit.
2 Octave down - YES, but you'll need spks to go for 25hz+, when I switch to ultra-low my bandpass (-3@32hz,8",75W, +1.2-1.5db gain) is just pumping air instead of playing. In headphones you actually hear how tone GOES 2 octaves down.
Electronic music - YES, to be more accurate - ONLY(not that strict tho).
/edit
Expect to pay ~70GBP
I have it for ~8 months, well, I like, makes my rooms full of bass.
I have an Ultrabass Pro.
I completely agree with OMNIFEX on the requirements to use this unit.
2 Octave down - YES, but you'll need spks to go for 25hz+, when I switch to ultra-low my bandpass (-3@32hz,8",75W, +1.2-1.5db gain) is just pumping air instead of playing. In headphones you actually hear how tone GOES 2 octaves down.
Electronic music - YES, to be more accurate - ONLY(not that strict tho).
/edit
Expect to pay ~70GBP
I have it for ~8 months, well, I like, makes my rooms full of bass.
VEC7OR
I remember in 1996 when I purchased the DBX 120X
and, the Behringer Ultra Bass. I hooked it up to a
Soundcraftsmen 7502 (250 per channel @ 8 ohms), and,
proceeded to give it a test run. While I was feeding the
signal, the amplifier went into Protect Mode
I was wondering why considering the amplifier was
around 30 dB away from clip.
I know it wasn't the speakers for they were barely
moving.
It could of been the frequency went below the amp's
usable frequency range, thus enabling the Protect
mode.
I added a compressor and the problem went away.
Matttcattt
Behringer's prices have been reduced through the
years. When I purchased my UltraBass, I paid $200
used. Now, you can find them UltraBass Pro for $80
new today.
I remember in 1996 when I purchased the DBX 120X
and, the Behringer Ultra Bass. I hooked it up to a
Soundcraftsmen 7502 (250 per channel @ 8 ohms), and,
proceeded to give it a test run. While I was feeding the
signal, the amplifier went into Protect Mode
I was wondering why considering the amplifier was
around 30 dB away from clip.
I know it wasn't the speakers for they were barely
moving.
It could of been the frequency went below the amp's
usable frequency range, thus enabling the Protect
mode.
I added a compressor and the problem went away.
Matttcattt
Behringer's prices have been reduced through the
years. When I purchased my UltraBass, I paid $200
used. Now, you can find them UltraBass Pro for $80
new today.
I remember when the DBX units first appeared. Few LPs had bass below 40-50hz even when it was a rfecording of a a pipe organ. Even if they did, most/many preamp sections would apply a "rumble filter" that would remove it; a 1uF cap in the signal path would do the job. Thus the deep bass you heard from a pipe organ performance was actually the harmonics created from the fundamental. The DBX was sold as a "bass restoration" and claimed that it could use the harmonics to recreate the fundamental. I vaguely recall it got some good reviews but with the warning that you needed to take care niot to over do it noting that absent a sub woofer you could damage your speakers and with the provisio that while it wasn't the real thing, it was better than nothing.
yeti
Thank you. I guess my assumptions were correct.
sam9
I would agree on the absent of a subwoofer would
make matters worse using this device. The thing
about this device, it generates so much subharmonic
emphasis, I would only recomend it for a closed box
or a reflex tuned low.
I've witness people using this device on horns, and,
it caused more harm than good.
Thank you. I guess my assumptions were correct.
sam9
I would agree on the absent of a subwoofer would
make matters worse using this device. The thing
about this device, it generates so much subharmonic
emphasis, I would only recomend it for a closed box
or a reflex tuned low.
I've witness people using this device on horns, and,
it caused more harm than good.
- Status
- This old topic is closed. If you want to reopen this topic, contact a moderator using the "Report Post" button.