#16
|
|||
|
|||
Quote:
Louis |
#17
|
||||
|
||||
I'm currently using the Baggs PARA. Built like a tank and does everything you need/want and can be found used in mint shape for around $100. I got mine for less than that shipped in perfect condition.
I'll also use the RedEye and the little K&K belt clip pre-amp from time to time depending on the gig. Right now for our main gigs I'm running the guitar through a BodyRez then into the PARA and out to the mixer and into a Bose S1 Pro. I did a review on the Bose where I show the setup on a video. Here's the video if you want to check it out. Jump to 1:54 in the video where I talk about the signal path and the PARA. |
#18
|
|||
|
|||
You guys have all given me really good feedback; lots to think about.
The other box that tends to come up is the Tonebone PZ-Pre. The intriguing thing about this pedal is that it has the option for a switchable effects loop (which I'm definitely interested in since I sometimes queue a few effects at a time), and a tuner out, which keeps the tuner out of the signal path. Can anyone comment on the Tonebone when combined with the KK Pure Mini? My primary goal is best sounding first and foremost, with features next in line. Last edited by Noiseordinance; 03-17-2018 at 12:43 PM. |
#19
|
|||
|
|||
Quote:
__________________
Website: http://www.buzzardwhiskey.com |
#20
|
|||
|
|||
Quote:
The pedal also has switches that allow it to use either active or passive pickups in either channel, and you get separate level controls for each channel. Works just fine with the passive K&K Mini. I've used it with the one in my Taylor GS Mini as well as with my Baggs M1, the active PreSys system in my Cordoba GK Studio, the bridge piezo in my Gitane DG-300, and the soundboard and under-saddle pickups in my Godin Multiac nylon. It handles everything just as you'd expect it to. The mute is useful, and it offers 3 different outputs (XLR pre EQ/FX, XLR post EQ/FX, and 1/4" unbalanced for going to an amp--in addition to the tuner out which is an "always on" pre EQ/FX output that's also unaffected by the mute). Very, very solid build and nice layout for the controls (easy to see and to make adjustments). I have two of them, one for each of two pedalboards I use for two different ensembles. The main drawbacks are 1) it's big and takes up a lot of space on a pedalboard, 2) the EQ is global, so if you're using two different guitars, you need to either find a setting that works for both or you have to set the EQ for one guitar and then either put another EQ in line somewhere to adjust for the other (it's useful to have onboard EQ for one of the guitars if possible), and 3) it takes a 15v power supply, which means you have to use a wall wart or buy a power supply that offers 15v (not many, do and the ones that do are not cheap). The extra voltage is apparently part of the reason the pedal can do so much and do it all so cleanly, but it does present a logistical issue. Louis |
#21
|
|||
|
|||
Quote:
Soundwise, have you compared it to other pre-amp / DI boxes? If so, how does it compare from a tone perspective? I also see some people on Amazon claiming it has some hiss (only a few people report that). Have you noticed that at all? |
#22
|
|||
|
|||
When I asked the owner of FireEye why there was so little EQ on the Red Eye, he laughed and said it was because the frequency response was linear across the whole spectrum, which he said is not the case with most pres. This works really well with the Dazzo pickups I run in all my guitars because the pickups are matched to the guitar they are in. Any room problems can be handled at the amp or the board.
The RedEye to me sounds way better than a PARA DI, but this becomes less and less important the more effects that are in the chain.I'm also not a fan of any 9V stompbox EQ. I'm getting a prototype DI unit from Sunnaudio that has only a blend control for it's two inputs, primarily to use at an open mic. The sound of the Sunnaudio pre I tried was slightly better than the RedEye.
__________________
2007 Martin D 35 Custom 1970 Guild D 35 1965 Epiphone Texan 2011 Santa Cruz D P/W Pono OP 30 D parlor Pono OP12-30 Pono MT uke Goldtone Paul Beard squareneck resophonic Fluke tenor ukulele Boatload of home rolled telecasters "Shut up and play ur guitar" Frank Zappa |
#23
|
|||
|
|||
Quote:
Just so you understand: the effects loop switch is only on/off. It won't allow you to select between two different signal chains like a line selector will. And the channel switching only switches between two inputs. You can't switch between different outputs, although you can send your signal from up to 4 different points in your signal chain at the same time (for example, to your tuner pre everything and unmuted, to one channel on your board pre everything but the mute, to another channel on your board post everything, and to a stage amp post everything). Louis |
#24
|
|||
|
|||
Quote:
As for the effects loop, I just want simple, single channel on / off switching that the Tonebone seems to provide. |
#25
|
|||
|
|||
Quote:
Louis |
#26
|
|||
|
|||
I used the Tonebone PZ Pre for years and it is a great durable unit with lots of control but ultimately the lack of independent eq for each channel became too much of an issue.
Also a big drawback for me was the fact that although the tuner output is always on when the mute switch is engaged it is always being fed by both inputs. In my case I could not tune my mandolin mid song because all of the stage sound was also being picked up by my dobro cone. When you hit mute it is muting the output. Both inputs are still connected to the tuner. I now use the Grace Felix and also find it to be the best unit out there. |
#27
|
|||
|
|||
Quote:
Louis |
#28
|
|||
|
|||
I emailed Radial support and they confirmed that this was true and cannot be modified.
I will add that I never noticed it when playing guitar and mandolin. It may have more to do with the nature of the dobro cone which acts like a satellite dish onstage. |
#29
|
|||
|
|||
Quote:
Louis |