Quote:
Originally Posted by James May
A point of clarification. Having all dip switches off DOES NOT totally remove the feedback sensor. In fact, it is exactly the same as position 7!
Why, you say? It is complicated to explain, but suffices to say the switching circuitry is complex and this arrangement was the simplest way I could do it without having to force people to use an overly complicated switch sequence.
|
Thanks, James, for this information and for responding to my thread. It was my intention to contact you after trying a few things, and I'm appreciative of you reaching out to me!
I'm feeding the Martin D-18/Ultra Tonic 3.2 combo into a Grace Design FELiX 2 set at 1 Mohm input impedance and with all EQ Flat. So, basically, I'm at maximum bass response with the DIP switches 12, correct? The only other settings that may give more bass are at 5 and less on the DIP-switch array, as when originally adjusting the tone of the system, at switch "5" I started hearing feedback begin to creep into the mix, so I went to switch "6" and set the system there before wrapping everything up. Based on my initial switch exploration for tone, I gather that at switch 5 and below is where I'd get more chamber resonance, muddiness, and more feedback in my tone?
Also, although my sensors were applied as close to locationally perfect as recommended, I've found that both E strings are about -4 dB to -6 dB lower than the other strings when trying to maintain an even pick attack when recording open strings and various chords. There's something I like very much about the tone at switch 12 and it can be enhanced with the FELiX 2 preamp. Is it normal to have some attenuation of the two E-strings compared to the other strings when played through the Ultra Tonic 3.2 System? Thanks!