Anybody use a Tilt EQ?

#22
I've used the Tonelux Tilt for tracking and writing. It is useful for roughing out a working mix in a hurry, with little effort. Sometimes it is all the EQ something needs, if the source is properly recorded. I don't know what your plans are, but you might find it useful for balancing things out with no fuss.
 
#23
i had a Wounded Paw Blender that had a Baxandall Bass/Treble eq ... it is much different than any active type eq ... much more like a passive tone knob or varitone type sound ... you could build a stacked knob with different caps ( hpf / lpf ) like a varitone .?
 
#25
Trace SMX blend control does a kind of tilt. I don't really know how it works but my guess is it adjusts relative levels of the low and high compression outputs when they are recombined.

Functionally it is a beautiful thing. Want a fat dub, more lows less highs? Grab a twist to the left. It maintains your basic sound over the middle range, getting more extreme past 10 \ / 2.
 
#26
Downunderwonder said:
Trace SMX blend control does a kind of tilt. I don't really know how it works but my guess is it adjusts relative levels of the low and high compression outputs when they are recombined.

Functionally it is a beautiful thing. Want a fat dub, more lows less highs? Grab a twist to the left. It maintains your basic sound over the middle range, getting more extreme past 10 \ / 2.
Click to expand...

I have the same on my TE GP7SM. It's labeled "EQ Balance"...no compressor(s) on this model...and works exactly as you described.

Riis
 
#27
I used the tonelux tilt on a few tracks when I was mixing ... I was just testing it out ... I found it pretty handy to quickly tilt two tracks in opposite directions or just to quickly hear how the mix sounded if a tilted one instrument ... not necessarily "better" but it was really quick/easy compared to how I'd normally do it. I don't remember now if I kept it on any tracks but I thought it was a useful tool for quickly hearing "what if I shifted this?".
 
#29
The tone control on my Diamond compressor is exactly that....center detent for easy reference, turn it to the left and it boosts lows while cutting highs, and vice versa. It has a user adjustable frequency point, with two settings, 250 or 900 hz.

Frankly, at the beginning of my journey with this pedal, I did not use the EQ function, thinking it was too simple to be effective. It did not impress me when tweaking it and playing alone.

Things changed when I begun to use it with other instruments at rehearsals and gigs...it worked out so well!
Now, when I use tHe band's PA the eq knob on the Diamond is the only EQ I use, except for a HPF setted at 32 hz.

If I have my full featured bass amp I still prefer other EQ solutions, but it has proven to be a great alternative for my current needs
 
#30
rumblinbass said:
Not sure if this is the right forum...

Looking for opinions on Tilt EQ and it's usefulness and/or effectiveness.
Click to expand...

A believe the Diamond compressor has exactly what you are talking about. I think it is useful in a subtle way but certainly not an effective single knob solution for all EQ requirements.

Personally I am big fan of fully parametric EQ for its flexibility. Each amp, instrument, and speakers has its own unique tonal signature. Some combinations work well together, while others do not. With fixed EQ points your pretty much stuck with what you have, so picking a combination that works well together is critical. Parametric EQ allows a lot more range to adapt the tonal characteristics of the amp so it works well with the instrument and speaker you are using. The downside is parametric EQ is is far more complicated and confusing to use. Not an ideal choice if you are not into fiddling with a bunch of knobs.
 
#31
Matthew_84 said:
I've never heard of this type of EQ before, if there a way to do it with a single knob on a passive bass (even if it needed larger cavity than say a Jazz bass) that would absolutely be amazing for something I'm working on.

I did stumble onto this page Passive Baxandall but it's a two pot type... Would it be possible to wire this up to a blend pot?
Click to expand...

That is what is in the B15 and other Ampeg amps. It is actually a James circuit. Baxandall built on his work and designed an active version. He seems to get credit for all versions. Better PR I suppose.
 
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#33
I have an orange micro terror and have used a tiny terror. Both have a single tone knob as you describe and I've never struggled to find nice sounds using it. It's also a similar idea to the tone knobs on various effects pedals.

It's interesting that the bass terror amp has three way eq. Is that because bass needs more control, or because orange believes the bass community would be resistant to a single eq knob?

I'm all for simplicity. If the tilt eq as you call it is well designed to leave out mostly useless sounds I see it as a positive thing for guitars. For bass of perhaps want at least a separate bass eq to adjust the deep sounds, and let the tilt eq control perhaps the mid position.
 
#34
i use it in the studio a lot. Very useful tool, as it´s able to completely change the amount of fundamentals and higher harmonics with one knob :)

(studio tilt filters´ center frequency can be adjusted. Regarding amp controls, they mostly cannot)
 
#35
I believe that is how the Diamond BCP1 works. It has an adjustable pivot frequency. Had one. I liked it. I wouldn't generally think it would be a powerful tool as your only EQ option on an amp.
 
#36
If you study your history, you will see that these are nothing but adjustable pre-emphesis/de-emphesis networks that go back to the early days of cinema optical variable density (and later variable area and even later 4 stripe mag) sound tracks to overcome the (different) limitations of each type of media. Variable area and variable density tracks suffered from limitations of low frequency dynamic range and high frequency shutter (optical light valve) speed versus excursion, and mag tracks suffered from flux limitations at higher frequencies.

I have old Ampex and WE docs that use these types of circuits, 1/2 for the pre-emphesis and the other half for de-emphesis. Back "in the day", parts were very costly, so simple solutions were always looked at to see if they could accomplish the task.

Funny how what is old becomes new again... ;)
 
#37
My 1996 Steinberger XL2A came stock with the single control HAZ active preamp that is just as you asked about and has been described. Although this type of control is useful in my Trace amplifiers I removed it from my XL2A and installed a passive HAZ board in it. I still have that board as well as the stack knobbed HAZ two band board for these basses but found i preferred the passive tone control over the active ones. I like them in amplifiers for quick and simple room taming, not so much as an onboard bass preamp.
 
#39
TSC

Download this and play with the most popular types of eq and see which one you like best. For an active bass with a three band, I think a tilt eq would cover most needs, but one combined with a Baxandall or James would be quite a powerful option. Add adjustable/sweepable hp and lp filters and you would have an extremely versitile eq.
 
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