agedhorse

IIR, the choices are 30Hz and 50Hz, the slope is 18dB/octave. For large bass reflex sub cabinets, the 30Hz HPF works well. For the other applications, 50Hz works well.

An amp properly designed to drive a 2 ohm load will be just as effective as an amp properly designed to drive a 4 ohm load into their respective loads.

Yes, that would work fine.

The preamp output must be -10dBu nominal then. The sensitivity difference between .775V and 1.16V is insignificant in this context. There are several versions of the SVP, it’s very possible that this is common with all SVP models.

Do you have the level controls all the way up on the power amp?

Unlikely that the tubes/valves have anything to do with the amp going into protect, the tubes/valves have nothing to do with the protect circuit. Most likely cause is an intermittent short in the speaker cable/connectors, a defect in the speaker/crossover like a damaged tweeter or a tweeter that was removed leaving the crossover filters in place, a poorly designed crossover, or serious power issues. The protection circuits are very comprehensive. I rarely see bad stock tubes/valves in the Streamliners, the parts were selected for low noise, low microphonics, middle of the road balanced tone and long life. They are very robust in that circuit and my calculations along with experience now that the amps are over 10 years old are that 7,500 - 10,000 hours is a very reasonable expectation. I have seen amps come through the factory service program with a LOT of hours and 50-75% tube life remaining. I generally recommend leaving stock tubes/valves alone in well engineered products, a lot of effort, evaluation criteria and math modeling/statistics go into the selection of parts used in products that have a long manufacturer's warranty... we (Genz Benz) typically warranted tubes/valves in our bass products for ~1 year and almost never had to replace any after the first 30 day infant mortality period (and even then it was rare). Mesa also warranties their tubes/valves longer than most companies at 6 months. The typical wattanty period for tubes is 30 - 90 days.

Both are quality pieces IMO, and with quality comes reliability.

If you like what the envelope filter does modulating the filter off of the subharmonic noise, that that's the way to do it.

I would place it before the compressor. That way the detector won’t key off of the low stuff you are filtering out.

Generally, early in the signal path has the most benefit with the fewest drawbacks.

Except that it's almost completely different.

I should trademark that saying, as well as "headroom isn't actually headroom if you are using it".

From memory, those are all the same speakers. How they are rated depends somewhat on their application and the products they are used in.

Correct, when cabinets are different the reactive loads can interact in less predictable ways. When this is done with identical drivers, like in a 210 cabinet using 2 x 4 ohm drivers in series, there is no problem. Not really. Even though the power to the two cabinets would be less, the gain due to coupling as well as at high output levels the reduction in power compression might make the two end up being quite close in practice (depending on the sensitivity of the cabinets of course).

Use the tiniest amount of D-5 possible. Less is more in this case.

It's not what I would call a preamp pedal, it's a filter-eq pedal.

Impedance balanced, or ground compensated outputs can be either depending on the designer's choice as well as the nominal calibration choices (including where an output level control may be set). That said, the maximum output level (for a given power supply) will be 6dB lower.

There are still products (including g interfaces and mixers) that can’t accept true nominal +4dBu line level balanced signals. This alone makes a mic signal more universal as a line level signal won’t work in that situation.

The RE/Q pedal is not what I would consider a preamp pedal, nor is it intended to be a preamp pedal.

Looks to me to be closer to 18dB/oct.

Except that 8dB/octave is a tough filter to design (successfully). Typically, ~30Hz is about the lowest that a HPF needs to go IMO and IME. The average player seems to settle right around 45-50Hz, but it depends on the bass, the pickup location, the type of strings, playing style, speakers and acoustic environment. Every player is in fact a little different.

A couple of important differences, the first being that on the Q-strip there is a parallel through jack on the input, which allows the signal to pass through the pedal onto whatever else may feed the input of an amp while the eq'd XLR output feeds something else, and while the Q-strip is an eq-DI, the RE/Q is a HPF-LPF-EQ pedal, the filters being sweepable and each function being foot switched. Both are pedals that combine different functions, and different players will have different needs for the different functions.

You can still impedance balance the signal, it just requires a custom cable with matching resistance in the ring line.

If you wish to have a DI output, any passive DI will work, and just about all have a parallel in/out on the unbalanced side. 1K output impedance is very common, and is intended to drive any input of typically 10K or greater. Passive DI’s are all greater than 10K. This pedal was not intended to be a DI. It’s a filter-EQ pedal.

Many amps have HPF's, mostly added in the past 15 years, once designers recognized how valuable they are to the performance. All amps I have designed over the past ~20 years have had them, between 12 and 24dB/octave, and in the Subway amps, all but the D-800 have variable HPF's. Differences in slope and alignment are representative of the specific task and character desired for the amp's overall goals.