It even sounds great on the electric bass. The 2-channel preamp allows you to have a completely different setting for bowing and pizzicato at the push of a button. The effects loop, EQ, ¼”, and XLR input, and outputs make it extremely versatile for stage or studio. I think it is absolutely essential for every acoustic bass player to own one of these. Stanley Clarke’s bass-playing, showing exceptional skill on both acoustic and electric bass, has made him one of the most influential players in modern jazz history. It has become a mainstay to my upright bass sound. “I have been using this new preamp on every show and in the studio since November 2019, when I got the final sample in my hands. Aux Input and professional-grade headphones output. Stanley Clarke, Jaco Pastorius and Larry Graham each contributed greatly to the musical development of the bass, and roundwound strings played a.Balanced Output (with Speaker Simulator and Ground Lift).XLR microphone input with Phantom Power (channel B).Individual High Pass/Notch Filter for each channel.10 Mohm Impedance inputs (both channels).Operates with Studio-grade signal quality.An Aux Input and Headphones output makes practicing and learning new songs easy.The Stanley Clarke Acoustic Preamp is an excellent tool also for other acoustic instruments. Other features include an EFFECTS LOOP, a TUNER OUT, a BALANCED XLR-OUTPUT with Speaker Simulator, and Ground Lift to prevent hum. A Phase Inverter switch handles any possible phase issues that may appear when mixing two different sound sources. Jump between the A and B channel, or mix the two depending on what you prefer. The B channel, on the other hand, allows you to use a Phantom powered or passive microphone as the source via an XLR microphone input. The A channel also provides support for Electret pickups when activating a dedicated switch. The two 1/4″ inputs are both 10 Mohms high impedance inputs to handle both passive, active, or piezo pickups. The notch and high pass filters are excellent tools to prevent unwanted feedback and adjust the sound to the characteristics of the room and instrument. A switch decides the function, while the control knob picks the frequency range. They both also have a control to be used either as a HIGH PASS or NOTCH filter. The headroom and specific features make it ideal for handling the complex sonic characteristics of upright bass and other acoustic instruments.Įach channel feature a similar set of familiar EQ controls to adjust Bass, Mids, and Treble. The analog 2-channel preamp uses a superior signal level quality that matches the performance of a professional-grade mixing console. I think it is absolutely essential for every acoustic bass player to own one of these.” – Stanley Clarke QUOTE: “ has become a mainstay to my upright bass sound. It is built with premium components exclusively. The EBS Stanley Clarke Signature Acoustic Preamp is engineered and designed by EBS together with the legendary bass player and composer Stanley Clarke. With superior sound quality, powerful filters, and essential features, the new Stanley Clarke Signature Acoustic Preamp by EBS is the perfect tool to deal with all the challenges that come with amplifying acoustic instruments. Purchase here.EBS Stanley Clarke Signature Acoustic Preamp I’ve been fortunate to take part in a collaborative effort with Ryan and to really explore the full range of the bass’s capabilities. The world-class bassist Stanley Clarke had a band at one point with another bassist backing him. The last section of the work (finally) utilizes the bow, tying in some ideas from earlier parts of the work as well as allowing some virtuosic stretching. The sounds that resonate from this technique are fascinating. My ear was immediately drawn to the idea of dark, modal music aided by a drone string. The second section focuses on one of Ryan’s interesting explorations, playing with timpani mallets on the strings. This movement drew inspiration from Stanley Clarke amongst other things. It is rhythmically active, featuring a one-handed pizz. The first is pizzicato, utilizing a lot of double, triple & quadruple stops (well, chords). A few of them immediately appealed and provided opportunities to explore some very different kinds of sounds than one might normally hear from a bass.Ĭritical Mass is in three parts, each focusing on a different type of playing. The intro sees Stanley strumming chords on the bass, a technique achieved by catching the strings on the down stroke with the fingernails of the right hand. Ryan added to the impetus by showing me some unusual techniques he’d been exploring. Program Notes: When Ryan McMasters asked me to write a solo piece, as any composer would (should), I jumped at the opportunity to write not only for a talented performer, but for a proponent of new music.
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