Amplifier Song Download Bass Boosted
Yvone Wernett
Turn your sub amp's gain to its lowest, most counter-clockwise position. Switch its low-pass filter on and set it as high, clockwise, as it will go. If it has a bass boost, turn it off. If it has a remote level control, set it to its middle position so, later, you have the choice of boosting or cutting the bass on an individual song.
Note: Do not use the low-pass filters, crossovers, or bass boosts on the receiver and the amplifier at the same time. Use one or the other, but not both. The reason is that something called phase distortion generates around each filter or boost's crossover frequency, muddying up the sound.
For ported subwoofers, use a subsonic filter on your amplifier to tame any overly loud low notes. This will help decrease the levels of the notes at which the enclosure resonates. Fine-tune all the filters some more to make the bass drum sound tight and dry or loose and reverberant, according to your personal taste. I like reggae and soul, so my bass is plenty loud, but it's a bit drier than most people might like.
If you hear distortion coming from your subs, turn down the sub amp's gain. If, at this point, you cannot get enough bass out of your subwoofer to keep up with the other speakers without distorting, then you will need to get a bigger subwoofer and amplifier combination, with higher power-handling abilities.
You shouldn't lower the gain of your full-range amplifier to try and match your lack of subwoofer volume. Doing so could allow the amp to send out distorted, clipped signals to your full-range speakers, defeating your goal for clean, full sound, which is why you put in a subwoofer to begin with. More power, especially in the bass, is always better than not having enough.
Android SDK comes with a bass boost feature, but not a general amplifier.(as far as I know) To do this you will either have to write your own code, or find someone else who has done it already and use their code.
Not every song is going to sound good when you try to boost the bass. Sometimes, an attempt to bass boost can result in an unbalanced and muddy sound in which you can barely hear the vocals or any other mid to higher-frequency sounds. This can sound pretty bad.
Now, of course, mixing and the amount of bass in a song is often a matter of taste. So, while bass boosting can sometimes help a song sound better to you, on other occasions it can totally throw off a well-balanced mix.
Now to boost the song, click the effects tab again and click the "Bass and Treble" setting. This will open up another smaller window in Audacity giving the options to adjust the bass and treble levels. Keep the treble at zero and adjust the bass until it fits your needs. You can always click the preview button to make sure your'e satisfied and then click "ok".
Now on to exporting your new sound file. To do this go to "file" and then "export". Choose your desired format and click "save". Another small window will pop up so just click "ok". This will save your new bass boosted sound file! Now you can close out of Audacity and listen to your new improved song!
I saw a blog about the bass booster apps for iPhone. Is it possible to bass boost a song with the default function of iPhone? Apps actually require an in-app purchase but iPhone's default function doesn't require any in-app purchase. That is why I am asking this question
A bass amplifier (also abbreviated to bass amp) is a musical instrument electronic device that uses electrical power to make lower-pitched instruments such as the bass guitar or double bass loud enough to be heard by the performers and audience. Bass amps typically consist of a preamplifier, tone controls, a power amplifier and one or more loudspeakers ("drivers") in a cabinet.
While bass amps share many features with the guitar amplifiers used for electric guitar, they are distinct from other types of amplification systems, due to the particular challenges associated with low-frequency sound reproduction. This distinction affects the design of the loudspeakers, the size and design of the speaker cabinet and the design of the preamplifier and amplifier. Speaker cabinets for bass amps usually incorporate larger loudspeakers (e.g., 15 inches (380 mm) speakers are more common for bass than for electric guitar amps) or more speakers and larger cabinet sizes than those used for the amplification of other instruments. The loudspeakers themselves must also be sturdier to handle the higher power levels and they must be capable of reproducing very low pitches at high sound pressure levels.
In 1933, the Audiovox Manufacturing Company was founded by Paul Tutmarc, subsequently the inventor of the first electric bass, the fretted and solid-body Audiovox Model 736 Bass Fiddle, in 1936, which was designed to be played in a guitar-like horizontal manner. The instrument was sold with the first purpose-built bass amplifier, the Audiovox Model 936. Seen largely as a novelty, the few that were sold remained in the Seattle area.
The Ampeg Bassamp Company, founded in 1949 by Everett Hull, responded to the growing demand for electric bass equipment by producing a line of bass amplifiers. The first model offered was the Super 800, an 18-watt model with a single 12" speaker and a rear ventilation port. In 1951, Ampeg introduced a 20-watt version with a 15-inch speaker. In 1960, they introduced the B-15 Portaflex, a flip-top 25-watt tube bass amplifier with a single 15" speaker. While the Portaflex had a pleasing bass tone, and was used by studio bassists such as James Jamerson and Carol Kaye, it was not powerful enough to be used in a stadium or arena concert.[1] Ampeg amplifiers were widely used by electric bass guitarists in the 1950s and 1960s.
The Vox T-60/AC-100 bass amplifier uses two 15-inch cabinets and thirty-to-forty watts of solid-state power using "germanium transistors".[3] The Sunn Model T was used by The Moody Blues, Kiss, Queen, The Who's John Entwistle and Rush's Geddy Lee.[3] The Sunn used a 150-watt amp with "four 12AX7WA tubes, followed by two 12AX7A tubes, and powered by four 6L6GC tubes".[4]
The Gallien-Krueger 800RB was a solid state bass amplifier head introduced in 1983 that was liked by bassists for its loud, clean sound and durable construction. It introduced the concept of bi-amplification, as it sent 300 watts of low register sound to the bass speakers and 100 watts to the tweeter.[4] The GK used a tube preamp simulator circuit called "boost". GK 800RB users include Red Hot Chili Peppers bassist Flea and Guns N' Roses' Duff McKagan.[4]
Fender developed a bass amplifier, the Fender Bassman, first produced in 1952. This was a 26-watt tube amplifier with a single 15" speaker. In 1954, the Bassman was redesigned to use four 10" speakers. This speaker cabinet was an open-back design; as such, it had poor low-frequency efficiency and was prone to blowing speakers when used for bass because of the lack of damping. The Bassman became very popular as an electric guitar amplifier. The circuit design also underwent repeated modifications. The "5F6A" circuit introduced in 1958 is regarded as a classic amplifier design and was copied by many other manufacturers, such as Marshall.
The early rock bands of the 1960s used the PA system only for vocals. The electric guitarist and electric bassist had to produce their sound for the hall, club or other venue with their own amplifiers and speaker cabinets. As a result, bass players from the 1960s often used large, powerful amplifiers and large speaker cabinets. Some bass players would even use multiple bass amplifiers, with the signal from one bass amp being sent to one or more "slave" amps. In the mid-1960s John Entwistle (The Who) was one of the first major players to make use of Marshall stacks. At a time when most bands used 50- to 100-watt amplifiers with single cabinets, Entwistle used twin stacks with new experimental prototype 200-watt amplifiers. This, in turn, also had a strong influence on the band's contemporaries at the time, with Jack Bruce of Cream and Noel Redding of the Jimi Hendrix Experience both following suit.
Entwistle also experimented throughout his career with "bi-amplification," where the higher frequencies of the bass sound are divided from the lower frequencies, with each frequency range sent to separate amplifiers and speakers. This allows for more control over the tone, because each portion of the frequency range can then be modified (e.g., in terms of tone, added overdrive, etc.) individually. The Versatone Pan-O-Flex amplifier used a different approach to bi-amplification, with separate amplifier sections for bass and treble but a single 12-inch speaker. The Versatone was used by well-known bassists such as Jack Casady and Carol Kaye.
Grateful Dead bassist Phil Lesh used an unusual method of bass amplification which was part of the band's 1970sWall of Sound (Grateful Dead) PA system. The signal from each string on the bass was sent to its own amplifierand speakers. This added a wider spatial effect to the bass and also reduced the Intermodulation distortionbetween the strings.In later years, Lesh's bass signal was so powerful that fans dubbed the area in front of his speakers the Phil Zone,which was referenced in the band's CD Fallout from the Phil Zone.
In the 1980s the role of bass in popular and rock music evolved to become more melodic rather than simply providing a rhythmic function. The amplifier brand strongly identified with this new, 'scooped' sound (with strong bass and treble boost and mid-cut) was Trace Elliot. There were several features which made their amplifiers unique: the GP11 pre-amp featured 11 graphic EQ bands which were very broad bands, overlapping each other, thereby enabling massive amounts of frequency cut or boost when adjacent bands were boosted or cut. Secondly, the frequency bands were spaced closer together towards the bass end allowing even more variation for bass guitarists to alter their sound like no other amp had previously allowed. Added to this were MOSFET poweramps of 250 or 500 watts and the option of bi-amplified systems where bass and upper frequencies are filtered before being separately amplified and fed to dedicated high frequency and low frequency speaker cabinets. Trace Elliot gained a reputation for themselves; rumour has it that early users were John Paul Jones of Led Zeppelin, Andy Rourke of The Smiths and Brian Helicopter of punk band The Shapes. Mark King of Level 42 was also an early adopter of the brand.[5] The company, now dedicated to manufacturing, moved to new premises in Witham, Essex, in 1985 to satisfy the growing demand.
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