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What exactly does the Tone Shift button on my DSL100 do?

Discussion in 'Accessories / Connections' started by jordan_nalley, Jun 30, 2012.

  1. jordan_nalley

    jordan_nalley Active Member

    I've never understood this.
  2. RemyRAD

    RemyRAD Guest

    It shifts the tone. A gearshift shifts the gears. A nonpartisan agenda shifts the country. Generale, anything with the word shift in it refers to changing something. If you can't hear it, it's shifting something that might not be blatantly obvious. Such as re-biasing the input or output circuitry that manufactures different harmonic content. This could account for a nuance change to a radical change in tonality. It could be shifting gain structure? This could provide for heavier harmonic distortion components? Perhaps reading your manual might provide you with more insight? Something a lot of us engineers frequently do when we need to understand something within a particular piece of equipment. That's why God created manuals. Otherwise people might still be raping and pillaging just to get their songs on the radio? Other people live Kosher lifestyles. So don't stick your dairy on the same plate with the meat. Maybe that shift button converts you from being a poor musician to a rich musician? So go ahead and try it and then you can send me $20.

    Shipping and handling extra. Call now within the next 20 minutes because we don't have all day.
    Mx. Remy Ann David
  3. jordan_nalley

    jordan_nalley Active Member

    It does change the sound noticeably, I was just uncertain of what the button does specifically.
    I've read the manual already and it was a bit vague.

    "The Tone Shift Switch reconfigures the tone network components to give a new dimension to passive tone shaping. With the switch selected to the “in” position and the Middle Control (item 6) turned down the result is a scooped mid sound ideal for certain classic metal styles."

    What happens when the tone shift is in and the middle is up? Does it simply decrease the midrange, or does it literally reconfigure something?
  4. RemyRAD

    RemyRAD Guest

    With my interpretation as supplied by your quote from the manual, it is likely that it is providing a higher Q (a tighter notch). With the switch in the off position, it is likely a wider Q (a broader effect to more mid-band frequencies). This would indicate to me that it is somewhat quasi-parametric in its operation. This allows for a broader range of tonal characteristics that the amplifier can produce. It's obviously designed for those who desire a more metal like characteristic. So it is specifically geared toward that particular genre of sound. When you increase your mid-band equalizer with this switch engaged you will likely create a more harsh characteristic of the mid-band that might be less flattering to the metal sound you are trying to achieve? Which is why likely, they encourage you to reduce your mid-band control to its bare minimum. And then with the combination of your microphone selection and placement you may well likely get closer to the sound that you hope to achieve. Of course, microphones do not hear like our ears do. This is where your microphone selection and placement are a critical factor. Such as, not every microphone will be appropriate. That's why as engineers, we have a myriad of different types of microphone technologies. Ribbon microphones have had a new resurgence in recent years since they " hear " much differently from dynamic and condenser designs. They are fat, mellow without the harsh high-frequency response has exhibited by many dynamic and condenser microphone design technologies. This is the art of recording which has nothing to do with the science. Science plays a factor by your choices. Art plays a factor by the results. So even an inexpensive Chinese ribbon microphone that costs little more than a SM57 can make for a night and day difference. Even the microphone preamp plays less of a role in this profound difference. And in many cases of putting microphones on your guitar amplifier, many engineers combine both ribbon & dynamic microphones to achieve just the right tonal balance. One must also be aware that there will be phase differences between these different technologies and based upon distances. Moving a microphone just a single inch can create timing differentials that can make or break your desired results. And that's part of the science of the art. Advertising literature and hype are utilized to get you to purchase a product. It really has no bearing upon what your actual results may be. You can never have too many different types of microphones on hand for this reason. Recording studios and their associated equipment are quite a money pit because of this need. And for that reason, stereo effects may mean a pair of matched microphones or, 2 completely different types to create the appropriate sound field.

    In response to your last question, without being able to evaluate the schematic, I can only go by the huge differences in different equipment design philosophies. For instance, the very popular recording console equalizer manufactured by API and known as their 550 series have what they call a proportional Q. This is not what we would also call a reciprocal equalizer. The proportional Q means that with, say, a 2 DB boost at a selected frequency will have a more broad ranging Q, than if you were to create a 8 DB boost. At 8 DB, it has a tighter Q, which will affect less frequencies outside of the frequency you have selected. Whereas other manufacturers equalizers are generally reciprocal. Meaning that at whatever frequency you choose to boost, it will create a equilateral boost across the same frequencies. And then there are your parametric types that allow you to dial in the Q, affecting how many frequencies outside of your selection. Some then even provide for the ability to sweep across a broad range of different frequencies where others only offer certain particular frequencies in which to affect. These all have different sounding results. And then there is the circuitry in which they utilized for their design criteria. Some equalization networks utilize only resistors and capacitors. Whereas others utilize capacitors and inductors. Both sound hugely different from each other. And some folks prefer one over the other. Others want it all at their disposal. And with those types of selections, certain engineers have created a certain kind of signature sound that they are known for. I know a lot of these engineers who rely upon these different kinds of technologies in which to create their sonic signatures. I too have my own sonic signature. Some folks love it. Others think I'm crazy. It's only important that you like you create. I have a tendency not to follow any trends. Others feel a need to follow trends. And the way that we get there is our secret recipe of 11 herbs and spices. I've always marveled at engineers that can arrive at a nearly identical sonic signature in completely different and incongruent ways. And again that's the art. Some like Ford's. Others like Chevys. But we all know that regardless of your preference, they will all get you to the same destination. The difference in recording is that there are so many intangible differences that come into play. So you are creating and concocting until it tastes just right to you. There is no right or wrong. Some will share their recipes with you where others keep them a highly guarded secret.

    In a completely different aspect, I am one of the few engineers that I know that doesn't really give a damn about acoustical environments. And that's because most of my work has been done online and on location. With that scenario, my preferences for certain acoustical environments is moot. I don't get a choice. My only choice is to create something that is good to listen to. If I'm in a location that happens to have a bad acoustic environment, it would be like fighting windmills to complain about the acoustic environment. Instead, I'll frequently accentuate the bad acoustic environment and use it to enhance the recording. Not all engineers can contend with that scenario. I have to. I am one of those engineers that has to be quick on my feet and think outside of the box. Others are much more clinical and precise in their approach and can't contend with those types of variabilities. I'm sure this is more information than you required. So you will get different suggestions from many other fine engineers here at Recording.org and all are valid.

    I've been doing this for over 40 years
    Mx. Remy Ann David

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