Strange manufacturer decision that when you power-on pedal it's always in the ON-state, so it doesn't remember its last state before power-off. According to the support it's normal behavior and you can switch it to default ON or OFF-state by re-soldering some elements on the circuit board! I don't think it's quite elegant and intuitive solution :) Also ground lift is cable dependent: if your cable has

Using these controls sparingly as I did in the video rewarded me with just the sound I was looking for. Watch how I zoned in on the frequencies I wanted to hear to accentuate the tone of my bass in the studio. Dafür kann man aber mit dem QStrip sehr viele verschiedene Instrumente bewältigen. Ein Gerät zu haben, das eben genau in dieser Vielfalt stets ein gutes Ergebnis liefern kann, ist auch etwas wert.The cost of this product is mainly because of the fact this is a analog pedal, which requires quite another level of engineering. The size for value proposition is pretty good in that regard. The knobs are precise and smooth, but without snap to the middle position. Anyway it sounds quite neutral with knobs at about a noon position and this is good.

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 low pass filter (LPF) is going to be useful for guitarists but also bassists who like using ‘gainy’ distortion. We often have problems when it comes to cabinets with tweeters in, or sending the sound of our pedals directly to the PA. Being able to emulate the sound of a paper cone speaker really smooths out the top end of heavy distortion. This button will go a certain distance to making that a tap of a foot rather than reaching for tweeter attenuator knobs on darkened stages to tame excessive top end fizz! Enjoy! (And this will be worse than the PDDI for 'forever twiddling' 'cos it's more versatile from what I've seen :) )

Warranty Info

color=#666666][font=Arial, Helvetica, sans-serif][size=1]"[size=4][i]The 100% analog MOSFET circuitry in the heart of the Q\Strip provides the warmth, girth and larger-than-life tones for which vintage consoles are revered. Add in four bands of pro-audio-quality equalization, two parametric mid bands, as well as high and low shelving filters, and you have incredible control over how your instrument cuts through on stage or in a mix"[/i][/size][/size][/font][/color] Underneath the equaliser are some ‘fast access’ switches. A high pass filter (HPF) that will help to cut down on rumble for microphone users and maybe sub ‘boom’ from excessive EQ elsewhere in the chain. The roll off is gentle and actually, as a bassist, I would have preferred to have seen a 24db per octave roll off at say 25hz which is a great way to alleviate speaker flapping and really tightening up the sound of any bass, even extended range instruments. But I do hav[font=arial,helvetica,sans-serif]e a bit of a probl[/font]em with the description below: Einmal um bei kleineren oder kürzeren Auftritten, sowie bei Proben auswärts eine kompakte Lösung für den E-Bass parat zu haben, die man gleich im Instrumentenkoffer mit dabei hat. The last three buttons are for the two separate outputs: You may wish to use this pedal instead of in front of your amplifier’s input on the front but rather directly into a slave amplifier. The +10db button will ensure that you can drive such a unit correctly with a strong enough signal. On board, the Q/Strip has an XLR ‘balanced direct injection’ output and the next button offers the option of changing the output gain should it need to be attenuated. Finally, again for the XLR output, a ground lift switch but also to allow phantom power connectivity, which means a mixing console will be able to power your pedal rather than an internal 9v battery or additional ‘wall wart’ supply. A convenient option to include.

In reality all audio going into an ADC is going to be squeezed down to a 5V range or less. But attenuating directly before the ADC gives best SNR.There are, of course, good reasons why mic level might be preferred eg the user simply likes the sound of a particular mic pre working at some gain.

yes it can be useful to have the option to work at 'non-professional' nominal level eg -10dBv (lower level and different dB reference - standards are great - that's why we have so many 🙄) and I have been in the situation where I've chosen to configure a DIY attenuating pad to archive some stuff from DAT (remember when that was a thing ???) using my now old multichannel TDIF interface that has unbalanced inputs at a low nominal level. But I still prefer to work at +4dBu until I have to attenuate. This little box - busy looking on most sides - is very competent at what it says to deliver : a vintage inspired but accurate true parametric equalization which some creature comforts.size=4]So the two mid bands are more accurately semi parametric given that there is no switchable or variable Q / Bandwidth control - but that's a minor quibble.[/size] Well this one is now sitting at the end of my home pedal board! I didn't get on at all with the BDDI (which Dave, I know, is a big fan of!) but I'm really loving the Q\Strip's tone shaping capability: it goes several steps further than what my amps can do, which is saying something as they're both pretty good (particularly the Mesa M6) in the tonal options they provide. And I finally have an XLR out on one of my pedals to boot