Two Fishman’s. Two almost different EQ’s. Lots of different opinions.
I’ve collected all of them and proceed with my own opinion. And you know what?
|#||Model||Rating||Tone Control||Battery Life||Our top||Check|
|1||Fishman ToneDEQ||4-band EQ with Bass, Middle, Treble, and selectable Low Cut||12 hours||2|| Check|
|2||Fishman Platinum Pro EQ||5-band EQ with sweepable Mid and adjustable Low-Cut filter||30 hours||1|| Check|
|Tone Control||4-band EQ with Bass, Middle, Treble, and selectable Low Cut|
|Battery Life||12 hours|
|Fishman Platinum Pro EQ|
|Tone Control||5-band EQ with sweepable Mid and adjustable Low-Cut filter|
|Battery Life||30 hours|
With its preamplifiers, Fishman aims to deliver full control of the sound in the hands of the guitarist, who can handle the microphone and finish it to their taste to send it done and finished directly to the mixer. ToneDEQ and Platium Pro pre-amplify, equalize and finish the sound.
Unlike the irreducible electric guitar, acoustic guitarists do not always rely on the classic rig composed of instrument, chain effects and a personal amplifier. For them, the choices are broader; less standardized and can vary depending on the situation.
It is a pedal preamp complete with effects, tone controls, a compressor and a level booster. The internal electronics are completely analog, with the exception of digital effects. However, these are added together with the dry sound, so as not to affect the integrity of the original signal.
- The ToneDEQ consists of environmental effects such as delay and reverb, chorus-modulated, flanger, and tremolo modulations, and a final section on tone-shaping.
- This offers a compressor, a volume control with the possibility of boost and three knobs for highs, mids and lows.
- An additional selector allows you to make a cut on the most serious frequencies, in order to prevent the generation of “resulting” notes and beats.
- With a high-quality preamp, dual effects section, tone controls, a compressor, level booster and a balanced D.I. — it’s got everything you need in one box
- Flexible outputs include a 1/4″ amplifier output and XLR D.I. output for the lowest noise possible
Platinum Pro EQ
The main concern of the acoustic guitarist is how to resume the sound of his darling in the most faithful way possible. We all know that the microphone in front of the instrument is the quintessential form of sound information gathering, a bit like the brothers of the electric field placing their trustworthy Shure, AKG, Neumann and transduction in the face of the cone of the very wide amp.
The Pro-EQ Platinum has preamplifier, equalizer and XLR D.I.: it earns a mention of merit for the elegant package! The outputs and the inputs are on the sides: on the right we find the input (1/4 “ jack, 10MOhm impedance) and the input for a possible power supply (9V, not included); on the left the balanced output (XLR, impedance 600 Ohm) and two unbalanced (1/4 “jack, impedance 1 kOhm): among the latter, the second is called tuner/send and is only influenced by the gain, being positioned upstream of the equalization; it is useful for connecting a tuner or for recording.
- Completely redesigned from the ground up, the all-analog Platinum Pro EQ universal instrument preamp delivers incredibly accurate sonic detail for any acoustic instrument.
- 17-volt, high-headroom, discrete Class-A preamp
- 5-band tone control with sweep-mid and low frequency filter
- Integrated fully-chromatic digital tuner
Set Up Your Preamp
As soon as the guitar is connected, we must make sure to calibrate the input gain to avoid distortion by adjusting the Input Gain knob and keeping an eye on the LED clip/low battery: the same light also signals the exhaustion of the battery and is placed near another LED that lights up when the Phantom power is present.
Let’s now examine the equalization section, which is borrowed from the Fishman Prefix Plus, mounted on numerous electro acoustic guitars. To combat the hideous feedback, the Platinum Pro-EQ is equipped with two different controls: the Notch potentiometer intervenes on the lower notes (from me to sol of the sixth string); if the feedback affects this range, we have to do is turning the Notch until the latter “holes” the frequency involved.
And now let’s devote ourselves to the equalization controls: two slides are dedicated to bass and treble, with +/- 12 dB excursion and cut-off frequencies of 60 Hz and 10 kHz respectively; Brilliance is instead dedicated to the highest frequencies, in order to enhance the harmonics and, in fact, the brilliance. In detail, this is a band-pass centered on 10 kHz (+/- 9dB) and with 7 kHz bandwidth.
We conclude with the Pre/ Post and Ground/ Lift switches; the first intervenes on the balanced output, placing it upstream or downstream of the equalization controls. The Ground/ Lift switch eliminates noises arising from ground loops.