Radial Engineering Introduces the Headload Attenuator and Bassbone OD
The Bassbone OD is a bass preamp with two instrument input channels, each of which is fully equipped with level control, a semi-parametric equalizer and low frequency resonance filter.
Vancouver, B.C. (January 23, 2014) -- Radial Engineering Ltd is pleased to announce the Bassbone OD - a power-packed command center for bass instruments of all kinds!
According to Radial President Peter Janis: "Since we launched the Bassbone a decade ago, it has become one of the most successful bass preamps on the planet, having been adopted by many of the world's top bassists including Marcus Miller, Victor Wooten and Tony Levin just to name a few. Over the years, we have had many conversations with artists on how we could improve the Bassbone. Some of the requests we received included a mute footswitch for quiet tuning, the ability to have the effects loop active at all times and the option to elegantly switch between passive, active and upright basses."
"We also had many conversations regarding the use of distortion on bass - including the type of overdrive bassists would like to use, and more importantly, what typically does not work when applying overdrive or distortion to bass signals. We quickly discovered that in order to deliver a solid bass foundation and the natural tone of the instrument, you have to maximize the frequency response, retain the dynamics and introduce the ability to 'mix in' the dry original signal with the distortion. And once we got started... well, we kept on going until we got it right!"
The Bassbone OD is a bass preamp with two instrument input channels, each of which is fully equipped with level control, a semi-parametric equalizer and low frequency resonance filter. Channel-1 is further equipped with Drag™ Control load correction to optimize the tone and feel when using a vintage passive instrument such as a Fender bass. Channel-2 takes a different slant with a PZB booster that increases the sensitivity and load to 10 meg ohms to optimize it for use with piezo transducers as commonly used on upright bass. Toggling between channels is done using a footswitch and both channels may be mixed together by depressing the blend switch should a dual pickup system be in use. Outputs include a ¼' instrument level output to feed the on-stage amplifier plus a low-Z balanced Radial DI box output to feed the PA system. The XLR output can be assigned pre or post effects to suit the engineer's preference. A separately buffered tuner output works with the mute footswitch for quiet on-stage tuning.
For bassists who employ effects, both input channels can share the same pedals by connecting via the built-in send & receive effects loop. This is augmented with an on-board bass overdrive with control over the drive level, tone and a wet-dry mix that lets you add slight grit or over the top distortion to the signal path. The OD footswitch may be assigned to the loop, overdrive or both. Finally, a built-in headphone amp with 3.5mm output lets you use the Bassbone OD on the bus for those long drives between gigs.
The Bassbone OD will start shipping Spring 2014. The estimated retail price is $500 USD.
Radial Engineering Ltd. is pleased to announce the Headload - a guitar amplifier attenuator that allows the artist to reduce the volume levels on stage while driving the amp hard for maximum tone.
According to Radial President Peter Janis: "With the proliferation of in-ear monitors, there has come a tremendous need for reducing sound pressure levels on stage. Outside of drums, the next biggest culprit is the guitar amplifier. To get tone, guitarists like to drive their amps hard. This is particularly true for smaller amps that sound great when pushed to the max. Having tried all kinds of load boxes - we have never been all that impressed with the ones currently on the market. Although they all reduce the sound level coming out of the amp, they fall short when it comes to producing a usable signal for the PA system. We felt that if we could leverage the incredible success we have enjoyed with the Radial JDX direct box and combine this with the Phazer phase adjustment tool, a new type of load box could be created. After a year of trial and error, we are pleased to announce the Headload - the culmination of our quest for great amp tone."
The 100% discrete fan-cooled design begins with a series of high power cement-encrusted epoxy-coated copper coil resistors that are used in conjunction with a 6-position Grayhill rotary switch to dissipate the power generated by the amplifier. A variable range control allows incremental power reduction at low levels if needed. This is augmented with separate high and low resonance switches to compensate with extra sparkle or bottom end. Power going to the speakers may also be turned off for quiet recording or to eliminate the speaker cabinet on stage. A front-panel ¼" headphone jack with level control makes the Headload the perfect companion for quiet practicing.
In addition to the 8 ohm speaker cabinet outputs, the Headload comes with a built-in Radial JDX direct box. The JDX has gained tremendous notoriety with artists including Megadeth, Sting, Rascal Flatts, Aerosmith, Radiohead and Evanescence often replacing the guitar and bass amp microphones. This is coupled with a 6-position voicing switch with that lets you choose the desired amp and cabinet emulation. This is supplemented with a 2-band EQ for fine tuning and a low pass filter to eliminate overly harsh harmonics that are produced by some amplifiers. Two JDX direct outputs offer the choice of pre or post EQ settings to allow the artist to control his wedge or in-ear monitors to suit while sending a non-equalized tone to the front of house mix position. For engineers who prefer to combine a microphone with a direct feed, the Headload has also been outfitted with a Radial Phazer - phase alignment tool. This enables the stage tech to align the direct feed with the mic and dial-in the ideal mix on stage. In the studio the Phazer can also be used for creative equalization such as creating Boston-type out-of-phase rhythm tones or an ultra-thick wall-of-sound. A second set of ¼" line outputs may be used to feed additional stage amps or effects if needed.
The Headload is made in Canada from 14 gauge steel, measures 5.06" (12.86 cm) tall (including handle) X 7.44" (18.91 cm) deep X 19.148" (48.64 cm) wide and is supported with a 3 year transferable warranty.
The Headload will start shipping in spring 2014. Estimated retail: $600 USD.
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