INTRODUCING THE NEW PLEX PREAMP
The heart of every GK product is the active 4 band “variable Q” equalizer and contour circuit that set the standard for bass tone shaping over 30 years ago. Building on this proven foundation, the PLEX features expanded filter options that allow you to further dial in your instruments unique voice. Foot switchable Compressor and Overdrive ensure your performance blends seamlessly into the band or cuts through a crowded mix and the Chromatic Tuner makes sure it’s all in tune. The ¼” output drives the front of your instrument amp or power amplifier while the DI output sends it all to the PA or recording console. Aux IN and Phones Out make the PLEX ideal for jamming along silently with your favorite tunes and the USB input/output allows pristine digital recording and re-amping capability when used with your favorite recording software.
Every knob of the PLEX features push activated functions that allow the user to tailor every nuance of their sound beyond the range of traditional tone controls. As each knob is pressed, the indicator is lit blue to signify that an option is engaged and the readout displays the current option level that is active. Need more low end thump? Push the bass/ bump knob to engage multiple levels of bass enhancement. Scooping out some mids for the ultimate slap tone is as easy pressing the low-mid/contour knob until you find just the right notch. Get rid of excessive pick noise and click by pressing the hi-mid/ hi-cut knob. Add just the right amount of “air” to a dark instrument or speaker via the presence function accessed by pressing the treble/presence knob.
Obviously, the pedal board friendly format, distortion, compressor and chromatic tuner with large LED display make PLEX an “all in one” extension of your existing live amp rig. But let’s face it, not every session or live performance has the need or capacity to allow for your favorite GK rig running at gig volume. The convenience of tracking direct and the use of in-ear monitors on stage has many players leaving their amps at home. With its world class preamp and virtually unlimited tone shaping, wide range of analog and digital input/output options, PLEX allows you to have your GK sound even when an amp is not in the cards.
THE PLEX FEATURES
- Four band active EQ and Contour
- Selectable Voicing options for expanded tone shaping
- Compressor with variable level, threshold, ratio, attack/release and gain reduction indicator
- Chromatic Tuner with large LED display
- Overdrive with variable volume and drive level with multiple symmetry and voicing options
- Aux Input
- Phones output
- Direct XLR output with ground lift and Pre/Post selector
- USB in/out for direct recording and re-amp capability
- Supports GK MBP powered enclosures
- Effects send/return
- 1/4" line output
Gallien Krueger Plex Preamp
Ich habe mir das Gerät gekauft, da ich die Idee klasse finde, die wichtigsten Bodeneffekte in einem Gerät zusammen zu fassen.
Stimmgerät / Kompressor / D.I.-Box / Distortion 7 Boost und sogar noch eine Usb Recording-device.
Meine Meinung im Test:
Soweit Super - stabiles Gehäuse aus schick lackiertem Metall und ordentlich zusammengebaut in USA.
Aber schon das mitgelieferte Netzteil und die XLR-Buchse sind leider billiges Chinazeug.
Das möchte ich bitte auch in der selben Qualität wie der Rest.
Da geht's los und es wird kompliziert. 2 mal schnelles treten auf den Schalter und man kommt in den Modus "Stimmgerät". Finde ich etwas tricky da der selbe Schalter auch den Kompressor an und ausschaltet und wenn man den Dreh nicht raus hat, man ungewollt den selbigen de oder aktiviert.
Die Potis leuchten weiß und blau wenn sie eine "aktivierte" Funktion haben. Dazu kann man die Potis auch noch mehrfach drücken (bis zu 5x) um z.B. den Verzerrungsgrad auf verschiedene Level zu erhöhen.
Das finde ich persönlich zu viel des Guten, aber okay.
Der EQ / Boost klingt einwandfrei, leider aber die Distortion nicht. Diese will nicht angenehm klingen, egal wie ich sie einstelle.
Auch greift mir der Kompressor hier auf eine ungute Weise in die Distortion ein, wenn man beides aktiviert.
Das Usb-Feature konnte ich in Verbindung mit Cubase auch nicht nutzen, da mein PC den PLEX lediglich als "Mikrofon" erkennt !?
Was mich aber am meisten geärgert hat ist das Stimmgerät! Schon bei der "G-Saite" stimmt es nicht mehr sauber, da die Anzeige kurz anzeigt und dann schwarz wird, als ob nichts ankommt.
Bei der "C-Saite" eines 6-Saiter Basses ging dann gar nichts mehr.
Das darf nicht sein und somit bleibe ich bei meinem Sammelsurium an Bodengeräten.
Schade da es wirklich eine schöne Sache ist, die aber noch mal überarbeitet werden sollte.
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It’s hard to believe that as recently as ten years ago, it was normal—nay, required—to use cameras, video cameras, voice recorders, calculators, notepads, MP3 players, clocks, flashlights, and maps. Now that a single cell phone can handle everything we once asked of those devices, it seems positively quaint to use something else.
The trend toward increased functionality is obvious in music tech, too. Witness the plethora of portable multi-function bass units—from Tech 21’s SansAmp to the Darkglass Microtubes B7K Ultra—that do double or even triple duty as DIs, preamps with EQ and compression, and overdrive units.
Gallien-Krueger’s Plex preamp, released last year and now updated, ups the ante by packing a DI, preamp, overdrive pedal, tuner, effect send and return, practice/play-along device, and recording interface with updatable firmware into a handsome, portable, rock-solid unit that costs less than some boutique pedals. Is it an indispensable Swiss Army knife, or a jack-of-all-trades and master of none?
My review of the Plex began during last year’s holiday season, when I hustled to learn multiple setlists for several bands on short notice. Loading each band’s material on my phone and connecting it to the Plex’s " AUX input, I spent lots of time practicing to tracks with an Elrick Gold-series 6 and an F Bass BN5.
The Plex was the right tool at the right time: I dug that although it came with an AC adapter, it worked with my Truetone 1 SPOT; I didn’t have to worry about throwing the tough little unit in a gig-bag pocket or an overcrowded backpack; I liked that each knob glowed a bright white that was easy to see in the dark, and that the red ring around the TRIM/CLIP knob let me know when I got a little too excited. The chromatic tuner, with its large LED display, was decisive and didn’t flinch at my B string. Most important, the EQ controls were straightforward and effective.
I rarely use overdrive, but the Plex’s five levels of dir t, from “warm clipping” to “aggressive drive,” were musical. Although I usually default to the DI on my amps, the Plex’s DI had no extra noise, and it was cool to have ground-lift and pre-/post-EQ options.
Pressing each knob accessed its secondary functions, turning the LED from white to blue: Pressing the BASS knob, for example, gives two “bump” options, either 6dB or 9dB boost at 65Hz, while pressing the LOW MID knob’s “contour,” presumably aimed at slappers, cuts mids.
The HI MID and TREBLE knobs help shape higher frequencies along with HI CUT and with PRESENCE, which boosts 6dB at 1kHz for more top end. Presets would have been nice, but it was a plus that my settings were saved when I unplugged the unit. (You can bypass all signal processing in the MASTER VOLUME’s “voice” function.)
The EQ helped me dial in the very different tones of the Elrick, strung with new Elrick stainless steels, as well as the F Bass, which has sported the same set of Rotosound Swing Bass 66 nickels for a couple years. Both sounded strong and characteristically GK when I used a TRS-to-XLR cable to amplify the Plex through a powered Gallien-Krueger MBP 1x And although I saw other players stomp on it, the Plex’s small print and double-duty knobs make it best suited for tabletop use.
I was curious to try the Plex’s bit, 48kHz recording interface. It was a cinch to borrow a Micro-USB B cable from my phone charger and connect the unit to my MacBook Pro—which, incidentally, is the same way I’d update the firmware. Logic Pro X immediately recognized the Plex, which configured the left/right channels as two independent mono channels, one for a pre-preamp signal, the other for use with the compressor, EQ, or overdrive.
Recording through the Plex was a great way to experience the unit’s compression presets and to clearly hear its “voice” options, which are named after Gallien-Krueger’s RB, Fusion , MB, and MB heads. Some would call the differences subtle; I used the settings as tone templates to tweak and make my own.
An on/off switch, battery power, and position indicators would have been cool, and I liked the overdrive enough to wish I could record clean and effected signals at the same time.
Will the Plex replace my favorite DI, overdrive, preamp, and compression pedals and make me sell my recording interface? Probably not. But this affordable little box excels as the rare bass-specific accessory that’s brilliantly useful at every stage of the music-making process, from personal practice all the way to playing the gig. There’s nothing else like it, especially at this price.
Inputs ¼" (instrument), ¼" (return), " (aux in)
Outputs ¼" (out), ¼" (send), " (headphones), XLR (direct out) USB jack Micro-B
Dimensions " W x " H x " D
Made in USA
TODAY'S BEST DEALS
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Krueger preamp pedal gallien
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