Found an excellent review by Ed Friedland, which I've tweaked / put some headings in for my own ease of reference. He says it all much better than I ever could - attached in case it's of interest to anyone else. But I have to doubt the bit about MOSFET circuitry to give the characteristics of vintage consoles. The use of Mosfets was intentional for the sonic benefits, low noise and also so the unit could be phantom powered. Bipolar transistors would be too power hungry. Applications for the Q\Strip include using it to ‘push’ a guitar amp, teaming it with a power amp to act as a bass rig, and pre-processing a guitar, bass or keyboard signal prior to recording directly into a DAW. You could also feed it from a mic preamp for vocal or instrument recording. The high-cut filter may be useful for recording or for feeding a PA where you don’t have a dedicated speaker emulator, and conventional drive pedals or other effects can be placed before the Q\Strip in the signal path. The grain of salt: I have only played this unit for an hour. I have played 12 string guitars for 17 years.

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. 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 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.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

Construction wise, the box is your standard aluminum box, but the knurled metal buttons give a premium felling when making changes to your configuration. As it happens this has recently been the topic of a discussion on a pro audio orientated forum where I dabble. One member was most adamant that only mic level was 'legitimate' but couldn't really articulate why. A "Pure DI" function isn't intended to colour the sound. It just provides a low impedance balanced signal suitable for a mixing desk channel or similar. The HPF and LPF give added control over the frequency spectrum whether you’re going direct with your bass, guitar, fiddle...or even a vocal. The Q\Strip is limited only by how far you are willing to push your creativity and how much of that juicy vintage tone you crave. Both are pedals that combine different functions, and different players will have different needs for the different functions.I have a stereo bass rig centered around a couple of stereo amp combinations: a '90s SWR SM400S head or an Alembic F1-X preamp/SWR Stereo 800 power amp. One side is clean/wet and the other side is dirty/dry. The dirty side utilizes the Tech 21 VT Bass DI along with the Q/Strip. Q/Strip isn’t just an EQ pedal. It’s a DI, a volume boost pedal, a speaker emulator, a classic equaliser strip, a ‘second amplifier channel’, a recording pre-amplifier and probably a whole host more of options I’m yet to think of. Dan Veall 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!

Darüber hinaus habe ich es mittlerweile auch für die Kalimba und den E-Kontrabass benutzt und bei all den Instrumenten war der QStrip gut brauchbar. 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.

Rating

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]