SKU: 812482570
lzparts power pedal

lzparts power pedal HL-1 HAZard LAMPS Pedal – LHZ Preamps

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Description

lzparts power pedal HL-1 HAZard LAMPS Pedal – LHZ PreampsThe HL 1 HAZard LAMPS pedal brings the unique tonal voice of the LHZ preamp into a pedal format. This pedal is intended for players with passive basses that want to give it the same punch and power as a USA Spector bass with an internal Hazlabs preamp. This pedal makes it a snap to switch between a Spector and a traditional passive bass during a performance and ensures the passive bass is at the same output level and sits in the same spot in the mix

The HL-1 HAZard LAMPS pedal brings the unique tonal voice of the LHZ preamp into a pedal format. This pedal is intended for players with passive basses that want to give it the same punch and power as a USA Spector® bass with an internal Hazlabs preamp.

This pedal makes it a snap to switch between a Spector® and a traditional passive bass during a performance and ensures the passive bass is at the same output level and sits in the same spot in the mix as the Spector®.

THE CHALLENGE

If you play your Spector® bass with the EQ “dimed” (or nearly so) then switch to a passive bass, you know the problem: The passive bass does not provide the same output level, EQ, and dynamic response as the Spector®, so it will sound quieter and thin-bodied in comparison.

The problem is that the tone control on a passive bass only cuts frequencies; it does not boost them.

Passive bass tone controls rolled all the way to MAX is the same as an active bass set at the FLAT position. Switching from a dimed Spector® to a passive bass (with effectively FLAT EQ) results in a significant difference in levels and tone that makes it difficult to balance instruments using the same signal chain.

The bass and drums are the foundation of the band. While guitarists often change instruments to provide a diverse variety of tones, it is a more challenging scenario for bassists. Changing the sonic profile, dynamics, EQ, and level of a bass during a show changes the foundation of the entire mix.

How do you switch between a Spector® with a “dimed” EQ and your favorite passive Fender Jazz without adversely impacting the entire mix?

THE SOLUTION

The HAZard LAMPS pedal gives a passive bass the same active EQ control as a Spector® with a HazLabs preamp in it.

A passive Fender Jazz with the HAZard LAMPS bass and treble controls set to the same position as a Spector® will provide the same output level, same EQ response, and the same unique sonic fingerprint as the Spector®.

Your bass will still sound like itself, so a Fender will have its characteristic Fender sound and a Rickenbacker will still sound like a Rickenbacker. But the HAZard LAMPS will have the following impact:

  • The output levels and EQ will be the same as the Spector®, so there is no need to adjust anything else in your signal chain to compensate for the difference when switching basses, and
  • The HAZard LAMPS will provide the same subtle harmonic overtones and slight sense of compression when played aggressively as the Spector® does. This brings out articulation and nuances that are subtle but help ensure every nuance of your performance is heard clearly.

SPECIFICATIONS

Enclosure style: 152B
Enclosure dimensions: 122mm (L) x 67mm (W) x 39.6mm (H)
Power Supply (nominal): 9VDC @ 20mA
Power Supply (minimum): 4VDC @ 20mA
Power Supply (maximum): 18VDC @ 20mA
EQ Cut/Boost: +/-15dB

Downloadable Manual: HL-1 Manual (PDF)

LEGAL DISCLAIMER

All product and company names are trademarks™ or registered® trademarks of their respective holders. Any product names, logos, brands, and other trademarks or images referred to within this store are property of their respective trademark holders. Use of names does not imply any affiliation, sponsorship, or endorsement of our products.


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SKU: 812482570

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Lee Hall
Battle Creek, US
★★★★★ 5
Gem from a brilliant thinker.
Format: Paperback
This book will forever redefine feminism for its readers. There are two threads: one political, the other literary commentary. Fortunately, Witting pulls the former into the latter. The astute and radical political critique in Wittig's book is uniquely powerful. Wittig addresses the question of how a movement is comprised of both group energy and individual experience. The theory, legacy, and limits of Marx and Engels are discussed. Then, drawing on de Beauvoir and other iconoclasts, Wittig addresses our dominator culture in a way that goes directly to its core. Wittig deals efficiently yet persuasively with the argument over whether nature or culture is responsible for inequality, declaring that "there is no sex." This statement becomes the book's alpha and omega, and the lens through which Wittig shows us history, literature, and the future of activism. Like whiteness, maleness is a social category that can be renounced. Man (Homo) once meant everybody in the human community -- it was indeed generic, in the unifying sense. Unfortunately, the word has so frequently been used to describe a socially constructed group that expels half of itself in order to oppress it, "man" is now identified with those identified as male. In the essay "The Category of Sex" Wittig writes: "The perenniality of the sexes and the perenniality of slaves and masters proceed from the same belief, and, as there are no slaves without masters, there are no women without men. The ideology of sexual difference functions as censorship in our culture by masking, on the grounds of nature, the social opposition between man and women. Masculine/feminine, male/female are the categories which serve to conceal the fact that social differences always belong to an economic, political, ideological order. ...The masters explain and justify the established divisions as a result of natural differences." I understand that Wittig has recently passed away. If only I had discovered this book a little earlier, so that I could have met the author. That feeling, I suppose, is the sign of a truly good read. "A text by a minority author is only successful if it succeeds in making the minority point of view unviersal" writes Wittig --and to read this book from beginning to end is to find that the author has done just that.
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Reviewed in the United States on July 11, 2004
M
Verified Purchase
monsieurw1
Carnegie, US
★★★★★ 3
Partly still thought-provoking, partly dated
Format: Paperback
Dr. Wittig had so much anger, and had such a fight to fight. She seems excessive at times, or as though she is painting with such a broad brush, but writing such as this did win some important battles. No, things are not as dark as her wrath would suggest, or at least not anymore.
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Reviewed in the United States on October 4, 2013
K
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Kindle Customer
Battle Creek, US
★★★★★ 5
You will laugh and cry
Format: Kindle
Luckily, I stumbled into a link to this book on Transfeminine Review. One warning: take your eye makeup off before reading. You will laugh till you cry and that is not a good look with mascara. The plot resembles the movie American Fiction. Pearl is an aspiring trans woman writer. Her first novel has sunk without a trace so now she is going to try something more commercial: a gay male romance with James Bond action marketed to straight women who love that kind of thing. She's even adopting a pen name as Paul Sisters, s gay man. For a time it works. She has a publisher, Muzzle And Escutcheon is selling well and "Paul" has a fan following. Still, it's getting harder and harder to maintain her fake identity and she's having to make ever more compromises with her own identity and relationships. One other caution. Pearl does have to deal with casual transphobia. One sequence of her doing an online chat as Paul with transphobic fans and trying not to let it get to her I foundto be particularly triggering Good, funny, recommended
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Reviewed in the United States on April 19, 2025
A
Artsy Poets
Pawtucket, US
★★★★★ 5
Brilliantly written
Format: Kindle
I read this in a single sitting, mesmerized. I cared about the protagonist even as she made increasingly bad and soul damaging decisions. I love love love her girlfriend and her roommate is also fun. One could argue that the humorous elements convey the dangers of being a trans woman in both publishing and life especially well. I also enjoyed the publishing scene aspects like in Yellowface. A great read. I’m now a fan!
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Reviewed in the United States on January 6, 2025
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CB
Birmingham, US
★★★★★ 5
got it
Format: Hardcover
got it when i was supposed to but can't review it anymore as it was a gift. it would be nice to just be able to star something & not HAVE TO write 20 words.
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Reviewed in the United States on May 30, 2013

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