Live sound optimised for a bass legend. The Tech 21 Steve Harris Signature SH1 SansAmp has been designed to both replicate the exact tone of iconic Iron Maiden bassist Steve Harris and make performing fluid simple and hassle-free. You can find a wide array of options to give you the ultimate in flexibility – all at your feet. It wouldnt be a Steve Harris signature without the booming explosive heavy metal tone that hes renowned for. You really can make your basslines roar with the SH1. But theres so much more on offer too. Top-notch tone tweaking is on-hand with a 4-band EQ. And theres an 18dB cut or boost for when you want to reduce your sound or it give it an extra kick of power. Plus with a range of other settings voiced for legendary bassists including Phil Lynott Lemmy and more youve got a frankly gigantic amount of possibilities on offer. Your bass sound just got bigger and more expansive than ever.
Tech 21 SH1 Steve Harris Signature SH1 SansAmp
This is a New Tech 21 SH1 Steve Harris Signature SH1 SansAmp from Tech 21, listed in Bass Effects Pedals on Just Pedals. Read More below.
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Brand
Tech 21
Tech 21 began in Manhattan in 1989 when designer Andrew Barta introduced SansAmp, an all-analogue amplifier and speaker-emulation circuit for direct recording. SansAmp remains central to the company’s guitar and bass range, appearing in standalone preamps, DI pedals, rack units and Fly Rig products. JustPedals listings include the GT2, Programmable Bass Driver DI, Para Driver DI and Character Series VT Bass DI, as well as the MIDI Mouse. These products shape or send a direct instrument signal, rather than providing only conventional modulation or ambience; compare instrument voicing and output connections.
Category
Bass Effects Pedals
Bass effects are voiced to preserve low-frequency weight and note definition while changing dynamics, harmonics, pitch, modulation or ambience. Many use clean blends, split-frequency processing or bass-specific filter ranges so the fundamental remains solid beneath the effected signal. Headroom, crossover frequency and low-end retention matter because a circuit that suits guitar can thin or overload a bass signal.
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