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Everything posted by lou-kash

  1. It depends on how and if you want to affect the sound by changing the volume. Changing the Master volume of an amp usually affects the sound color just as it would if you change the master volume of a real life amp. Changing the Channel Volume doesn't. But then again, changing the Channel Volume of an amp may affect the sound of all blocks that you may have placed after the Amp block. So if you want to control the volume absolutely "cleanly", you may want to assign the expression pedal to the Main Out volume parameter.
  2. Absolutely. I started to use the Retro Reel via Helix Native as part of the sum effect chain when mixing or mastering to give the overall sound a tiny bit of "dirty glue", just very subtly. Hm… :) Every human voice is unique. So there's no "universal" setting. But unless you're singing in the bass or bass baritone range, you may definitely want to use some kind of a high pass filter, lowering frequences below, say, 120 Hz.
  3. Yes. It works. You just need to understand a bit about how to handle EQs and compressors for vocals. (Disclosure: every now and then I do sound engineering partially for a living, albeit I never did full time.) Heck, I've even managed to turn the Stomp into a 4-channel mixer for two mics and two acoustic guitars. It's a bit tricky to set up, and block sequence absolutely matters, but it works if I don't want to carry additional gear like the Behringer MX802A mixer. In general, this is for my "mobile micro gig" setup which is usually just me (sometimes with a guest drummer) on acoustic guitar via Stomp into the old small Squier 15W solid state amp, i.e. a setup that I can even carry by bike or with a small rolling suitcase and a gigbag.
  4. In other words, there are many possibilities. The major limit is just how many parameters you can assign to be controlled by the expression pedal. I vaguely recall it's 8.
  5. Move it to Path B, keep it always on and blend it in smoothly via the Split A/B "half-block" also assigned to the expression pedal. Note that you should also move the Mixer "half-block" right behind the Scream, otherewise you would possibly bypass your other blocks.
  6. Note that when adding gain to the signal to make it overdriven, it's usually a good idea to reduce the bass at the same time. Else it may sound too muddy.
  7. You can. I don't remember the exact setup off the top of my head, but it's the same procedure like auto-enabling a Wah block by moving the expression pedal over a certain value. There are tutorials all over Teh Intervebz. I have a bunch of favorites for bluesy kind of sound, but it also depends on what guitar you're using. I play Les Paul, so the standard humbucker signal is pretty hot (I have a 6-way switch though to switch between parallel and serial). US Small Tweed, Mandarin 80, and the new Ventoux.
  8. I was experimenting with this expression pedal concept for a while. It works but there's a downside: adding gain while removing volume at the same time doesn't necessarily result in a linear change. You may experience a volume drop somewhere in the middle, depending on what kind of amp you're using and which parameters you're changing with the pedal. To me that didn't sound very natural and pleasant. So eventually I went back to a simple footswitch that changes a few parameters on the compressor in front of the amp (kinda simulating the "old school" volume knob method which I never was very comfortable with) and a few parameters on the amp block.
  9. I've seen it but it was above my budget. Whereas the Woody SC was exactly what I needed: simple, flexible, robust, great value for the price. But I also have a Schertler Basik mic (discontinued) which can be put as a pickup onto virtually anything, even on a chair, a plank, you name it… In the beginning I was using it for a while, but eventually I found that its effect on the overall sound is negligible, and thus a waste of a valuable block in the Stomp path. Hence I rather use a regular tube guitar amp modeller because it gives me more sound options.
  10. That all said, there's of course another reason for this setup, and that's backup. Either device can suddenly break, so in case of "emergency" I can either switch to the real amp and just plug the XLR into its DI output, or bypass my monitor amp completely play through the Stomp and hear the bass sound only through the standard stage wedges (been there done that, not great but on a club stage it will work OK).
  11. This. I'm using a similar setup when playing electric bass via HX Stomp. Blocks: auto-wah > compressor > amp > phaser > Y split (path A to Main Out, path B to FX Send) > cab on path A / parametric EQ on path B Path A Main Out instrument level goes to FOH. Path B FX Send line level goes to my stage amp power amp input. It's a Quantum QC415 combo which can be tilted like a wedge, so essentially I'm using it like an active wedge, without the Quantum's preamp recoloring the sound. The EQ in the path B is "just in case" if there would be any problems on stage with some frequencies clashing, but usually I keep it flat. So the difference is primarily the cab: a modeler to FOH vs real cab on stage as a monitor. Works fine for me.
  12. In fact, now that I understood what was going on – at least in my case – and fixed it, I changed my presets back to the 70s Chorus because in the mono mode I like its sound the best. :)
  13. Could you please "downgrade" them a bit so that they are compatible with HX Stomp's 8 block limit? I can't load them. However, I think that this… … was actually spot on. (I missed this post at first while checking out all options in my earlier posts.) Also, the aforementioned global Auto Impedance preference setting isn't part of a preset, so your presets might actually work flawlessly for anyone whose global preference is "First".
  14. Whatever sounds good to me. I play an old Aria acoustic in open G, mostly with slide, via Seymour Duncan Woody single coil pickup, into a small 15W Squire transistor amp, sometimes into a Fender Blues DeLuxe (1994). Usually a compressor and the parametric EQ will do the job on the HX Stomp, same as with my analog effects previously. In fact, usually I also plug in my self-made stomp box plank – a bass drum substitute – using the HX Stomp as a 2-channel mixer. If I need it to sound more gritty without going into the "real life" amp, i.e. when recording or going directly into PA, I take something like the US Small Tweed block a.k.a. Fender Champ. (As you may have guessed by now, what I play on the acoustic is probably quite close to the blues…)
  15. Alright, it can be any block that comes before the 70s Chorus, even just Gain being active but doing nothing. If the 70s Chorus is the 1st active block in a chain, it goes to this "low pass mode". And, upon further testing, it actually boils down to the In-Z parameter. (for the record, I play a Les Paul) "Auto" = sound drop if 70s Chorus is the 1st active block in the chain 1MΩ = no sound drop Now, in Global Settings > Preferences > Auto In-Z, I had "Enabled" active. When I change it to "First", this "low pass drop" disappears. Tricky settings… There was something new about the Auto-In-Z in one of the recent firmware updates. I didn't fully understand what it's all about.
  16. For what it's worth, I just checked how the Legacy > "Analog Chorus" behaves, as it's also based on CE-1. The is no "low pass" effect when the mix is set to 0%, under any circumstances. However: I noticed that the low pass bug with the 70s Chorus doesn't appear if I have an active compressor (Ampeg Octo Comp at the moment) in front, even when the compressor Mix is 0%! As soon as I turn the comp block off completely, the sound of the chorus drops to its odd "low pass mode". A weird bug "feature".
  17. I didn't mean a different position in the chain. That doesn't make a difference. What I've noticed is that an activated 70s Chorus massively changes the sound even when putting the Mix at 0%. It behaves as a low pass filter of sorts. Unusable for me. So to me, this literally sounds like a bug, not a "feature". That said, I don't remember how a real Boss CE-1 used to sound. Our keyboarder in the mid-1980s used to play his Rhodes with one, but I've never used it myself. I used to use (and still have) the CE-3. So instead of the "70s Chorus", I now use the one simply named "Chorus".
  18. I've noticed a change in sound recently, too. I don't remember if it was always like this, but my solution simply is to use another chorus modeler block.
  19. The Stomp is very picky about USB cables. The longer the worse. Out of about half a dozen of cables longer than 1 m that I have accumulated over the decades, only one works reliably.
  20. Which reminds me… In fact, yes: For several small projects, I'm playing either an acoustic bass or an acoustic guitar together with a self-made stomp box which is a wooden plank with a built-in pickup to simulate a kick drum. I'm running both instruments through the HX Stomp as a two-channel setup, with the bass range on the stomp box path heavily emphasized to give the plank more of a bass drum feel. Then usually I go from the HX Stomp into an SWR Workingman's 12 bass combo that we actually often even use as a "micro P.A.". The SWR has a built-in global limiter. When I literally "overdo" it with my "bass drum" plank, the limiter kicks in – flashing a LED – and the typical pumping ("tremolo") effect appears. The limiter on the SWR can be bypassed, but usually I'd rather adjust the volume or the EQ because the speaker protection definitely makes sense with this small amp. But that's definitely not the HX Stomp's fault. I've already experienced the same pumping effect on the SWR before I bought the HX Stomp, while still playing my kick drum plank through good ole fashioned analog EQs/compressors/noisegates/younameit.
  21. My impression from recent years is that FOH engineers (or rather, cough, cough, "engineers") are mixing drum sets waaay too LOUD these days. It's beyond annoying. Especially with drummers who can't play softly. (I play with one such specimen in a pop band. He used to play in heavy metal bands in the 1980s and early 1990s. Other than that, he's a nice guy though, being fully aware of his dynamic limitations. :) Then, if they use FOH speakers with built-in protection limiter, the "tremolo effect" could likely be the logical consequence. Some "engineers" want to push the subbass on kick drum. If they overdo it, the speakers may receive LOUD signal in a humanly barely audible low range, yet still loud enough for the limiter to kick in. (Disclosure: In the 1990s I used to partially work as a club FOH engineer for about 6 years, so I have some 1st hand experience here.)
  22. lou-kash

    A/D question

    There is no "untrue" analog signal. What you have wanted to express is probably something along the line that an analog signal that was previously going through a digital stage via A/D and D/A wandlers possibly isn't exactly the same signal as at the beginning of that signal chain. Well, yes. That would be true. The same is also true for the original analog signal after it has flown through a 20 m long thin unshielded speaker cable, as opposed to the very same signal that has only flown through a 1 m long shielded instrument cable. Both are analog so they both should be "true", right? Or not? :D The main annoying thing you may experience via several A/D D/A stages these days is the increase of latency. But then again, get yourself a quality 20 m instrument cable, plug it directly into your analog amp, walk 20 m away from your amp, and by the sheer laws of physics you will experience an analog latency of whopping 59 ms. No, you're right. But my late dad would have strongly disagreed. Heck, even my wife would! ;)
  23. For the record – since I only just noticed – but it's there since v3.10, i.e. since April 2021:
  24. @muahdib4's thread title says "DMC.Micro". However, there is now the new "DMC.Micro Pro" model. Also, when it comes to the functionality of the original Micro, the firmware version will make a major difference. After upgrading to v2, it was almost as if I had a new device. (Not unsimilar from upgrading the Stomp from v2.x to v3… :) And as I see, they have released a new update a few months ago: disasterareadesigns.com/dmc-beta
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