spaceatl

Nice one!

1 dsp is barely enough imo...it is doable for the tones you mention I think...I use a Stomp XL along with 3 Source Audio pedals because the C4, Ultrawave and EQ2 are unlike anything in HX and I prefer them....saves me a bit of dsp so I have what I need....LT or floor buys me nothing really....I could use a second dsp, but it isn't really a struggle at all for what I need out of the Stomp XL...I don't use amps anymore...

yea, that is how I would do it....

are you sure you haven't somehow saved a scene and it's recalling that weird set scene....It sorta sounds like there is a scene in there you are not expecting? Not sure but that is all that comes to mind.

seems pretty clear to me....mono preamp, stereo power amp...Left only is mono...pretty consistent....At least the LEFT isn't placed on the right like the TC Electronic stuff...lol!

have you checked it on a blank patch with only the FX Block alone?....What you describe sounds like the loop might be parallel? mix parameter is set to 100% on the loop i would assume...Other than that I would guess you are using TS cables and not TRS...or split adapters and only using the Left or right for the loop. I am just guessing the mesa loop is serial...not sure but I would think so.

you might have looked at this but thought I would mention it. Probably would not have helped with the root kit, but you never know...It's just something that has helped me get a bit more out of the box and isolated all those unneeded services. one thing that I do on my DAW (Windows 10) is I create a hardware profile for my DAW boot(s). This disables quite a number of services that are not needed. When I am working on something a bit more critical I have an Air Gap DAW profile that disables everything not needed(wifi, nics, ports not in use, services, apps on startup etc...). This is usually for larger projects than any sort of risk so I can exploit as much as possible for audio. Disabling everything that is not required recovers a good bit of RAM and frees up a little CPU. The default profile has virus scanning and just regular old PC stuff. The nice thing about it is that you can really get your machine optimized for whatever work you are doing. Just depends on the situation if profiles are worthwhile or not. years ago when I was on Windows XP I was a bit more paranoid and my DAW was always air gapped.

Are cabled like this? More information on what you tried would actually be helpful in attempting to answer your question. gtr->LT gtr in LT FX Send (mono block)->amp input amp send (mono) -> LT return (mono block) LT 1/4 outs -> amp stereo fx return tons of posts here on 4cm....

Yes, I have a pair of alto ts212...I very rarely use both live tho. Most rehearsals and gigs it just isn't practical to bring 2...while I have stereo tones I tend to prefer a mono open air monitor....But if I am doing IEM, then stereo is preferred,

seems pricey for 6 feet. I would go to Amazon for that probably. https://www.amazon.com/Monoprice-Wall-Rated-Digital-Coaxial/dp/B002EA9438/ref=sr_1_4?dchild=1&keywords=6+foot+rca+spdif+cable&qid=1632238918&sr=8-4

My primary point was folks new to the platform might be better off hitting the power amp in before going 4cm I did not make my second point very clearly. Sorry about that...It is just an opinion of my own rationale of 4cm. The whole point of 4cm is to be able to toggle between some analog preamp or a helix model....My poorly made point is for all the extra cabling and weight to support the analog preamp(s) channel(s) in some amplifier yields only a few additional tones...Diminishing returns for a difference only I may notice... With an ADA, there's more options (128 via midi), but still all the extra cables, space, weight and tweaking time ended up not being worth it long term for me.

going digital gets rid of some of it....Just an FYI...A "Balanced" audio signal is actually a converted signal in the analog realm. There is a slight attenuation of the high-end when source signals (unbalanced) are converted to balanced. By using the XLR to another interface you have a total 5 conversions...AD, DA, Unbalanced to Balanced, AD and then DA...with Helix alone you have 2...Technically, it is generally good to avoid conversions where you can.

I did not compare them. I went with c4 mainly because I already had a neural hub, ultrawave bass and EQ2. I use my rig for guitar also, but more bass focus with the c4...EHX may track better than c4...I do not know. I mainly got it because it tracks better than stuff in the HX and the neural hub makes the midi integration with HX really simple and it doesn't take up much space. I grabbed a used one off reverb for about $180...seems used ones are around that...If I just needed a synth or two that worked for the situation you are talking about, I might look to the EHX SYNTH9 instead...it's simple and EHX always sounds great and the resale on the them seems similar to the C4....find a good used one to fill the gap and then sell it....

If you are new, just connect the main out to the FX return and start there until you get under tweaking it...then move on to 4CM.... I have seen a lot of folks, new to the platform, get really frustrated jumping into 4CM right away. 4CM with a conventional amp is aggravating to me because I don't get much more than a couple analog preamp options with fixed settings in a performance....A bunch of cables and weight for very few tonal options. When I do use 4CM, I use my old ADA-MP1....If I am going to 4CM into an analog preamp, I want more than one setting available...

I found the synths in HX not very diverse. Good for a few things I suppose but the tracking is a bit slow for my needs. I opted to get a source audio C4. I also have an EQ2 that is first in the chain. EQ2 right channel is tweaked for the C4 that comes in the Loop return. Left channel of the E2 is for the guitar. I am using an HX Stomp XL. This approach saved me a bit of dsp too. The EQ2 also helps the HX synths track a little better without using a block in the HX for that.

You could use a passive 10K pot to trim it down or something like a BOSS LS-2 that has an active buffer...LS-2 is dual channel and a bit overkill, but you could drive two amps or use it as a clean boost as well as attenuation...

Haven't seen one of these in a while....hmmmm....Those songs sound great! My guess is "How It All Came to this is XT" and "In The Long Term" is Native....I listened on a Macbook Pro one time each.

I have a pair of Alto TS212 and a TS315. They are not much different than v3. I have had them for several years and they are still working great. When I bought them I auditioned EV, Mackie, QSC and a few others. I came down to the EV and the Alto...Basically, they sound identical when the EV DSP is set to PA (flat). No DSP (DSP adds a couple of ms of latency), No fans, no fuss...I generally only use one TS212 for guitar and it has worked great for me. I have been using it since I was on an HD desktop...for bass I use a TS315.

USB is a master/slave architecture, not pier to pier. everybody is a home run root controller(master) or a hub. I think the option is to set up a loop with the spdif/aes io for the additional processors is the only realistic option for what you are seeking. The signal stays digital and only the processing adds minimal additional latency. as long as the devices have spdif or aes/ebu io there should be no noticeable additional latency.

Alto TS212 here...Flat & Fanless...I have two of them, but most shows one is all I need.

you don'r really need the ns-2, but it does have that cool loop. So if it were me I would do it this way. I used an ns-2 for years. GTR->NS-2 (IN/OUT)->HX_FX GTR IN NS-2 Send->WAH->OD808->NS-2 RTN Basically, this is first in chain stuff IMO. This makes use of the second gate in the ns-2. I always found the ns-2 worked much better this way. anyhoo, that is what I would do. good luck.

One thing to consider if you are looking to the HX FX...If he ever wanted to use amps down the road for guitar or bass, you might think about an HX Stomp XL...Same DSP, same effects with amp models also. HX FX is nice tho with those scribble strips.

You have a translation problem most likely. Most likely your PA has 1" or 1.5" horns and they are hot around 3K...No idea, you didn't mention what you have...Hotter than your Beyers most likely tho. Beyers could be a little lame in that badwidth too. I doubt it tho. You have to keep in mind when you listen to a PA you are hearing the room too...The room can boost junk like this...So unless the PA has been tweaked to be somewhat flat in the room, then your test is probably folly. Headphones don't have a room to contend with...If you want to check your PA without room correction, set it up outside. no room outside.

If you want it to feel about the same, you need a power amp rated at 500 watts @ 8 ohms RMS per channel...That will mean 1000-1200watt peak rating. One thing that is often overlooked is power matching. You are simulating two Class AB tube amplifiers. Tube amplifiers are a bit unique in that they put out 2-5x times the specified rating in fast transients...So 200-500 watts. Use that to match the RMS rating of a nice class D amplifier and the transients will feel identical in the room. If you under power it, it will never feel quite the same. Remember, the voltage that the speaker sees is analog. If your are wanting to create a true simulation, you gotta match the amount of current the amplifier can put our cleanly. 300 watts rms works just fine...

They translate just fine.