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guitarbloke

HX Stomp + Powerstage 170 - Sending to Cab and FOH?

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I'm using an HX Stomp and have just ordered a Seymour Duncan Powerstage 170 to use with my 2x12 cab.

 

I'd like to send a signal to FOH as well, but I'm not sure if this can be done - is anyone able to advise please? 

 

I was thinking of using the Send to take the signal to the Powerstage 170 and my cab, and then using the L/Mono to go direct to front of house.

 

BUT... When I look at it in HX Edit, it seems like if I do this, I'll only be able to have the delay/reverb on one side (either FOH or the cab - but not both).  

 

Have I got this totally wrong, or is this just a compromise I'll have to live with?

 

image.png.402daed8ab188d4b82c386728350d06d.png

 

 

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Use a Send block after all the blocks that you want to route to your amp (Send jack). Everything else after the Send block goes then to FOH only (Output jack). The B path mixer must be placed before the Send block.

 

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The Send block should be in the A-path. It splits the signal already by itself: Dry Through goes to Main Out, Send goes to, well, Send. With your setup, the Send block likely sends everything to Send Out anyway, is thus totally redundant.

You could then utilize the B-path elsewhere for your effects if needed. (You can have only one B-path on the Stomp.)

If you're using stereo effects, just make sure to select a stereo Send block.

Whereas if you're going mono on both outputs anyway, you may want to use mono effects all the way through to save some processing cycles.

 

Here's what I've set up last week, for a pop-rock band where I'm playing bass guitar on stage. Last Saturday I've already used this setup live:

 

1862527774_Screenshot2020-08-11at12_47_43.png.30fcce1938f7754ab13fe6c573c402c2.png

 

  • Send goes to my stage amp (H&K Quantum QC415) that I'm using solely as a monitor here.
  • Dry Thru continues to Amp+Cab block (Ampeg SVT4 Pro + 6×10 Cali Power) to Main that goes straight into the FOH via a self-soldered TRS-to-XLR balanced patch cable so there's not even a D.I. box needed.
  • The B-path effects are active for one song only, saved as a Snapshot, using a Split Crossover so that the low frequencies remain unchanged while the high frequences go through a Dual Pitch and Tape Head Delay (Wet only) to kinda emulate a pulsating synth pattern that they've used on the studio recording of the song.

Long story short: even with just 6 blocks, you can do crazy fun things on this device! :)

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Thanks a lot @lou-kash, I'm so sorry if these are really basic questions, I'm getting old and this is all pretty new to me, so it's a bit of a learning curve lol!

 

3 hours ago, lou-kash said:
Quote

The Send block should be in the A-path. It splits the signal already by itself: Dry Through goes to Main Out, Send goes to, well, Send. With your setup, the Send block likely sends everything to Send Out anyway, is thus totally redundant.

 

 

So... if I put the Send on the A path - like this and then set the Send and the Dry Thru levels to 0db, would that mean that I wouldn't necessarily need to use a B path at all?

 

image.thumb.png.548a1725461f464b67d7213667258e64.png

 

If that's the case, how do I make sure that the IR only goes to the FOH?

 

I'm only using mono effects.  Is there a benefit to putting the effects on a B path in my situation?  (Delay and reverb will be on all the time).  I don't need to do anything too crazy haha, I just need FOH and the stage cab to have effects - but IR only on FOH :-)

 

 

 

 

3 hours ago, lou-kash said:

You could then utilize the B-path elsewhere for your effects if needed. (You can have only one B-path on the Stomp.)

If you're using stereo effects, just make sure to select a stereo Send block.

Whereas if you're going mono on both outputs anyway, you may want to use mono effects all the way through to save some processing cycles.

 

Here's what I've set up last week, for a pop-rock band where I'm playing bass guitar on stage. Last Saturday I've already used this setup live:

 

1862527774_Screenshot2020-08-11at12_47_43.png.30fcce1938f7754ab13fe6c573c402c2.png

 

  • Send goes to my stage amp (H&K Quantum QC415) that I'm using solely as a monitor here.
  • Dry Thru continues to Amp+Cab block (Ampeg SVT4 Pro + 6×10 Cali Power) to Main that goes straight into the FOH via a self-soldered TRS-to-XLR balanced patch cable so there's not even a D.I. box needed.
  • The B-path effects are active for one song only, saved as a Snapshot, using a Split Crossover so that the low frequencies remain unchanged while the high frequences go through a Dual Pitch and Tape Head Delay (Wet only) to kinda emulate a pulsating synth pattern that they've used on the studio recording of the song.

Long story short: even with just 6 blocks, you can do crazy fun things on this device! :)

 

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2 hours ago, guitarbloke said:

this is all pretty new to me, so it's a bit of a learning curve

 

It's somewhat new to me as well, at least in this form. But occasionally I do audio editing for a living, like mastering, sometimes "budget" recording, live mixing, etc., mostly working in Logic. So I'm familiar with general audio path concepts. Nonetheless, I'm now spending several hours a day to explore the possibilities and boundaries of the Stomp. Flexibility = complexity – that's for sure. Luckily, being self-employed, I can take the time I need at the moment. :)

 

2 hours ago, guitarbloke said:

if I put the Send on the A path - like this and then set the Send and the Dry Thru levels to 0db, would that mean that I wouldn't necessarily need to use a B path at all?

 

Exactly.

 

2 hours ago, guitarbloke said:

how do I make sure that the IR only goes to the FOH?

 

It's all set up already.

Everything after the Send block now goes to the Main Out jack only, but not to the Send jack.

 

2 hours ago, guitarbloke said:

Is there a benefit to putting the effects on a B path in my situation?  (Delay and reverb will be on all the time)

 

Not necessarily because delays and reverbs usually have a dry/wet "Mix" slider built in: 0% = dry signal, 50% = dry & wet equally mixed, 100% = wet signal only. So you'll just set the desired proportions – probably somewhere between like 20–40% – and leave it as is.

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You're welcome.

Also make sure to check out the Stomp manual: https://line6.com/support/manuals/hxstomp e.g. page 8 and 28.

Additional details are in the HX Edit Pilot's Guide.pdf – on the Mac it's accessible directly from the HX Edit's Help menu.

Experimenting with the factory presets is also revealing, whether one likes the exact sound or not, or whether it's a guitar, bass or keyboard preset.

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