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daveschutt

Need Some Advice On Created Stereo Patches

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Lately I've been using my main patch (attached) for my HD500 using the L6 link to a DT-25 head and then to a Blackheart 1x12 cabinet with an Eminance speaker mic'd with an SM-57 off-axis.  Our sound man wants to make more of a spatial "Wall of Guitar" sound and wants me to try the XLR outs to create a more stereo effect with the guitar sound.  So I know I know I'm lucky to have a sound guy that wants "more guitar", now I just want to make sure I'm happy with the overall sound.

 

Please take a look at the patch and offer suggestions on what I can do.  The first thing I see is going from a digital delay to a stereo delay but I'm concerned that as the patch sits now I won't be able to use one delay for both signal paths.  I want to preserve that Bonamassa/EJ clean/wet amp sound I have now.  I know also for me to use my FX loop for a clean boost I'm going to have to use a TRS to mono L/R split cable which I have.

 

As I'm using it now, when I use my L6 link going to the cabinet is it only using signal path A with the P-75 and nothing from the Blackface DBL?  I was never sure about this.

 

 

Finally if I get my patch tweaked for stereo with your suggestions and go XLR L and R direct out should I pan the mixer hard L and R?  I know the FOH guy is going to blend them some in his mix. Also, can I still use the L6 link to the DT-25/1x12 for a 3rd guitar signal? Will it sound good?  Just be Path A? Will it conflict with the Direct Out output setting of the HD unit?

 

Sorry for the barrage of questions in a somewhat disorganized fashion.  I swear I haven't been drinking, just tired and trying to remember all the points I was needing to know to prepare for the gig Thursday.

 

Thanks,

 

Dave

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Put a digital delay on path B and set it to 25ms delay and Mix on full.  Adjust as needed for stereo effect.

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If I was doing a stereo guitar tone, I would do it one of two ways.   ...and yes, I would pan hard L and R.  The sound guy can handle any further panning if needed.

 

1. like joel_brown said, use one amp, then add super-quick delay on one side to double the sound up.

2. have two separate amps that are somewhat similar.  One going to L, one to R.  Maybe again use a delay to barely offset one side.

 

The key to a "wall" of guitar sound is more in the tiny differences in playing, rather than the difference in sound.  With one guitar player, that can be harder to do.  I wouldn't use two distinctly different amps to complement each other like you would with a regular mono dual-tone setup.  Rather, I would make the L and R sounds similar, but do something to simulate a difference in playing, such as adding a tiny delay.

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The trouble with 2 amps is that the "DSP Limit Reached" message is all over the place...

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