Hook up question

L

lizzieusedaaxe

Inspired
I want to use my Eventide H9 with the FM3 and set it up like a effects loop putting a Out 2 block going into the input of the H9 and the output of the H9 going into the In 2 block so I can put the H9 between the amp and cab blocks. I am using the power section of my tube amp going into its effects return currently using the Out 2 to go to it using guitar cable. If I do the H9 thing, which output do I now use to go to my tube amp since I used the Out 2 to make the effects loop? Do I need to get a XLR to 1/4 TS cable and come out of Out 1 to go to a 1/4 inch input power amp? Hope this makes sense to somebody.
 
Why do you want the H9 in a loop instead of just connecting the two devices in series?
 
"Hook up question" is definitely an invitation to make a thread veer off the road and into the weeds. It'd help to make the title more indicative of the actual question, something like "What is the proper position for an H9 in a preset?"

Back to the question: Using it in an effects loop will work because you can easily move the Out 2 -> In 2 blocks around in other presets. See p. 37 in the manual.

Also, check out @Moke 's preset contribution in today's "Gift of Sound" as he shows a method of moving a block between two different positions in the layout which would allow it to be either a pre or post effect.
 
Greg Ferguson said:
"Hook up question" is definitely an invitation to make a thread veer off the road and into the weeds. It'd help to make the title more indicative of the actual question, something like "What is the proper position for an H9 in a preset?"

Back to the question: Using it in an effects loop will work because you can easily move the Out 2 -> In 2 blocks around in other presets. See p. 37 in the manual.

Also, check out @Moke 's preset contribution in today's "Gift of Sound" as he shows a method of moving a block between two different positions in the layout which would allow it to be either a pre or post effect.
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I knew it was a bad way to word the thread right after I hit post, but it will make more curious I guess

Yes page 37 of the manual is what I'm thinking of but then needing to go into a 1/4 input of the tube amp effect return to use power section. Output 1 is XLR so is the only way to buy a cable that goes from XLR female to a TS 1/4inch jack is what I'm asking
 
lizzieusedaaxe said:
Yes page 37 of the manual is what I'm thinking of but then needing to go into a 1/4 input of the tube amp effect return to use power section. Output 1 is XLR so is the only way to buy a cable that goes from XLR female to a TS 1/4inch jack is what I'm asking
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Well, the Out 2 and In 2 are recommended for external devices (pgs. 21 and 37 ), but that's not a hard and fast rule. I'd use those though because my Out 1 is dedicated to my FRFR and FOH feed via XLR.
 
Greg Ferguson said:
Well, the Out 2 and In 2 are recommended for external devices (pgs. 21 and 37 ), but that's not a hard and fast rule. I'd use those though because my Out 1 is dedicated to my FRFR and FOH feed via XLR.
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I have a question about this. I am new to all this. I am going to an open mic situation next week where a back line is provided - I think a Marshall stack 4x12. I suspect the sound guy won’t run me direct and will just say “plug into the amp” - so I will need to follow the Setup instructions for the power amp scenario in the manual. I’m a bit nervous about setting up my patch. Should I use output 3 at unity gain to the Marshall?
 
sick pickle said:
I have a question about this. I am new to all this. I am going to an open mic situation next week where a back line is provided - I think a Marshall stack 4x12. I suspect the sound guy won’t run me direct and will just say “plug into the amp” - so I will need to follow the Setup instructions for the power amp scenario in the manual. I’m a bit nervous about setting up my patch. Should I use output 3 at unity gain to the Marshall?
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I would leave the modeler at home and plug my guitar straight into the Marshall and turn the gain up until it was just about to break up, then ask how loud will they allow?

There are situations where it’s easier to go with the flow. Modelers are fun, but jams are not necessarily the best situations to do it your way unless you have time to get set up in a way that will work for them and for you.
 
Greg Ferguson said:
I would leave the modeler at home and plug my guitar straight into the Marshall and turn the gain up until it was just about to break up, then ask how loud will they allow?

There are situations where it’s easier to go with the flow. Modelers are fun, but jams are not necessarily the best situations to do it your way unless you have time to get set up in a way that will work for them and for you.
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Understandable. In the situation, I’m thinking of presets that have been specifically designed with certain delays or certain sounds, which I would like to have with me rather than just plugging in. But totally get the sentiment.
 
sick pickle said:
Understandable. In the situation, I’m thinking of presets that have been specifically designed with certain delays or certain sounds, which I would like to have with me rather than just plugging in. But totally get the sentiment.
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If you are a mainstay and supplying backline equipment for the event and are there to help others who are using your gear, then a more complex modeler setup is doable. I get there 45 minutes early, get set up and coordinate with the FOH guy on my feed to that system and we do a quick sound check. Throughout the night I help people get situated on my rig and give them tips, because some people are very intimidated by modelers.

If you are sitting in on other people’s gear, then make your use of their gear as seamless as possible. Set up and tear down in less than five minutes because, otherwise, you are cutting into the time for your set or the following one. That usually means you don’t have time for anything but running pre-effects, i.e., the modeler is ONLY supplying effects, not Amp or Cab modeling. Section 4, especially p. 34 is your friend.
 
Greg Ferguson said:
If you are a mainstay and supplying backline equipment for the event and are there to help others who are using your gear, then a more complex modeler setup is doable. I get there 45 minutes early, get set up and coordinate with the FOH guy on my feed to that system and we do a quick sound check. Throughout the night I help people get situated on my rig and give them tips, because some people are very intimidated by modelers.

If you are sitting in on other people’s gear, then make your use of their gear as seamless as possible. Set up and tear down in less than five minutes because, otherwise, you are cutting into the time for your set or the following one. That usually means you don’t have time for anything but running pre-effects, i.e., the modeler is ONLY supplying effects, not Amp or Cab modeling. Section 4, especially p. 34 is your friend.
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This is what I’ll do. Thanks!! The only thing I won’t know is if my block levels are proper – like overdrive levels and such.
 
sick pickle said:
This is what I’ll do. Thanks!! The only thing I won’t know is if my block levels are proper – like overdrive levels and such.
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That is what the preset leveling tool and various meters in the layout view do, along with some preflight testing. You might want to set up some per-preset performance controls to make key controls more accessible.
 
Greg Ferguson said:
That is what the preset leveling tool and various meters in the layout view do, along with some preflight testing. You might want to set up some per-preset performance controls to make key controls more accessible.
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Confused here - without a physical amp (I haven't had a guitar amp for many years)...how can the preset levelling tool prepare a patch for a backline scenario?

Would I build a 'pre' type effects patch with amp/cab blocks to simulate the real world and then delete these prior to the gig?
 
sick pickle said:
Confused here - without a physical amp (I haven't had a guitar amp for many years)...how can the preset levelling tool prepare a patch for a backline scenario?
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Regardless of what's used for final power amplification (st monitor, FR Amp + FR Cab, tube amp + real cab ...), the patch needs to be levelled inside the box so that internal patch volume variations are inside a range that will not clip digital outputs. Once that's done the physical knob on the unit (and/or level control on the external power amplification) can regulate final external volume in addition to any volume control built inside the patch running within non clipping range.
 
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