Lopp
Inspired
BACKGROUND:
With so many accolades of the HPR 122i a couple of years ago, when deciding on a small PA for my band, we picked up two 122i's along with a HPR 151i for small venues. Since I originally fronted the $$, my logic was that I could use the 122i's for the Axe-Fx if the band broke up.
Thankfully, the band is still together, I have been fully reimbursed, and the QSC setup sounds great as a PA.
AXE-FX THROUGH SS POWER AMP AND 4x12:
Fast forward to a few weeks ago. I had been using a Carvin DCM200 as a power amp for the Axe-Fx through a Mesa 4x12. The combination sounded good with the Axe-Fx power amp section active.
PROBLEM:
We noticed one of the Channels of the Carvin was blown. Disappointing because I bought the Carvin new a little over a year ago and never pushed it hard. When it blew, I switched to an old Lee Jackson Perfect Connection SS power amp. However, the Lee Jackson was designed as a guitar power amp, wasn't flat, and ended up making my patches sound too "metal." I did like the sound, but we play pop and rock covers and the tone wasn't ideal. Switching off the power amp section of the Axe-Fx didn't help because I used patches, such as the Plexi, that utilized the Axe-Fx power amp sims for tonal purposes and switching off the power amp section messed with both my levels and tone. Also, the Carvin may have blown a speaker or two in the Mesa 4x12.
ENTER QSC:
The power amp and 4x12 issues finally prompted me to try the HPR 122i as a monitor. This was particularly appealing because I always wanted to try it, but didn't make the time to do so. This was also appealing because the HPR 122i is easier to transport than a 4x12.
RESULT:
Tonal bliss! I had my patches originally set up with an effects loop to bypass the Axe-Fx cab sims and send the signal to the 4x12. However, I also had cab sims in the patches, which were optimized for recording and running direct to the PA. The Axe-Fx used the Recto 4x12 cab sim to try to make it sound similar to my real Mesa 4x12. Thus, the Axe-Fx was ready to plug-and-play through the HPR 122i. The HPR 122i sounded great and after the first rehearsal with it, members of the band commented on how they liked the tone better, especially when compared to the Lee Jackson/4x12 configuration.
The 4x12 did give more of an "in the room" sound. However, I am loving the the HPR 122i because my patch configurations make it sound a little more like a recorded guitar and I prefer this recorded guitar sound for our cover band to make us sound more polished. I am also loving the HPR 122i because it is much easier to lug around than a 4x12.
Tomorrow is the first live gig through the HPR 122i and I am looking forward to finding out how it performs on stage.
While I still do like the Mesa 4x12, I may be a convert!
With so many accolades of the HPR 122i a couple of years ago, when deciding on a small PA for my band, we picked up two 122i's along with a HPR 151i for small venues. Since I originally fronted the $$, my logic was that I could use the 122i's for the Axe-Fx if the band broke up.
Thankfully, the band is still together, I have been fully reimbursed, and the QSC setup sounds great as a PA.
AXE-FX THROUGH SS POWER AMP AND 4x12:
Fast forward to a few weeks ago. I had been using a Carvin DCM200 as a power amp for the Axe-Fx through a Mesa 4x12. The combination sounded good with the Axe-Fx power amp section active.
PROBLEM:
We noticed one of the Channels of the Carvin was blown. Disappointing because I bought the Carvin new a little over a year ago and never pushed it hard. When it blew, I switched to an old Lee Jackson Perfect Connection SS power amp. However, the Lee Jackson was designed as a guitar power amp, wasn't flat, and ended up making my patches sound too "metal." I did like the sound, but we play pop and rock covers and the tone wasn't ideal. Switching off the power amp section of the Axe-Fx didn't help because I used patches, such as the Plexi, that utilized the Axe-Fx power amp sims for tonal purposes and switching off the power amp section messed with both my levels and tone. Also, the Carvin may have blown a speaker or two in the Mesa 4x12.
ENTER QSC:
The power amp and 4x12 issues finally prompted me to try the HPR 122i as a monitor. This was particularly appealing because I always wanted to try it, but didn't make the time to do so. This was also appealing because the HPR 122i is easier to transport than a 4x12.
RESULT:
Tonal bliss! I had my patches originally set up with an effects loop to bypass the Axe-Fx cab sims and send the signal to the 4x12. However, I also had cab sims in the patches, which were optimized for recording and running direct to the PA. The Axe-Fx used the Recto 4x12 cab sim to try to make it sound similar to my real Mesa 4x12. Thus, the Axe-Fx was ready to plug-and-play through the HPR 122i. The HPR 122i sounded great and after the first rehearsal with it, members of the band commented on how they liked the tone better, especially when compared to the Lee Jackson/4x12 configuration.
The 4x12 did give more of an "in the room" sound. However, I am loving the the HPR 122i because my patch configurations make it sound a little more like a recorded guitar and I prefer this recorded guitar sound for our cover band to make us sound more polished. I am also loving the HPR 122i because it is much easier to lug around than a 4x12.
Tomorrow is the first live gig through the HPR 122i and I am looking forward to finding out how it performs on stage.
While I still do like the Mesa 4x12, I may be a convert!