I only run the L out.appreciate the wisdom. just to be clear, are you advocating only running the L output to FOH or still running both L & R to FOH but setting up my presets as mono?
if the latter, is there any benefit to using a stereo delay?
if left and right are the exact same signals, there's no reason to use 2 xlr cables as it's 2 of the same thing.appreciate the wisdom. just to be clear, are you advocating only running the L output to FOH or still running both L & R to FOH but setting up my presets as mono?
if the latter, is there any benefit to using a stereo delay?
copy left to right is the same thing as just sending the left signal to the mixer. it's only useful if you're ALSO using the right signal to something else and want the same thing in both.Thanks to Scott Peterson for all his valuable advice.
For me in rehearsal or live it's mono in copy mode L and R to the sound system for all the reasons Scott mentioned.
At home, however, I always switch to stereo because it's super pleasant with headphones!
My panning effects are always limited in order to have patches that work well in mono.
I have a question. I use an enhancer block for wide sound expansion to create a stereo effect. The sound is then more pleasant than in the mono version. I then send the signal via XLR from two channels L and R. Can this cause problems for the sound engineer in live performances, as Scott Peterson wrote about?
So, put the enhancer on a switch for our gig and I'm glad I did...it sounded terrible live. As soon as I shut it off, my normal tone returned.
Be aware of the fact that not every type in the Enhancer block is phase-cancellation proof.Can this cause problems for the sound engineer in live performances
What he said. All of it. Even the last line.I am a longtime performing guitarist and have programmed hundreds, if not thousands, of rigs for other musicians. Unless you are performing on a production-level event with a dialed-in full PA with a dedicated FOH engineer who can handle and request it, you should run mono live.
In a recorded mix? Stereo ALL DAY and ALL NIGHT. But live? 99.9999^% mono.
Most sound guys in a given room need more patience to dial in a stereo mix; they want to get your signal in and go. Stereo is an indulgence live unless you have a dedicated sound guy who understands what he is doing. The PA system must be optimized to deliver it to as wide a swath of the audience as possible. Panning two guitarists slightly one way and another is one thing; to accommodate stereo guitar effects is entirely another. They don't need the hassle and, in most cases, will not take the time to do it. The room and PA system might not be able to deliver across the full audience width and depth.
Why? Most often, if you have panned effects, the ONLY people who will hear that correctly are in the center 'sweet spot' for any given system. Big or small. It is not optimal for anyone sitting up front, in the back, or on the sides. They will hear either side of the effect more than the other, a wash of both in the back or none of it if they are upfront without center fill (in that case, it is mono 99% of the time). Only those lucky enough to be in the middle, side to side and front to back, will experience it how you intend to.
The Solution. Run mono, and check your effects for any phase issues. Let's look at a ping-pong delay as an example. Make one delay slightly louder and a bit softer so they tuck together in mono. Does it matter that it's not wide? No, not really in the end. Now, EVERYONE, no matter where they sit, hears what you intend and has no issues.
Pro Tip. Don't piss off the sound guy. Could you make his job as easy as possible in as little time as necessary to get him rolling? Please have your presets leveled and your solo boost set (+4db to +6db if running direct), and ensure he knows all this in advance.
Here's to the live sound engineers that welcome the challenge of stereo and to not pissing off the rest.Stereo is an indulgence live unless you have a dedicated sound guy who understands what he is doing.
Despite the fact that I'm dabbling in stereo for live, I absolutely agree with all of this. 99% of the time I'm going to be working with a guy that is on board with the idea, and if it is ultimately not worth it for him, I'll ditch it for FOH. I'm also going to need mono versions of my presets for the odd occasions that we use someone else. Also, when these presets move to my FM9, I don't think I'm going to have enough CPU to do all of this, so those will most likely be mono.I am a longtime performing guitarist and have programmed hundreds, if not thousands, of rigs for other musicians. Unless you are performing on a production-level event with a dialed-in full PA with a dedicated FOH engineer who can handle and request it, you should run mono live.
In a recorded mix? Stereo ALL DAY and ALL NIGHT. But live? 99.9999^% mono.
Most sound guys in a given room need more patience to dial in a stereo mix; they want to get your signal in and go. Stereo is an indulgence live unless you have a dedicated sound guy who understands what he is doing. The PA system must be optimized to deliver it to as wide a swath of the audience as possible. Panning two guitarists slightly one way and another is one thing; to accommodate stereo guitar effects is entirely another. They don't need the hassle and, in most cases, will not take the time to do it. The room and PA system might not be able to deliver across the full audience width and depth.
Why? Most often, if you have panned effects, the ONLY people who will hear that correctly are in the center 'sweet spot' for any given system. Big or small. It is not optimal for anyone sitting up front, in the back, or on the sides. They will hear either side of the effect more than the other, a wash of both in the back or none of it if they are upfront without center fill (in that case, it is mono 99% of the time). Only those lucky enough to be in the middle, side to side and front to back, will experience it how you intend to.
The Solution. Run mono, and check your effects for any phase issues. Let's look at a ping-pong delay as an example. Make one delay slightly louder and a bit softer so they tuck together in mono. Does it matter that it's not wide? No, not really in the end. Now, EVERYONE, no matter where they sit, hears what you intend and has no issues.
Pro Tip. Don't piss off the sound guy. Could you make his job as easy as possible in as little time as necessary to get him rolling? Please have your presets leveled and your solo boost set (+4db to +6db if running direct), and ensure he knows all this in advance.
I use output 1 via XLR to 2 FRFRs set behind me (settings "copy output1 to output 2)Something occurred to me last night and I'd like a better understanding before I go and screw up a bunch of presets by making them stereo via the cab block.
I have 2 EV pcm-12mp speakers running out of Out2. The Out2 L goes to one speaker and the Out2 R goes to the other speaker. Out2 is set to copy Out1, so all my presets only show the Out1 block. I plan to use one EV as my backline and the other as my monitor. At some point in the future I may decide I don't need the monitor in front (small stages) and use both for backline but for the time being, this will be my setup.
So for the most part, the crowd in front of the stage will only be hearing the backline speaker. I'm also running stereo to FOH. I'm trying to wrap my head around how delays will work in this setup. For instance, If I use a Ping Pong delay that pans from L to R, the crowd in front of the stage will probably not hear one of the delays (the one hitting my monitor). They'll hear the delay originating from the backline speaker. But FOH will hear both of the delays L & R.
Is there a way to address this? How could I get my backline speaker (or backline and monitor) to project both delays L & R while FOH doesn't lose the stereo capabilities? Maybe I'm overthinking this. First gig w/ the FM9 coming at month's end. Not a lot of gigging experience so I'm a bit nervous...to say the least.
Any insights greatly appreciated.