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Post by nick robinson on Dec 31, 2007 9:54:54 GMT
OK - a nice easy thread for the new year - what is your looping setup? Here's a diagram of mine, although it does seem to change from one gig to the next!  |
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Post by Stephen Scott on Dec 31, 2007 13:59:26 GMT
My newly simplified rig is easy. No pretty pictures though;
Guitar (PSR SE singlecut or Frankenstrat) - Korg AX3000G = Lexicon Vortex = Behringer 2024 processor (via Soundbite loop sampler headphone OP) = RX1602 mixer.
The sample OP of the Soundbite goes into another channel of the RX1602.
The headphone OP of the Korg AX3000G goes into another channel of the RX1602.
The soundbite loop sampler also feeds into a Yamaha SU10 (for lo-fi loops or filtering) which goes into a further channel of the RX1602.
Finally, the RX1602 aux sends feeds into my Boss RC20XL, which goes into another channel of the RX1602.
I find that this set up reveals a very 'hot' IP and OP on the Vortex, so I have to ensure that the OP from the Korg is kept quite low, and that (in the absence of a manual level control), all the Vortex output settings are changed from the default values of 64 to about 50. I have tried using the insert loop from the Korg to feed the Vortex but this has proved unsatisfactory for a number of reasons.
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Post by Bob Amstadt on Dec 31, 2007 17:00:40 GMT
Wow! How do you do the nice picture?
My rig is very simple at the moment:
custom 6-string electric bass -> Boss VF-1 -> Looperlative LP1 -> P.A.
I also do vocals, but at the moment I'm not looping vocals. So, my vocal chain is just this:
Shure Beta 58 -> Lexicon MPX1 -> P.A.
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Post by andybutler on Jan 1, 2008 19:00:53 GMT
Lexicon Vortex = Behringer 2024 processor ( The soundbite loop sampler also feeds into a Yamaha SU10 (for lo-fi loops or filtering) which goes into a further channel of the RX1602. I find that this set up reveals a very 'hot' IP and OP on the Vortex, so I have to ensure that the OP from the Korg is kept quite low, and that (in the absence of a manual level control), all the Vortex output settings are changed from the default values of 64 to about 50. . The 2024 has a sensitivity switch, so it should be able to deal with the Vortex output ( which afaik is a pretty standard studio line level). ....does that help? |
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Post by Stephen Scott on Jan 1, 2008 19:24:13 GMT
Lexicon Vortex = Behringer 2024 processor ( The soundbite loop sampler also feeds into a Yamaha SU10 (for lo-fi loops or filtering) which goes into a further channel of the RX1602. I find that this set up reveals a very 'hot' IP and OP on the Vortex, so I have to ensure that the OP from the Korg is kept quite low, and that (in the absence of a manual level control), all the Vortex output settings are changed from the default values of 64 to about 50. . The 2024 has a sensitivity switch, so it should be able to deal with the Vortex output ( which afaik is a pretty standard studio line level). ....does that help? Yeah, that was the first thing I tried. I think my problem seems to be my poor programming of the Vortex actually, because the overloading of the 'input' only seems to occur on one patch (the one which morphs from silence into a long sustain). I use the inverted commas on 'input', because the LEDs labelled LVL and OVL actually stay on even when there is no IP, presumably it is monitoring the level at some point post-feedback into the unit, rather than just the input signal. I can't find clarification of this in the manual. I must admit that I've always had great difficulty setting the level of this patch, with too quiet an input, theres a fair bit of hiss, but turning up the level a bit more will cause audible distortion really easily, so only a very narrow window of dynamic range to play with. As far as the OP overloading, using the same patch, it's all too easy to pin the level meters of the gear following the vortex into the red. |
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Post by andybutler on Jan 2, 2008 10:51:56 GMT
Yeah, that was the first thing I tried. I think my problem seems to be my poor programming of the Vortex actually, because the overloading of the 'input' only seems to occur on one patch (the one which morphs from silence into a long sustain). I use the inverted commas on 'input', because the LEDs labelled LVL and OVL actually stay on even when there is no IP, presumably it is monitoring the level at some point post-feedback into the unit, rather than just the input signal. First try reducing the Resonance params. If that doesn't do it then next thing is to increase the amount of delay (tap longer, or reduce the Echo% params). I'll watch the LEDS next time I play with the Vortex, but definitley if you overload the resonators this is shown on an LED |
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Simeon
Melos Echo Chamber
Posts: 4
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Post by Simeon on Jan 2, 2008 12:11:41 GMT
I find that this set up reveals a very 'hot' IP and OP on the Vortex for some reason, the vortex runs at instrument level, not line level, which means it's very difficult to integrate into a rack (i've found). i've had a couple in the past and bumped them for this very reason. sim |
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Simeon
Melos Echo Chamber
Posts: 4
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Post by Simeon on Jan 2, 2008 12:13:50 GMT
here's my setup...  |
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Post by Stephen Scott on Jan 2, 2008 12:34:52 GMT
First try reducing the Resonance params. If that doesn't do it then next thing is to increase the amount of delay (tap longer, or reduce the Echo% params). I'll watch the LEDS next time I play with the Vortex, but definitley if you overload the resonators this is shown on an LED thanks v much for your suggestions Andy. I checked this yesterday, the highest reso setting in these a/b patches is set to only 7, but I will try reducing that. I've also tried reducing the echo % parameter, which does help, but this also decreases the sustain of the delay, which is the main reason I like this patch (infinite sustain). Having a longer tap does help, but then I run into problems with the echo from the previous note coming through if I don't keep the heel down long enough to 'kill' it (if this makes sense). I will have a play tonight when I get home from work. I've also taken on board Simeon's comments (thanks for that) and will try putting the vortex at the front of the chain. |
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Post by andybutler on Jan 2, 2008 18:24:24 GMT
I checked this yesterday, the highest reso setting in these a/b patches is set to only 7, but I will try reducing that. I've also tried reducing the echo % parameter, which does help, but this also decreases the sustain of the delay, which is the main reason I like this patch (infinite sustain). Having a longer tap does help, but then I run into problems with the echo from the previous note coming through if I don't keep the heel down long enough to 'kill' it (if this makes sense). It's not the reso then. Decreasing Echo% actually increases the delay ;-) I reckon you need to make sure feedbacks are both zero (or near zero) in heel down, to help get rid of the "note before" thing. You can also increase Echo% in the heel down patch, that helps too, and makes the morph a bit more interesting depending on values chosen. Hopefully you're using 2 instances of Atmosphere B as the morph :-) With respect to Simeon, the Vortex is essentially a line level device, but has an input capable of enough amplification for an instrument level signal. That's why a lot of guitarists don't get on with it, because the output(with no knob) is too hot for their guitar amp input. I've been running a Vortex at line level for a decade or so, and don't have any gain staging problems. ( Input knob at half past nine, needs careful positioning). |
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Post by andybutler on Jan 2, 2008 18:31:32 GMT
Oh, and my rig.
Just series connection of everything.
Hofner SG copy.
ADA MP1 ( valve/tranny guitar pre)
Lex Vortex( with expression ped)
Pair of EDPs( controlled by Gordius LG)
Currently running thro Behringer Ultragain MIC 2200 as a DI
JBL Eon speakers, (or direct to pa)
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Post by Stephen Scott on Jun 19, 2009 7:07:39 GMT
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Post by andybutler on Oct 29, 2009 13:19:11 GMT
Fender Telecaster Plus / 62 RI AMT Electronics DM-3 Dist Machine / Sansamp Tri-AC H&K Redbox classic Line 6 M9 + Ex-1 Boomerang III Zoom MRS-4 / Yamaha AW1600 Genelec 8020 nice rig, a couple of questions if I may:- 1) Is that a pair of 8020? How big a venue can you do with them? I'm trying out my 8020's as an amp on Saturday, hoping they'll be big enough. 2) Aren't Teles a bit light in the bass range for a looping guitarist, or is there some way you compensate for that? Or is this just something that doesn't get in the way of your music. |
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Post by andybutler on Oct 29, 2009 13:31:07 GMT
Updated Oct 2009
Hofner SG copy.
EH Stereo Memory man
ADA MP1 ( valve/tranny guitar pre)
Alesis Multimix 8Line mixer, modified so inputs 1&2 can be switched "fx send only"
fx send to Lex Vortex
3 way split cables (N-cable) from Vortex to mixer input, and to:
1) Two EDPs in stereo config( controlled by Gordius LG)
2) Lexicon Jamman
Output from mixer to JBL Eon15s, or Genelec 8020s or direct to pa.
Possible additions
a) Moogerfooger MF-101 filter in MP1 fx loop
b) microphone for other instruments
c) small electronic percussion setup
d) and if I work out a way to fit in the Lex Alex reverb, might give that a try
Still looking for a good sub-octave device.
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Post by andybutler on Nov 1, 2009 12:05:17 GMT
So yes, this is a pair of 8020s but I never actually considered using them for shows so I wouldn't know. Let me know what you thought. The 8020s sounded great at the 'gig', but as my remit was to be somewhat in the background that's not surprising. Nevertheless, it was a largish venue and people were able to listen and even enjoy. You could do a 60 person venue with them, but only in the situation of a classical music concert...with people used to acoustic instruments...and prepared to sit quietly. It was really nice not to have to heave the JBL Eons about tho'. (or rely on the venue's pa) It's also nice to use the 8020s for a payng gig...thus making them tax deductable :-) ...and... yes, you certainly have piles of the cheaper gear, me too. |
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