ADA Depot Too - A Forum To Support Users of ADA Amplification Gear

Please login or register.

Login with username, password and session length
Advanced search  

News:

Board added for "ADA Cab Sims" in Other ADA Gear (coz El asked for it LOL)

Pages: 1 [2] 3   Go Down

Author Topic: NEW To Racks - Have ADA Gear - please advise  (Read 3862 times)

0 Members and 1 Guest are viewing this topic.

van Sinn

  • Sr. Member
  • ****
  • Offline Offline
  • Posts: 491
  • Know Thy Law
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #15 on: Time Format »

Ahh, the love and joy of programmable systems ;)

Should something not work as intended, despairth noth my friend, but listen to network people:
"In case it doesn't work, check the PSU, then the wiring, then the routing.
If it still doesn't work, check the routing again, just in case.."
Logged

rnolan

  • Administrator
  • Hero Member
  • *****
  • Offline Offline
  • Posts: 4368
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #16 on: Time Format »

All good advice guys  :thumb-up: but why would you put the hush in the MP2 (parallel) loop ?? it's just going to either gate the Fx (if placed last in the loop) or gate the Fx send into the Fx (which will be mixed back with the dry signal at 25%) if it's the first in the loop you put it there  :dunno: . Also the MP2 has a noise gate per patch which you only need on the very high gain voices (7, 8, 9 and 10).  Seems more sensible to put the Fx in the loop (so Fx on recording outs as well as main outs and better gain structure and analogue tone preservation) and put the hush between the MP2 main outs and poweramp.
Logged
Studio Rig: MP2/MB1 > Eurorack UB2442FX-Pro > TC M-One XL > Behringer Truths (with Truth Sub) / QUAD ESL 63s
Live Rig: MP2/MB1 > Alesis Quadverb > Alesis Midiverb 4 > Yamaha AM802 > B200s/Carvin TS100/DCM200L > ADA Split Stacks/Mesa P112s

Kim

  • Bringer of Doom
  • Administrator
  • Hero Member
  • *****
  • Offline Offline
  • Posts: 593
  • Circle in the night, a fire within.
    • View Profile
    • Ov Moros
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #17 on: Time Format »

All good advice guys  :thumb-up: but why would you put the hush in the MP2 (parallel) loop ?? it's just going to either gate the Fx (if placed last in the loop) or gate the Fx send into the Fx (which will be mixed back with the dry signal at 25%) if it's the first in the loop you put it there  :dunno: . Also the MP2 has a noise gate per patch which you only need on the very high gain voices (7, 8, 9 and 10).  Seems more sensible to put the Fx in the loop (so Fx on recording outs as well as main outs and better gain structure and analogue tone preservation) and put the hush between the MP2 main outs and poweramp.

Arg. :facepalm:  I didn't proofread my Quote very well I guess, and have fixed that. 
For the record:  I don't and would NOT use a separate Hush unit at all with the MP-2.   :thumb-up:
Logged
RIG OF FIRE:  ADA MP-2, Rocktron Xpression, Peavey Classic 60/60, Gator GPB-BAK-1 pedalboard, Korg DTR1000, Rolls MidiBuddy, Morley Tremonti wah, Saturnworks buffered splitter.
Mellotron/organ section:  EHX Mel9, EHX C9, EHX Soul Food, Boss LS-2, Morley Volume, Crate Powerblock.
Pair of 4x12 cabs:  each custom wired for both 2x12 guitar and 2x12 Mel9. UPDATED DIAGRAMS
HOME/STUDIO/COMBOS/STUFF:  ADA Quad Tube 150m, Crate G60XL, Saturnworks Saturn Fuzz, Boss CS-3.
GUITARS:  Jackson KE3-DiMarzio Breed/PAF Pro, Jackson KE3-DiMarzio Breed/PAF Pro, Silvertone P-bass, '70s Gretsch Dorado acoustic.

rnolan

  • Administrator
  • Hero Member
  • *****
  • Offline Offline
  • Posts: 4368
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #18 on: Time Format »

Hey Kim, as posted, nor would I use a Hush in this context but MRob has one and wants to include it.  So where best to include it for him ?  Now MJMP has suggested 1st in Fx loop before muti FX (Art was it ?). Now this makes sense (to me) more with 3TM serial mono (not stereo parallel) Fx loop, hence I'm wondering about MJMPs reasons for the choice  :dunno: . And also maybe use the 2 Hush channels separately (gate before the 3TM (chan A) and in the loop (chan B)) (which IIRC is similar to how MJMP uses his ?). But this is for a 3TM MP1.  Hey MRob hope we're not spinning you out too much here  :facepalm: .  The most simple stereo (which WILL sound allot better than mono) set up to start with is probably:
MP2 main out A/B > Art Fx in L/R, Art Fx out L/R > Mosvalve L/R in, Mosvalve speaker out > cabs.  And you will need to adjust the dry guitar to FX mix in the Art Fx to taste (how much Fx you want to hear).
If you wanted to then add the Hush, I'd put it after the Art Fx before the Mosvalve. (so MP2 > Art > Hush > Mosvalve > cabs). As you can probably tell by now, there are many ways to plug things together, and reasons why you would maybe go one way or another...
Logged
Studio Rig: MP2/MB1 > Eurorack UB2442FX-Pro > TC M-One XL > Behringer Truths (with Truth Sub) / QUAD ESL 63s
Live Rig: MP2/MB1 > Alesis Quadverb > Alesis Midiverb 4 > Yamaha AM802 > B200s/Carvin TS100/DCM200L > ADA Split Stacks/Mesa P112s

Rawk777

  • Jr. Member
  • **
  • Offline Offline
  • Posts: 51
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #19 on: Time Format »

In general, you want a noise gate before delay and reverb fx type.
You can use it after other fx types (chorus, phaser, etc), but before reverb and delay.

Let me explain : the noise gate will cut the signal when it reaches a certain level. If you use a long reverb, for exemple, the tail of the reverb will be cut by the noise gate, which is not what you want.

It's true that it doesn't make any sense to put the hush in a parallel fx loop. Can the mp2 fx loop can be used serial?
Logged

Harley Hexxe

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 1169
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #20 on: Time Format »

All good advice guys  :thumb-up: but why would you put the hush in the MP2 (parallel) loop ?? it's just going to either gate the Fx (if placed last in the loop) or gate the Fx send into the Fx (which will be mixed back with the dry signal at 25%) if it's the first in the loop you put it there  :dunno: . Also the MP2 has a noise gate per patch which you only need on the very high gain voices (7, 8, 9 and 10).  Seems more sensible to put the Fx in the loop (so Fx on recording outs as well as main outs and better gain structure and analogue tone preservation) and put the hush between the MP2 main outs and poweramp.

   Putting the Hush between the main outs and the power amp will gate the delays and reverbs. Put it in the loop before the ART and the only thing that will be gated is the noise on the high gain programs.
Logged
Cool is a rule, and Creativity is KING!

van Sinn

  • Sr. Member
  • ****
  • Offline Offline
  • Posts: 491
  • Know Thy Law
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #21 on: Time Format »

Just a notice about to stereo or not - or to pseudo-stereo..
If you don't really feel the need for stereo, you could rewire a 4x12 for dual-mono; that is, two speakers to left channel, the other two for right.
While this is essentially still stereo, it won't feel like a spread-out stereoscopic field, but will still result in a nice ambient sound field.

If your speakers are 8 Ohm each, you can wire two in series for a 16 Ohm resulting load on you amp, which will never burn the output transformer - but you might loose some watts if the amp has less than 16 Ohm out.
If your amp has, say, 4 Ohm output, you can wire the two speakers in parallel for a resulting 4 Ohm load to the amp, and you won't loose power.

(I don't have any of the above setups, but once had a Roland Jazz Chorus 2x12 stereo combo; same thing, and nice compact ambient sound)
Logged

MarshallJMP

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 3448
    • View Profile
    • marshalljmpmodshop.net
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #22 on: Time Format »

It's a fact that if you put the hush in the loop you will need to set the loop to serial (100% wet)
Logged

van Sinn

  • Sr. Member
  • ****
  • Offline Offline
  • Posts: 491
  • Know Thy Law
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #23 on: Time Format »

My question is this:
If you put a hush in a loop and dry/wet mix it, will this better allow playing the old Deep Purple song Hush-Hush.. :dunno: :crazy: :lol:
Logged

MRob

  • Newbie
  • *
  • Offline Offline
  • Posts: 10
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #24 on: Time Format »

Wowwww!  This is some intense stuff!  You guys are amazing to say the least. Thank you all so much for your time and efforts here.  It looks like my requests have sparked quite a conversation.

Ok, so please allow me re-vamp my request a bit and provide more info. 

1.  This is the first rack I have EVER messed with or ever used.  I have never even played through a rack system let alone hook one up in any way. 
2.  Stereo?  I have heard that it sounds amazing.  I've never played "stereo" - that I know of anyway.  I've always just played through amps and cabs driven by heads or a combo amp.
3.  My effects have always been on my pedal board - Modulation pedals, an over drive, EQ, TU-2(tuner), CryBaby, ISP Decimater.
4.  I detest that "noise" during high gain... it's extremely annoying to me especially when playing live.  The Decimater would do "ok", but when I read all the reviews on the Hush and read that many pros still use them today, I searched and picked one up.
If the Hush is truly not needed here, then we can leave it out of the mix until I "graduate" to an MP-1 :).
5.  Despite all my years of playing I have also never ran anything through an effects loop, so that's new to me as well.
6.  I have NO idea whatsoever, what "dry" and "wet" means.  I've heard other players talk about it in the studio and all... probably the same conversation of how they are going to approach the diminished 3rd on the 9th octave of the flat 5!  Again, NO CLUE!  LOL!  :headbanger:
7.  I won't be doing any recording in the near to long future, so "recording" is a non issue for now.

I haven't hooked anything up at this point as I'm still trying to understand it all AND waiting on longer patch cables to get it all together.

So... having said all of that... let's re-vamp things.

NO Hush in the mix
Using just the 1 - 1x12 ported Mesa Cab
Simple, yet effective set up

I would be using this set up to rehearse with and also play live with.  I will mic the cab, nothing direct and no need to record anything.

I will be reading the manuals as suggested until I get the cables to hook it all up.

Do I need TS or TRS cables?   I have already learned that I need about 18" cables! :)   Regular colored patch cables work ok?

What I'm looking for is that 80's Big Rock sound... i.e., Nuno, Skid Row, Great White -  Volbeat has that sound today!  It sounds SO good to me.  Not that "thin" over-processed sound that some bands had.  It was a big guitar sound.  Again, Skid Row really nails this sound.  From what i've read the MP1 was used on these albums back then.

So... I know I've given a lot more info here.  I greatly appreciate all of your awesome help.  Wow!  This is all good stuff!



Logged

rnolan

  • Administrator
  • Hero Member
  • *****
  • Offline Offline
  • Posts: 4368
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #25 on: Time Format »

Hey MRob, hang in there  :wave: , we'll help you decipher it all LoL. I now understand MJMPs initial suggestion re hush placement.  How you plug things together depends on lots of things.  The additional info you posted helps us focus on your needs, thanks for that.
Ok.  Wet/Dry, this is important to understand and not particularly complicated.
The "dry" signal is generally considered to be the guitar signal after being preamped by the tubes (so distortion and eq added).  The signal coming from your PUs (BTW I'm ignoring any stomp pedals here) is in millivolts.  This signal is "preamplified" by the MP2 tubes and boosted to around a volt.  Depending how you set the tube drive levels and MP2 voices, the tone is altered and various amounts of tube distortion added. The signal then passes through the MP2 eq stages (it has 2 different eqs ie your standard bass, mid, treb, presence boost or cut and then a 9 band graphic eq for finer more selective boost or cut at the various frequencies involved in a guitar signal).  What comes out of this is called the dry signal (ie no Fx added yet).  There is a really good block diagram at the front (page 2 IIRC) of the MP2 manual which shows the signal flow through the MP2.  As you learn and understand more you'll get a handle on what each stage of the MP2 does/can do to the signal (and thus why the various reasons/suggestions in these posts).
The "wet" signal generally refers to FX like delay, reverb, chorus. eg a fully wet signal will sound like a bathtub of delay and reverb etc.
Normally you want to hear the dry signal with some Fx added in, how much Fx you add in depends on the sound you want.  So you could add in a little delay and reverb etc just to augment the sound a bit, or you could add allot of Fx signal to the point where you can't hear the dry signal any more (full wet).  This is the wet/dry mix ie how much dry signal compared to how much wet signal.  So dry is no Fx and wet is all Fx.  The dry signal coming from the eq and then noise gate is split into stereo by the MP2 chorus stage, these are then further split into dry/wet by the MP2 Fx loop.  Generally you plug the Fx sends into the L/R inputs of Fx devices (you have an Art multi fx unit) where you apply delay, reverb etc.  The Fx unit L/R outputs then plug into the MP2 Fx returns (hence a loop if you will). The MP2 has a Mix setting to control how much of the "wet" fx signal is combined back in with the dry signal (split off earlier just before the loop).  How much Fx is combined is controlled by the Mix setting.  By default the MP2 mix is set to 25% for each return (they don' have to be set the same but is simpler) as this works fine as a starting point.  Now within the Fx unit itself, it will also have a wet/dry mix setting.  When using it in the MP2 Fx loop, it's best IMO to set this to full wet (all Fx and no dry) and do the balance/mix between wet and dry signals with the MP2 mix settings.
However, you could put the Art Fx after the MP2 (ie MP2 out A/B > Art > amp > cabs) in which case you would need to use the Art Fx wet/dry mix settings to get the balance between wet and dry you want.
Now as you look at the MP2 signal flow diagram you'll see there is a compressor and wah filter before the tube section (lets discuss them later) and then the tone(basic eq) and graphic eq sections feed the Mp2 noise gate (does the same thing as the hush basically, gets rid of the additional noise created by really high gain tube settings) and then onto the MP2 chorus (this is where the MP2 goes "pseudo" stereo).  You can do chorus with the MP2 or in the Art Fx (or both  :facepalm: ).  The MP2 Fx loop is after the chorus and is now L and R, hence Fx send 1 and 2. Here you can add delay, reverb, phase, flange etc with a Fx unit(s) and mix them into the (now stereo) signal.  So an FX loop is a way to combine (typically higher quality) Fx into you signal (rather than putting them up front via various stop boxes).  The rack Fx unit(s) can be programmed and controlled by Midi switching, so not only are they much better quality sounds, you don't need lots of pedals and wall warts etc at your feet. So you can call up a particular MP2 patch with your MXC pedal (eg 100) and the Fx unit will change also to patch 100 (often 99, but another conversation) and what you have programmed for that Fx patch is also recalled and applied. So no more doing the pedal dance to turn Fxs on off etc.

To get you started, I suggest you go Guit > MP2 (Art Fx in MP2 Fx loop Fx send 1/2 to Art in L/R, Art out L/R to MP2 Fx returns 1/2) > amp > cabs (use both your Messa 1 x 12 and the 2 x 12, one on each amp channel, it will sound much better than just 1 x12 but try both (ie just 1 x12 or 1 x12 and 2 x 12) a see (hear) what you think).  Your MXC pedal needs power, it usually gets it by using the 7 pin midi lead (MXC midi out to MP2 midi in) and the wall wart plugs into the back of the MP2 (just next to the midi in socket). You then use the MXC to change the MP2 patches. You also plug a midi cable between the MP2 midi out (or midi through) into the Art Fx midi in, this feeds the midi program change from the MXC pedal to the Art at the same time as to the MP2. To make life simple, set the MP2 midi channel and the Art Fx midi channel to receive "All" or Omni.

When you use the MP2 Fx loop, it can be switched on or off for "each" patch, edit the desired patch that you want Fx on and turn the loop on, it will default to 25% wet/dry mix setting which should work fine and in the Art, adjust for full wet mix (no dry).

Cables, the cheap colored patch cables are ok but they are not normally soldered inside the plugs and can be problematic, that said if you are not changing them much they work ok.  Better to use good quality leads (I make my own mostly).

One more comment re wet dry...  You could (pedantically) argue that any change to the raw guitar signal is adding "wet" (eg adding distortion or eq etc).  In all this discussion it really would only be the MP2 chorus (and maybe wah) that you would "normally" consider as additional wet.  The distortion and eq (or even compressor and noise gate) would be considered part of the "dry" sound.
Logged
Studio Rig: MP2/MB1 > Eurorack UB2442FX-Pro > TC M-One XL > Behringer Truths (with Truth Sub) / QUAD ESL 63s
Live Rig: MP2/MB1 > Alesis Quadverb > Alesis Midiverb 4 > Yamaha AM802 > B200s/Carvin TS100/DCM200L > ADA Split Stacks/Mesa P112s

rnolan

  • Administrator
  • Hero Member
  • *****
  • Offline Offline
  • Posts: 4368
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #26 on: Time Format »

Also you asked about TRS or TS jacks, all the MP2 jack connections are TS (unbalanced) 1/4" jacks.  The Art Fx and the Amp are also unbalanced TS as far as I know so standard shielded jack leads will be fine.

To plug in your ART Fx. use 4 short patch leads, MP2 Fx 1/2 out to Art L/R inputs, Art L/R outputs to MP2 Fx returns 1/2.  Set the MP2 Fx buttons to line level and adjust the Art mix slider to the right (full wet), and make sure the Fx loop is turned on in the MP2 patch you are using or you wont get any Fxs.  The MP2 Fx loop is on or off per patch. (later you can use the quad switch to turn it on/off while playing if you want (another conversation).
And with your Mossvalve, 2 short patch leads, MP2 main out A/B to Mossvale in 1 and 2, and 2 "speaker" leads for the outputs 1 and 2 to the cabs (don't use guitar patch leads here!).  Try the gain knobs about half to start with and MP2 vol knob and room eq knob about 12 o'clock as well.  Start with the presence off on the Mossvalve then try turning it up to hear what it does.  Presence is a hi-mid freq boost around the area our ears are most sensitive.  depends on the unit/implementation but it's usually around 4, 5 or 6 khz, you can think of it as "cut" as it will make the sound cut through the mix. E.g. shure SM 58s and 57s have a presence hump (boost) around 5khz to help a vocal cut through (stand out).
« Last Edit: Time Format by rnolan »
Logged
Studio Rig: MP2/MB1 > Eurorack UB2442FX-Pro > TC M-One XL > Behringer Truths (with Truth Sub) / QUAD ESL 63s
Live Rig: MP2/MB1 > Alesis Quadverb > Alesis Midiverb 4 > Yamaha AM802 > B200s/Carvin TS100/DCM200L > ADA Split Stacks/Mesa P112s

Harley Hexxe

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 1169
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #27 on: Time Format »

Hi MRob

    The 80's was all about big guitar sounds. One of the way you can do this is with a stereo rig. Stereo does sound wider which give you a larger sense of size whereas mono sounds more "in-your-face."
   As Richard stated above, when you use the built in Chorus effects in the MP-2, (which is a very lush effect), the MP-2 will already put your rig in stereo with a slight time and pitch modulation between channels. The Chorus is adjustable in the sub menus, so you can make it go from subtle to extreme to suit your taste.
   The MP-2 also has a built in wah effect which can be set to a triggered mode,( it activates when you hit the strings), or remote, (can be controlled with the CCP/MXC pedal), so it's just like a stand alone wah.
   *NOTE* you will need T/R/S leads to connect the Quad switch and CCP to the MXC pedal.

    I would recommend good quality cables to connect your guitar system together, something that doesn't contribute to signal loss. You could have the best sounding guitar and amplifier in the world, but if the cables that connect it all together are weak, you will lose a lot of the good things you are looking to get out of it. It's your call.

    I believe you are doing the right thing by leaving the Hush out of it for now. The noise gate in the MP-2 may be all you need. You can change it from "Gate" to "Fader" in the sub menu when you are editing your programs. Gate means a hard cutoff when the signal drops below the Threshold you have set for it. Fader means the cutoff will be a bit softer and not as abrupt as the gate.

   The effects loops are nothing to be afraid of, in fact they are quite useful these days to get a much better quality guitar tone with your effects combined. To give you a better idea how this is a good thing for guitar amplifiers, let me go back into the history of how the modern guitar systems developed.

   Back in the 50's and 60's, guitar amplifiers were very simple. they had all tube circuits, and each one had it's own distinctive sound. All the amps back then were being built with the same thought in mind, to be the loudest amp out there, but to stay CLEAN the whole time. The two biggest companies who were building the best guitars and amps were Fender and Gibson. Fender was building guitars with single coils, and the amplifiers were built for these guitar with an input section that could take these guitars and keep the sound sweet. Gibson was building guitars with double coil pickups, and they were building amps that could take these guitars and keep them sounding sweet too. I think Rock and Roll was born when someone plugged a Les Paul into a Fender amp.
  Marshall amplifiers were built based on the Fender Bassman amp circuit. Jim Marshall just built a slightly different power amp circuit back then and put the whole thing in a box, then set that on top of a speaker cab with four 12" speakers. As the amps got louder, the preamp circuit stayed the same it would get hit hard with the guitar at the input, then the preamp would hit the front of the poweramp hard too. This is the kind of guitar tones you would have been hearing in the 70's and early 80's.
   But all the way up from the 50's 60's and 70's, effects were put into the front of the amplifier. ( Fuzz, distortion, wah...then later modulation effects and delay effects. There were no effects loops back then. So all the effects you were using would affect the guitar tone before it even got into the amp. If you had several of these stomp boxes, and the quality of these would vary quite a bit, if you had them all plugged in and all turned off, there would be a big difference in the sound of your guitar going into the amp, as opposed to it being plugged straight in. That was the difference between sounding like a garage band as opposed to a band produced in a high-dollar studio. In the studio, the guitar and amp tone would be recorded straight to tape (This is what is called "Dry" guitar). The tape would be played back through the mixing console and the effects would be added in the Aux sends, then blended with the original guitar tone, to preserve the quality of the guitar tone. (The percentage of how much effect is added is what is called the "wet" mix).
   Obviously, if you listened to these studio recordings they sounded great. The dilemma was, how can you get that kind of sound live when you have to go tour your new album release?
   A couple of really smart guitar player figured they would by some of these expensive studio rack processors, and connect them to their amplifiers. Well, that almost worked but we were right back to square one, plugging all this into the front of the amp and just affecting the guitar tone, instead of the guitar and amp tone. That's when techs like Jose Arrondo, Mike Soldano, Paul Rivera, and a slew of others began modifying amps, by putting in an effects loop between the preamp and poweramp sections. Now these effects could be inserted there and the guitar tone would remain solid going into the amplifier. Delays, Reverb, and Modulation effects would be inserted in the effects loop, and it would have a more subtle effect on the overall sound of the guitar and amp than it would if all of it was going into the front of the amp. So that when rack systems were born and so were multi-amp guitar rigs. When a guitar player wanted a stereo rig, he would be playing through at least three channels. His main guitar tone would be coming from his favorite amp in the center, and his effects which would be in 2-channel stereo would come from two more amplifiers on either side of his main tone. This is where we get the "Wet/Dry/Wet set up from.
   So, if you wanted to play like the big guys back in the 80's you had to have your own bank, and buy a bunch of amplifiers and expensive studio gear, hire a bunch of super techs to hook it all up for you, and lease a trucking company to haul it all around for you.
    In January of 1987, You didn't need a truck load of amplifiers anymore. ADA changed the ground rules by introducing the MP-1 Preamp. Now you could have the sound of up to 128 amplifiers in one little 19" box, that you could stick in your rack, and hook it up yourself. So here we are.

     Today, people are getting back into using stomp boxes, but many of them are also using the effects loops in their amps too. Having an Overdrive, and a Wah going into the front of the amp is useful and doesn't deteriorate your guitar tone, then plugging your Modulation, Delays, and Reverb in the effects loops gives you the rest of your effects in a signal chain that runs parallel to your original guitar signal and sums it all up at the output, without changing your basic guitar sound.

   With what you've got there MRob, the MP-2 can deliver any sound from spanking clean to the most raunchy metal tones that can even keep up with the new amplifiers coming out today. (Mesa Boogie Dual Rectifier? Pfffft!!!)
   Putting your ART in the effects loop would be a good thing to do since I'm sure that has all the effects you would want to use in the loop right there. You will have to play around with the effects loops in the MP-2 to get what sounds right to your ears. Everyone is different, so we hear things differently. So don't be afraid to experiment. Try the loops at 100%, and adjust the effects level in the ART up to where you want it, then try it 50-50, then go the other way Loops at 20% and ART effect up full. See what sounds best for you. When it comes to a rig like this you have so many options available to you, it staggers the mind. The only limits are the ones you set for yourself.
   And of course, we share our presets and programming ideas with each other here, so there are plenty of jumping off points to get you going. Like Circle K, we're open 24/7 ;D

     Harley 8)
Logged
Cool is a rule, and Creativity is KING!

MarshallJMP

  • Hero Member
  • *****
  • Offline Offline
  • Posts: 3448
    • View Profile
    • marshalljmpmodshop.net
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #28 on: Time Format »

One thing, if you use the effect loop of the MP-2 you need to set the mix on the ART to full wet else you can get phase sounds.
Logged

rnolan

  • Administrator
  • Hero Member
  • *****
  • Offline Offline
  • Posts: 4368
    • View Profile
Re: NEW To Racks - Have ADA Gear - please advise
« Reply #29 on: Time Format »

Salient point MJMP  :thumb-up: and it's also better gain structure and allows you to get a better analogue tone (unless your Fx device has true analogue pass through for the dry sound (eg early inteliflex), so 3 very good reasons for that patching scenario (unless like me you use a mixer and run it all like a PA).

MRob, did your MXC pedal stuff come with 2 short black TRS cables ? These are used to plug the expression pedal and the quad switch into the MXC (they are midi continuous control pedals).  You plug the pedal into the "pedal one" jack on the MXC and the quad switch into the "switch one" jack on the MXC (not that you have to but is the easiest way to go). They then let you control and switch things they are "assigned" to.  E.g. you can assign the pedal to be the master output volume (which is how I use it) and the quad switch can turn on/off whatever you assign it to, out of the box it will let you toggle chorus, fx loop and tremolo and also be a tuner mute (turn the sound off while you tune). But not to confuse you for now, get your head around a basic setup like my last post and we can build on that as you understand this stuff better.
Logged
Studio Rig: MP2/MB1 > Eurorack UB2442FX-Pro > TC M-One XL > Behringer Truths (with Truth Sub) / QUAD ESL 63s
Live Rig: MP2/MB1 > Alesis Quadverb > Alesis Midiverb 4 > Yamaha AM802 > B200s/Carvin TS100/DCM200L > ADA Split Stacks/Mesa P112s
Pages: 1 [2] 3   Go Up