Options For Splitting Signal En Route To Amp & PA?

[Phaedrus]

Hi.

I wouldn't even know what to search for to get answers on this, so I'm starting fresh.

I want to run one clean signal to our PA, and another effected signal to the PA and my amp.

Why? To ensure I lose none of the fundamental bottom end of my sound at FOH, no matter what effects I engage.

Basically, I'd have two mixer channels for bass (one clean, one effected), which I could adjust independently to achieve this. My on-stage amp signal would be effected-only.

I doubt I'm the first to try this, and it may be more involved than the average bass player in the average covers band prefers, but I fancy doing it, and AFAIK there are no rules to say I can't.

Signal path will be as per this diagram (probably more effective than an explanation?):



Pedals are (left-to-right):

Korg DT-10 tuner
EBS MultiComp (or whatever comp I decide on)
Samson S-Direct (or whatever DI I decide on)
Ibanez WD-7 Weeping Demon wah
EHX Bass Blogger distortion
Aphex Bass Xciter
T-Rex Sweeper chorus
Hartke VXL Bass Attack

Instead of the separate compressor and DI after the tuner, I was initially considering using an Aphex Punch Fatory - it can also function as a DI (though I'm not sure how well) - but having tried one in a local store and not being overly impressed, I'm not convinced it's the product for me.

I do want to use a compressor, and I do want to split the signal before it hits any effects. After that, I'm pretty much open to suggestions. If there was a good compressor out there that also had a good XLR DI out (as well as the usual 1/4" jack out), I'd prefer that, but a separate comp/DI could be just as effective.

I guess I could use the Bass Xciter in place of the comp & DI, but I do want to use comp before splitting the signal, and I understand EQ (which is basically/effectively what the BX is, IIUC?), should be toward the end of the chain, rather than the beginning? I do want to use the BX.

From the gear you see in the pic, you'll spot that I'm looking at budget or reasonably-priced gear.


Thanks for any replies,

Mark

[Andrew311]

http://guitars.musiciansfriend.com/p...dal?sku=150527

[Phaedrus]

Thanks Andrew311.

I think I'd prefer a product with a balanced XLR out. The Sunday Driver XLR looks the part, but I guess it would be fair to say that any decent active DI unit with an XLR out will fit my purpose?

I'm kinda hoping there's another compressor (other than the PF) that has a good XLR DI out.


Thanks again,

Mark

[scotch]

I suggest a simpler & more "standard" approach:

Take a clean di tap off the signal exactly as you have illustrated above. But then, instead of using a second DI for the 'effected' portion of your signal chain, just put a mic on your cabinet!

Truth be told, effects almost always sound better with an amp's coloration. So, putting a mic on your amp will ensure that the FOH is getting a truer representation of the effected tones you have worked so hard to develop. A colored or "modeling" di gets close sometimes, but mic'ing that cab is the surest-fire method in my opinion. Plus, the FOH engineer should already have experience in mixing this type of setup. Additionally, you wont end up with any weird room-acoustical problems resulting from 3 different tones (your clean di, "colored" effected di, and bleed from your stage amp).

[RickenBoogie]

+1 to that^.

[Phaedrus]

Good stuff guys - thanks.

A couple of points:

I'm my band's FOH "engineer" .

We typically play on pretty small "stages" (I couldn't be using that term more loosely).

We already have 4 open vocal mics, 5 open drum mics, and one open mic on the guitar cab. I don't really want to add another open mic to that. Thankfully despite all these open mics in small places, we haven't really had much probs with feedback, but I don't want to tempt fate with another mic.

TBH, I've always been pretty happy with my DI tone coming through FOH - I guess I'm a DI type of guy . . .

IMO, the most suitable option for me will probably transpire to be the very one I've posted above, perhaps with some variation on the actual DI & comp.


Thanks all,

Mark

[1kinal]

If you really don't want to mic the amp, the setup in your original post is probably the best.

I'm not familiar with the head you have but maybe I'd try the XLR out on the head (if there is one) instead of the one on the Hartke pedal...

Honestly I think you're giving yourself too much trouble for live playing. I only take multiple (XLR) lines when I record. For live playing, for the certain effects that takes too much sonic space (or are not true bypass) I prefer to use a loop pedal where I can mix the dry signal to the effected signal (in my case I use a Radial Big Shot Mix - the red one).

But it cost nothing to try it and experimenting is always fun. What you have described will work, you just have to see and hear if it's what you wanted...