#181
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Correct, Watts are a meaningless statistic... not in you mind, but in reality... the difference between 300 and 400 is imperceptible...except that the marketing department knows how to tickle your fancy... there are so many other factors that determine clean power relative to dB volume... that the watts is just marketing folks doing there thing...
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#182
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#183
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These are not tube amps and your analogy is not remotely on the map of what is happening in the amps being discussed... if you understood amplifier technology as it relates to the two amps being discussed, a rosette and a jam400,you would realize this.. this is not a matter of opinion, it is a reality... 1.not tube amps, 2.not pulling tubes to cut power in half 3.not the same transformers The marketing department owns your brain and you are not looking at the technology as it is. As for which amp you like better for your use? that is a personal choice and decided by many practical factors as you described above that, in reality have absolutely zero to do with whether it is 300 or 400 watts... all marketing hype,
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#184
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DI Outs
I've read through this entire thread and I didn't happen to see an answer to this question: how important are two Direct Outs? I don't know much about running a soundboard or a PA but are two outs that big of deal? I've noticed that on the Acus or the Schertler's they only have one Direct Out. Do any of you feel strongly about having two Direct Out's? Also, the Rosette is the only amp that I've EVER seen that gives you the option of running the pre-mix or post-mix on the Direct Outs. Is that feature as cool or as useful as it seems?
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#185
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It's just more flexible. It allows you to for instance use the rosette as a monitor and EQ the amp for the way you want to hear it, and then send an unaffected signal to the front of house and let them EQ it separately for their system. You can send vocals and instrument separately so they can be treated separately.
Or, for instance, last night I was playing upright bass through the Rosette in a new venue and didn't know the sound person, and it seems few people know what to do with an upright signal, so I just EQ'd it myself, and flipped the switch to post EQ and sent it along. It probably wasn't perfect, but at least I wasn't feeding back all night (which you tend to do when people don't know what to do with an upright bass) Or you can use two channels as channel strips for recording and go out of the direct outs into your interface, pre or post EQ. It's just flexible. Different people may or may not need all the flexibility depending on what their needs are. |
#186
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If you are interfacing with a mixing board for live or recording it can be a signiciant advantage .. the idea is that you can have separate channels and tracks for each input channel, whether that be for different instruments or a dual pickup system... You can isolate each on the mixer... As for pre/post eq... This allows you the ability to fine tune the tone of your instrument to the sound stage where you are listening and not effect what is being sent to the mixer... Both of these features can be significant in for live and recording... I would not consider purchasing a system that did not have these features... Unless you knew you were not going to be sending direct signals to a mixer BTW,this can mostly be accomplished with outboad direct boxes, however having this integrated makes for a very convenient and practical ssolution... Last edited by davidl13; 12-04-2017 at 03:58 PM. |
#187
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The most common application for pro touring use is to have the pre, dry channel DI's sent to the FOH console, where appropriate processing (eq, dynamics and effects) will be added to allow the instruments to sit well within the mix as well as fit the acoustic properties of the room. The post, wet mix output would more often be sent to the monitor console, where the player has already developed the voicing and effects and perhaps the mix of the two channels (if using a dual pick-up system) that works for him on the stage. Anything used in the monitors is then consistent with what the player is hearing on stage himself. This feature was first exploited in t his way on an amp model we designed that was used on the Eagles Fairwell series of tours, those amps were later used on Timothy B. Schmitt tours in much the same way. Other uses are for recording, and possibly for rehearsing where another player might be trying to learn some guitar parts from another player and is using one dry channel as a reference. It's really for flexibility, to allow for more options. |
#188
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agedhorse, would you mind answering a few questions about the Rosette?
What's the best way to run a balanced line level signal into the amp? There's the aux input on the back, but that sums to mono so a balanced signal would cancel itself out. Is it possible to use the effects return as a line in? And would that be a good solution? Thanks. |
#189
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#190
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I've got some rack mic preamps and effects that every now and then I drag out if I need a few extra channels, and just for fun, anyway they all output balanced line level signals.
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#191
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if your preamp doesn't have an unbalanced output, you can always get a balanced to unbalanced convertor and input the aux input..
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Set it and Forget it Sound better now! Infra red microphone switch, automatically turns your mic on and off, when you need it to... www.optogateonline.com |
#192
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I can eq each channel on the amp for each instrument. The DIs out on the back would go to 2 different channels on the board and those two channels could be eqd seperatly. I do this now with my felix preamp. Very handy. For those who play More than one instrument on stage. |
#193
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There are several ways to do this, depending on what on-board signal processing you need. The balanced input on the front will handle a line level signal with the gain set low (there's a fair amount of headroom in the differential input amp stage), so if you were to set the input gain to 9:00, and you might need to set the master a little lower than usual as well, you should be good to go (with all the eq on the Rosette available). If you need more headroom, turn the output level of the external mic pre down a bit. You can't really (easily) use the effects return as a line level input because it's a parallel loop at the effects insert stage. The other option is to use the aux input as a line level input, but to do so you would need an adapter that connects pin 3 to pin 1 (converting the source to unbalanced) which would also tie pin 3 to the sleeve. Sometimes you can leave the ring (which would be pin 3) floating, but not if the mic pre has a transformer balanced output. As you correctly noted, you can't take an XLR to TRS cable directly into the aux input because much of the signal would cancel out due to the summing of out of phase signal halves. Hope this helps. |
#194
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#195
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I am up in Rockland County NY visiting with my wife’s family, and we stopped by a music store up here that has one of these in stock. I didn’t have time to play through it, but I was shocked at how small and lightweight this amp is. I am really intrigued. It looks like it would be heavy - real solid looking thing. Light as a feather.
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