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Looper's Delight
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Jon,
I can't comment on Jan's (2nd hand) experiences with moving the mixer
around. Apart from my first MX2642, which has resided immobile at home
since
I bought it, the second one has seen some moving around mounted in a rack.
i
didn't have any problems so far, but I only had it since July, and only
played a few gigs with it, so this isn't really what you'd consider a lot
of
mobile experience...
Adressing your questing re the Headrush. No, I haven't used the individual
outputs, simply because I haven't a console that large. Of course, I could
feed the four individual E1 outs into the Mackies mono inputs, reroute two
of the stereo ins of the Behringer into the Mackie and connect the 1/2 and
3/4 outs of the Mackie into the Behringer - but then, I'd need another rack
(which I need anyway sooner or later, the current crap takes up 16HU in my
20HU rack, and planning already in a 1HU aplifier (a really weird thing a
friend of mine designed, blowing out 2x200 watts sinus in a 1HU case with
6mm thick casing, and delivering 162dB SNR...I'm currently trying to
convince this dude to design a looping device) and the repeater, there's
not
that much place left) and then I'll get a 7-string fretless bass guitar, a
14-string Phalanx Warr guitar, a soprillo saxophone, a soprano sax with
extension to low G and duodecime key...:-)
...but I mainly use the Headrush as a looper, not for the tape echo
effects,
but I sure think it might sound funny treating the four outputs with
different effects (not to speak of using it with a surrund console - re
"The
Seasick Looper", as mentioned in the Looper's Delight Archive).
I'm really curious for the Repeater. If it only offers half the
functionality everyone here is hoping for, it will open up a new world for
me. Syncing loops via MIDI (an important feat for me), having loops in
non-volatile memory (up to 50 minutes per interchangeable memory card),
four
polyphonic loops. This might open up the way for some feats currently
available only using several independent loopers or a sampler. I recently
played a live looping rendition of J.S. Bach "Passacaglia c-Minor" for
Organ
(BWV 582), where I put the bass line into the headrush, then sampled
remaining melody parts into the ESi, which I could then trigger and stop
during the performance. Of course a slight problem was the "user interface"
of the sampler, obviously not optimized for live real-time sampling, which
forced me to start and stop any loop with open strings. I hope with the
Repeater this will come of easier...time to dream.
Coming back to your Vortex question: I still don't understand what you're
trying to accomplish. Did I get it right that you want to route your entire
mix (or most of it) into the vortex, then feed the vortex back into the
mixer and send the mix plus vortex to the PA or tape? If you want to send
everything through the vortex, then why don't you use the main inserts?
Cheers,
Rainer
Rainer Straschill
Moinlabs GFX and Soundworks
www.moinlabs.de
> Oops...I meant to say: "feed sub outs 1&2 into the Vortex, from the
> Vortex outs into mixer inputs that are assigned to subgroups 3&4."
> Basically, I can only really deal with two final outputs from
> the mixer,
> so I wanted to pump the Vortex mix back into the mixer so
> that it could
> be mixed with the non-Vortex mix to come out the main L and R
> outputs.
> Given the complexity of Rainer's setup, I think I'm only
> scratching the
> surface with my proposed use.