well...

It depends on the scenario. Stereo often does not work so well in a band context, because there's so much happening. But playing solo in a small club with a good sound system, where most of the audience in front of you (a place like the bar Miller's, where I recorded Water on the Moon), stereo can be really fun for you and your audience.

Generally these days I play dual mono, with my bass side coming out of a Bag End and my melody coming out of the Fender guitar amp.

I did have a chance at the recent Interlochen event to play for a bit through two Deluxe Reverbs at once, with stereo effects, It was KILLER, especially the rotary effect and all of those swelling pads I like to use.

Just might ooze ents...

MAybe I can help with this one: Directionality perception is something the brain figures out filtering the difference in time between the first sound to arrive at which hear and the early reflections of that same sound. The amount of delay in those early reflections tells us all about the room itself (size, surfaces, etc). The degree of sensitivity of our hears is so amazing, that it can also detect up and down (actually the architecture of the skull has a major role in this). It's the brain's job to figure out all that information and provide the whereabouts on the sound's origin. It's quite remarkable that it all happens in less than a second
I'm sure stereo up and down works under the right circumstances: it would depend a lot on the SPL: the Louder the source, the less it will be perceived: too many reflections. Hope it helps


Sent by Tapatalk

It also has to do with the shape of our ears, which reflect sound differently when it comes from different directions and with the damping of reflections by our shoulders.

Here's some interesting information about 3D sound (and IEM)

http://www.mymixaudio.com/blogs-about-m ... -3-d-sound

I'm playing arenas... not too intimate...

Nice Thanks Olivier


Sent by Tapatalk

These are great comments! I enjoyed reading that article Olivier, very interesting although I have never performed with IEMs. The great stereo debate lives on...

I went with a less expensive solution that still allowed me to meet most all of my requirements. I went with a Mackie 8 channel mixer. At 1/10 the cost of the Touchmix, it was hard not to. I am truly impressed with the quality and rich feature set of the Touchmix, but it was a bit too big for the pedalboard and it would delay (heh) picking up the Pigtronix Echolution Pro 2 Ultra Pro which I have been jonesing for over 3 months now..

I am able to run both channels of my melody side inputs in stereo as well as isolating an input for the bass - with one channel left over. I am also able to use the RCA inputs for a laptop if needed (good for city gigs where I provide music in addition to playing music). The venues that I play are small enough that a true stereo image can be appreciated, even if only by me. I can also run a separate mix to a 1x12 bass cab using the Control Room out if I am playing with others.

In the next 3 weeks, I will do a run down of the rig. It's pretty close to done.

Hi Gene. Mackie mixers are EXCELLENT. Also a very good choice. And let's not forget that ultimately, it's the music that counts

Thanks Olivier - good to hear that coming from you. I was a little worried about using a smaller mixer, but so far, it is quiet, well made and has all the features that I require for my setup.

Stereo!

Rig rundown video coming soon as I get my new delay pedal. I can't wait...

Well, I've had a Mackie and a Yamaha mixer before I took the plunge for the QSC. Both are very well built, reliable and sound good.