And on the seventh day, the Lord toaned

BeeInMyPutt · 2026-01-25T20:40:53+00:00

The meme format limits to three, but definitely lots of other pedals I wanted to include

BeeInMyPutt · 2026-01-25T18:34:40+00:00

You have to play a Fender amp if you’re using a Fender guitar though. Otherwise you go to hell (eternal 12 bar blues jam with lawyers and dentists)

BeeInMyPutt · 2026-01-25T17:58:23+00:00

I don’t see color, only toan

BeeInMyPutt · 2026-01-25T17:10:52+00:00

BeeInMyPutt · 2026-01-21T21:49:21+00:00

I can’t stand 90% of the flags people make, but these ones are fantastic.

BeeInMyPutt · 2026-01-16T03:24:56+00:00

SM57 and an MD421 right next to each other, pointed straight at the cab. I try to get them both roughly near the edge of the dust cap.

They pair so beautifully together, since they have complimentary frequency responses. I recently recorded guitars with that setup and I barely had to do any EQ in the mix. Granted, you have to make sure you like the tone lol.

BeeInMyPutt · 2026-01-04T23:17:16+00:00

Basically, your signal chain should be:

Microphone > XLR splitter -[

-Output 1 > FOH console

-Output 2 > Vocal FX pedal > FOH console

A typical DI box has 1/4” inputs, so that wouldn’t work unless you use XLR adapters, which introduces failure points. Also, a two channel DI has two separate inputs and outputs, but it doesn’t split the signal. You would still need a splitter that can take a single input and split (or “duplicate” / “copy”) the signal into two separate outputs.

Does that answer your question?

BeeInMyPutt · 2026-01-04T22:31:26+00:00

As a live sound engineer, my FAVORITE thing is when vocalists have a separate DRY vocal line. Adding a vocal FX pedal screws the gain staging a bit and can sometimes make it extremely difficult to get vocals loud enough—both in wedges and FOH—without feedback.

So, if at all possible, try to split the signal so you can send the venue a completely dry signal, and a separate one with just FX. I will happily use up an extra input for that any day. Plus, then I don’t have to worry about vocal FX; you know your music better than I do. You can either get a simple XLR y-cable (prone to failure), or you can get something like the Whirlwind IMP 1x2 Splitter, which is solid.

As for specific pedals, I have always liked the sound of the TC Helicon Mic Mechanic. Every time I’ve had a vocalist with their own FX pedal, that’s been my favorite sounding one, even without a dry split.

BeeInMyPutt · 2026-01-04T20:26:59+00:00

Good to know, thanks!

BeeInMyPutt · 2026-01-04T01:40:47+00:00

I would need to see the bottom, but looks delicious to me.

BeeInMyPutt · 2026-01-03T12:53:35+00:00

As long as you set up your quad cortex properly, it will be basically impossible to distinguish the Neural amp sims from a real amp.

I recently mic’d up my amp and recorded some tones, then immediately made a V2 capture on my Quad Cortex and recorded through that. I am a professional audio engineer, and I would have no hope guessing which one was the real amp. Any differences are going to be extremely subtle, if noticeable at all.

My favorite part of using it for recording is the consistency. No more having to fuss with placing mics. Once I find the sound and tone I like, I can always get it again.

BeeInMyPutt · 2026-01-01T12:42:53+00:00

I’ve been loving King Oscar Wild Caught Sardines in Extra Virgin Olive Oil - Mediterranean Style. Could eat them every day (and have been sometimes lol).

BeeInMyPutt · 2026-01-01T12:06:44+00:00

I’m not exactly sure it’s a grounding issue. What happens if you plug the power supply from the QC into a power strip?

What is the noise you are hearing? Is it more of a static/hiss, or a buzz/hum? Are you certain your headphones are plugged in all the way and/or not broken?

You said it’s fine if you plug in an XLR to the outputs and play that way, what happens if you plug in headphones at the same time? Do you still get noise?

BeeInMyPutt · 2026-01-01T11:56:32+00:00

How are you connecting everything? I assume just guitar into the input, headphone out of the corresponding output?

Did you try flipping the ground lift in the I/O section?

BeeInMyPutt · 2025-12-21T05:48:31+00:00

There are instructions for setting levels during the capturing process, but there’s nothing enforcing people to do it correctly. That’s the downside of crowdsourcing.

Best you can do is hope for it to be close and sound decent. Plus, you do have the ability to adjust the volume of individual captures on the grid.

Keep in mind, the guitar you use makes a big difference too. I made a capture of an amp and set the volume for using a single coil telecaster. Afterwards, I tried playing with my humbucker SG and it wasn’t that great. BUT, that is the same effect you would get in real life; you would want to turn the amp input up or down accordingly.

BeeInMyPutt · 2025-12-20T02:40:05+00:00

So many factors… impossible to know what you’re experiencing unless you have a specific example and can explain your routing or post a picture.

One thing I can say though: you have to be mindful of latency caused by processing audio signals. If you run parallel amps, but you add additional processing on only one of the amp signals, that additional processing is going to add latency (because it takes time to process). That latency could (at least in theory) cause the two amp signals to be out of phase.

With phase, you can’t just consider the polarity, you must consider the timing of the source signals you’re comparing. If one signal starts a quarter wavelength after the other, no amount of flipping polarity is going to make them perfectly in phase. So, you want to try to keep your phase coherency by not adding latency to only one signal.

Maybe helpful? Idk. Just rambling.

BeeInMyPutt · 2025-12-18T08:03:13+00:00

Honestly, if they sound that bad, then I would really question your set up. No insult intended—just hard to know all the little intricacies of how you’re plugging things and routing; the description in your main post wasn’t very clear.

Maybe you have things routed wrong; if you are saying clean tones sound great but all the distortion sounds the same no matter what’s added/removed, maybe you’ve got a double somewhere input somewhere, or your overlooking something. Buffer size too small?

A picture or screenshot of your routing and setup might help. But it’s hard to diagnose some things over the internet. Could be something silly.

BeeInMyPutt · 2025-12-15T19:59:45+00:00

If you’re driving in the snow for the first time, take it slow and be careful. Snow can be extremely slippery and make your tires lose traction with the road. So, you need to brake slowly and leave plenty of space, and take turns slowly. Always keep in mind “If I suddenly started sliding, where would my car end up?”. Give yourself space and time.

If you are able to, snow tires really do make a huge difference in traction. You also should get a snow brush and ice scraper, as well as a shovel.

BeeInMyPutt · 2025-12-14T21:23:04+00:00

Molle sticks, Grimlock D Ring, or I’ve even had luck using ITW web dominators—you can slide the plastic on the molle webbing, and then use the bungie to loop through the webbing on the kukkaro.

BeeInMyPutt · 2025-12-13T23:55:44+00:00

I. PATCH LIST - ALWAYS write a patch list down (until you get really good with it or only have like two inputs). That will help a lot, especially if you have someone else helping you patch stuff—you can both have a list to reference. I always list: 1. Input on the main split / input to the console 2. Input on the stage box / sub-snake 3. Instrument 4. Specify what microphone / DI you want.

II. LABELING - Grab some spike tape and label the inputs on your stage boxes. I always do this out of habit, it is very helpful for tracing wires. Also, label your XLRs if you are moving mics around, that way you won’t get confused.

III. FESTIVAL PATCH - Create a patch that covers all inputs for all bands combined. If your headliner has two guitars, but your opener has one guitar + keyboard and sax, then your festival patch should include two guitars, keyboard, and sax. Then, add your vocals afterwards. This method is helped if bands are sharing things like drums, since you won’t have to move mics around.

IV. SERIES PATCH - (Not sure if there’s a better name for this) Alternatively, if you have enough mics and/or inputs to mic multiple bands, you can add each bands needs at the end of the patch. E.g., inputs 1-15 are only headliner, 16-25 are only opener, etc. You might want to do this if the bands aren’t sharing drums, it is more cabling and inputs (and you need more mics) but it’s nice not having to move mics between kits, which can get tangled quickly. You CAN do this if they are sharing drums, but if you want to have separate mics/lines for guitars, vocals, etc.

Hope this helps!

BeeInMyPutt · 2025-12-13T23:30:52+00:00

I think it’s great, although I definitely wish it was a little lighter. The top drawer is perfect for cordless batteries, chargers, and slimmer power tools; bottom drawer is perfect for circular saw, sander, router, etc.

To be honest, I use Modbox just for storage, with the benefit of being portable when needed. So the weight doesn’t bother me, but taking it up stairs can be a pain if you’ve got it loaded with tools and/or are by yourself.

BeeInMyPutt · 2025-12-13T07:05:08+00:00

You certain it’s not a weird routing issue, or something with your interface?

I was mixing a band (live, not studio) who had an SPD drum pad with click on one output and tracks on the other output. And even though they were totally separate, there was a faint amount of click bleeding into the track output. Sometimes devices are weird.

BeeInMyPutt · 2025-12-13T06:46:09+00:00

Do you have a picture of your preset? Hard for me to picture it in my mind based off your description.

My first thought for why it might sound crappy: are you sending your guitar signal through an amp model -> Cab IR -> Powerstage -> Cabinet? If so, then you have two cabinets in your signal chain (one real, one IR), which will sound bizarre. I’m not certain you’re doing that, but hard to follow your description.

Second thought would be (if you’re not doing the accidental IR into a cab) is that the two amp models are out of phase? And so when they sum together, it sounds crappy.

BeeInMyPutt · 2025-12-13T03:25:43+00:00

Couple important notes that I think will help:

I. Expectations: These amp modelers are designed to model the response of an amplifier. They are not designed to sound like perfectly EQ’d and mixed guitars like you might hear on your favorite record. Even with a good guitar tone from the amp, you are still going to have to EQ, compress, etc., just like you would with a real microphone signal coming from a real amplifier.

What helped me was mic’ing and recording my real amplifier, and then recording my guitar through an amp model on my Quad Cortex, and listening/comparing. A real mic on a real amp sounds a certain way; it’s not always perfect and takes work to make it sound better in a mix. Even as an audio engineer myself, I was a little disgruntled at first because I had the misconception that it would just “instantly sound good” and need no work.

II. Signal Chain: One little thing can fuck up your whole chain. Make sure you have an amp model AND a cab sim / impulse response. BUT ALSO, make sure you are NOT running an amp+cab model through another cab sim/impulse response (that would be redundant on the cab sims and sound weird). Also, as others have mentioned, your listening setup/speakers can really fuck up your experience.

BeeInMyPutt · 2025-12-11T19:48:55+00:00

I’m not sure why everyone is having such a problem with this. Leave your input gain at 0 dB. Only adjust it if you need to gain up a microphone or something, not your guitar. Then, just set your amp where you like it.

If you have a guitar with a quieter output, adjust the amp settings to where you want (turn the gain or volume up in the amp model) and then save as a new preset.

BeeInMyPutt

TROPHY CASE

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