Jack

No, but let it warm up before you turn it on. Condensation go boom.

My very first attempt at frfr, before it was cool. I've had a couple of rack preamps and I really do like the rack form factor. I've still got a rack amp, rack mixer and even a rack computer (for stage I mean, I also have a server rack at home). However the truth is that digital means that everything can be smaller. My last rack rig was a 4u with a wireless and a Helix (preamp! we're back on topic!) but that got replaced with a tiny pedaltrain nano with a hx stomp. Progress? The jury's still out.

That is in fact the case. Given that your cabs are big and sensible I go back to my first guess: preamp/poweramp mismatch. Extremely cursory reading (please somebody correct me) suggests that the Sansamp has a 0dBu main output and the QSC is expecting +4dBu, meaning it's roughly the same as a ~250w amp now that we're 4dB down from max output.

If something really is awry my guess would be the link between pre and power. PA power amps need quite a bit of voltage to hit their stride, not sure the Sansamp can provide. However, it might just be that 600W isn't a great deal depending on the cabs that's attached and your desired tone goals. 600W with 2 8x10s, grindy rock pick sounds will take your head off. 600W into 2 modest 1x12 cabs when you're aiming for thick reggae won't be enough. It could be both.

My go to answer with this kind of thing is James at Brightonion. He tends to sell switchers and loopers and things as standard but he's never said no to me at least.

If the hardware and finish are rubbish then maybe the lawyers will be in touch after all.

Most amp companies make a pedal that approximates their sound, usually with similar features. Outside of that I like the MXR M80 and the Sansamp Paradriver, both are really simple, analogue, easy wysiwyg devices.

Is there a link to where this was originally done?

But 75% did get it correct, which suggests that there is probably something more than random chance going on. Anything beyond that is kind of shakey. I think what you're trying to do is to sort of forget about 50% of the participants as you think that accounts for random chance but it doesn't work that way. That would leave us with 25% of people (which is now 'half') who got it right and the same number who didn't. So, what does that tell us?

Unfortunately the reason that we're on page 3 is because it's kind of an outlier. There's the Behringer BDI21 but that's very different sounding, bass focused, and plasticy build quality. You can also sometimes find the Eden or Hartke pedals for about £50 used.

There's not really enough data to draw a conclusion though. You could say that your results suggest that there's a 50% better than random chance that someone can tell the difference, but that's really all. You want what's called a p value, which is a measure of how likely it is that your outcome is not chance, but that's probably not going to be significant depending on what exactly you did for the experiments. As one of many examples, if your 75% outcome represents 3 out of 4 participants then you're not going to meet any kind of normal standard for significance.

I've got some patches that use cab models but just as many which don't. In fact my most-used preset has some effects, the Aguilar model, and ends with a compressor, no cab to be seen.

Good luck with it, Dave. There's plenty of info on the Stomp megathread if you need it but generally: forget about the installed patches and start from scratch. Also, less is more.

In my (admittedly limited) experience the preamps in the Focusrite interfaces are really quite good and you'll have to spend quite a lot to buy a third party preamp that sounds noticeably better. That leaves us with buying one to add character, and that's what plugins are for I guess. A good preamp does more than just overdrive though, just like with guitar there's a difference using an overdrive pedal into the pa/studio or going via an amp instead.

I mean, maybe. 😁 Is there something your current board can't do? Or could do better? The Stomp will certainly be able to replace your current board and much more but as ever digital comes with compromises. I'm two years in and still adjusting patch levels! I love the Stomp but I still use other stuff too, it's not all things to all people.

Subbed as I still can't find a double overdrive.

RightOn straps are one of those products that have stopped the search. I haven't used anything else since getting my three a few years back.

Boring Jack and Wildling Jack.

But they don't though, do they? I'd argue there's a meaningful and appreciable difference between the two basses that even a layman could tell. Probably not so with the pedals. I have actually handed my wife both my Squier and Fender and asked her which was nicer, but I think she spotted the logo and everyone on the planet knows what a Fender is. Perhaps I should try with my MXR Sugar Drive and Tone City Bad Horse. Obviously Darkglass have done the math and set their price point accordingly, it seems to be working just fine. Meh, what do I know?

I don't think I've ever played a bad tech 21 product but I've already lost interest in this because of the price, even though we don't know the price yet. Crazy. I've often wondered what would happen if someone like Darkglass sold their pedals for £100 or so. Would the loss per item be offset by the increase in sales? No need to buy a clone... I just can't see a box with some capacitors in it as a luxury product. It's not like a watch or a car.

Indeed. I really don't think it'd be productive to go back and forth about this, waste of a good thread and all that. Off the top of my head though I can think of several other compromises that would have to be made with those suggestions. My point wasn't that 'mains on top of subs, each side of the stage' is the ideal situation, it was just that it's often the best compromise.

It just is. I know I know, wall loading subs, dispersion, has anyone mentioned power alley yet? The problem is that, in an imperfect world with competing priorities and a different stage each night, it's often the best compromise. I once convinced my hard rock band to at least stack both subs on one side of the stage with the top on top and then have the other top on the other side. Technically better yes, but it meant carrying an extra stand rather than a distance rod, worrying about the legs sticking out, having to secure the three cabinet stack with ratchet straps and then running the output of one of the subs all the way across the frontline.

Firstly, subbed for recommendations. Secondly, please accept my vote for the MXR Sugar Drive. My favourite klone.