![]() ![]() The B-path effects are active for one song only, saved as a Snapshot, using a Split Crossover so that the low frequencies remain unchanged while the high frequences go through a Dual Pitch and Tape Head Delay (Wet only) to kinda emulate a pulsating synth pattern that they've used on the studio recording of the song. Dry Thru continues to Amp+Cab block (Ampeg SVT4 Pro + 6×10 Cali Power) to Main that goes straight into the FOH via a self-soldered TRS-to-XLR balanced patch cable so there's not even a D.I.Send goes to my stage amp (H&K Quantum QC415) that I'm using solely as a monitor here.Last Saturday I've already used this setup live: Here's what I've set up last week, for a pop-rock band where I'm playing bass guitar on stage. Whereas if you're going mono on both outputs anyway, you may want to use mono effects all the way through to save some processing cycles. If you're using stereo effects, just make sure to select a stereo Send block. The unit itself seems very sturdy and feels just the right kind of hefty. The lack of any real added coloration makes the PowerStage 170 an excellent platform for effects. (You can have only one B-path on the Stomp.) The controls are super simple: master volume increases output, and the 3-band EQ will adjust bass, mid, and treble content. ![]() You could then utilize the B-path elsewhere for your effects if needed. With your setup, the Send block likely sends everything to Send Out anyway, is thus totally redundant. It splits the signal already by itself: Dry Through goes to Main Out, Send goes to, well, Send. ![]()
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