[Harp-L] re: more loud bands

["Jim Alciere" <jim.alciere@xxxxxxxxx>]

Or you could try this:

Though Popper's harmonicas are probably the least-expensive instruments to
start with, the setup that Popper uses to get his amazing tonal coloration
is anything but. "I split John's signal to five different places," explains
Mahoney. "He plays into a modified Shure SM58 microphone. The mic goes into
a Behringer stereo mic preamp, just to split the signal and change the level
from mic to line. John considers himself to be like a guitarist, so the
Behringer lets me switch the impedance. One side from the Behringer I take a
direct out into the Midas at FOH via an XLR. Then the 1Ž4-inch output of
that side of the pre goes into a Mesa Boogie amp switcher. From there, I
send the first input to John's main two Mesa Boogie Heartbreaker 100-watt
heads, the second input to the effects pedals Heartbreaker head, and I have
a third send that goes to the little amp onstage he uses for feedback
effects. John can play one and flip to the other. Out of the first main
head, I go slave and that drives John's offstage Leslie cabinet, which I
mike with a Shure SM57. That signal is brought back into his monitors. He
has a volume knob on his mic so he can turn the send to that Leslie up or
down, and he controls the speed of the Leslie from the mic as well. The
other side of the Behringer goes into a rack of effects that we run
offstage; he controls it with MIDI pedals and that goes back into his
monitors. That way, I'm not stuck with one sound. He can have whatever he
wants onstage, since everything is separate. The units he uses offstage are
Mesa Boogie Tri/Axis models, which are MIDI-programmable preamps. I use that
to control levels of each of his effect's sounds. He uses an Alesis
Quadraverb, a DigiTech IP33 harmonizer and an Eventide H3000 harmonizer. I
use the pre to control the effects there. From there, I take a stereo
left-right to FOH, and I send those to John's monitors."

-- 
Rainbow Jimmy
http://www.spaceanimals.com
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