I’ve been working on my studio sound and currently use two cab blocks in the QC: one emulating a Vintage 30 and another emulating a Creamback. I was wondering about replicating this sound live on stage.
Would it be feasible to use a Creamback cab block in the QC, and then send the output to a Seymour Duncan Powerstage 700, which would be powering an actual Vintage 30 cabinet? Essentially, the idea is to blend the Creamback emulation with the real sound of the Vintage 30 cab.
Has anyone tried a similar setup? I’d love to hear your experiences and any tips you might have!
I guess you could but you would be doubling up the speaker - 1 virtual, 1 real. Not usually the best recipe for good tone. Let your ears be the judge though. Some people claim to get good sounds when running an amp emulation into a real amp. Really depends on the equipment your using.
Best practice is to turn off speaker emulations when going into a real speaker, and to turn off amp emulations if going into a real amp, unless it’s a very clean SS amp.
Trust your ears though.
I use a Powerstage 700 + QC + 212 with Vintage 30’s live. I just have an IR routed to FOH from the XLR, and then a signal without the IR to the power amp/cab. Cab doesn’t get miced, and has helped cut a lot of bleed from FOH and in the monitor mix.
What I would suggest is just routing the cab emulation stuff you like to FOH and use the power amp/cab as a monitor + for people in front at the show to hear the guitar. I don’t see myself wanting to go back to micing cabs on stage after just doing an international tour recently where the guitars + bass had IR’s go to FOH.
As for the idea of sending the creamback signal to the cab mixed in….I don’t see that working the way you think it will. You’re basically taking the miced sound of a cream back with a 57 (for example) and then sending it through a real guitar cab with its own sonic signature……into another 57. I just see that not translating. At that point if you’re so picky about the speaker stuff, just use an FRFR setup. I always treat live and in studio stuff different. Just because you dial in a sound in a studio doesn’t mean it’ll work fully live. Esp with every venue being different sounding because of the room, etc.
I dialed in my sound very specifically at my studio before the tour, and still found myself adjusting settings a little each night. So a lot of the nuance I dialed in just myself on monitors just went by the wayside anyways.