Then from the amp into a single channel on the PA. If I am running into a Mono PA application, I take the XLR outs from the DI and run them into a Peavey KB4 amp (It has 4 channels), Lefts into channel 1, rights into channel 2, which allows me to compensate either on the mixer or the amp for weak sided tones. Im sure the stereo effect is as described in earlier post but the depth and fullness and richness is greatly improved. Monitoring is brought back into a monitor dedicated to me for just keys. The XLR outs go directly to two independent channels of the house PA.
#Mixing live sound in stereo plus#
then I take the L/R outs of the mixer into a dual DI which converts them from 1/4" to XLR and has a ground lift switch plus a db level selector for each channel. I pan both lefts and both rights about 60% left or right. I run both keyboards out L/R each to its own channel on the mixer. I have a Korg Kross and a Casio XW P1 that I am playing. The way I use it is I have a old Yamaha KM602 mixer. I use my rig pretty much only for live application. Later, alligator, and break a leg at your next gig! (Personally I prefer using other ways to get the OD, like using a tube monitor amp and taking the outs from there, but that's a 'nuther story. Oh, as far as the earphone out vs the line outs, the earphone outs might run a little hotter, which could be good or it could be bad depending if you want to overdrive the PA to get really dirty sound. That's why i like to do the 2 mono channel bit. It's basically the same in a mixer with stereo inputs like a 1642, but when you use a stereo channel you do only get 100% left and 100% right with no "Cross talk". A quick tip too, Don't pan hard left and left right. We do use a Mackie 1604 (Mine) in both but it's the same on any "All mono" mixer That's how we do it in the 2 bands I play in. Stereo is the only way, Helps with things like chorus, flange and reverb too! Well, being and old B-3 man I can sum it up in one word LESLIE! The signal will likely be pretty noisy, as the headphone volume must be very low so you don't damage the input of whatever you are going into. A lot of line-level inputs can handle some signal from a headphone out, and for sure if you use a DI. Ps-headphone outs are powered outputs, just like speaker outs. They still cut through without being overwhelming. Sometimes thinner mono keys are the ticket to better sound. If all the "space" in the PA is taken up by keys so you can hear all those nice stereo subtleties, vocals can suffer. You need to have enough PA to make it worth it. Stereo can definitely make the keys seem bigger, and that leads to the other limiting factor- PA. They seem to come from the same point in space. Far enough away, and your brain can't seperate the two signals into left and right. Stereo depends on things reaching your ears at different levels. At 10db difference, the other side is inaudible.Īlso, at some distance, your head starts to treat the PA as one source. (Stereo starts to disappear) More than 6db, the listener starts to strain to hear the other side, which can be fatiguing, as we do it unconsciously. More than 3db difference in volume between the two speakers from the listener's perspective, and the ability to localize sounds accurately in the stereo field starts to be lost. In fact, in just about any space, with any size PA, the size of the stereo field never gets much bigger than a sofa. The place where you get good stereo is about the size of your head. Think about monitoring stereo music on your home studio monitors. It gets a bit deeper as well, but the basic area size stays the same. It gets narrower the closer together the speakers are. The actual stereo field in a 15x30 meter room, speakers in the corners angled 45 degrees in, is about the size of a sofa, about 5-8 meters back. That's great until you get too far off axis, as the vocals can get overwhelmed by that side of the stereo feed. It does have the advantage of leaving a nice hole for the vocals in the middle of the listening area, which can get overwhelmed by stage volume there. This can be offset sort of if the keyboard player is using an amp, and the room is small. If a lot of people are going to be outside the stereo field (which is shockingly small) they will not hear the opposite side. A lot of times the stereo/mono choice comes down to room and PA.
A stereo keyboard with a good organ sound just sounds cool, for instance.
As always, the best is to try it, and see.
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