Mr. Springy (How's Florence BTW?), I believe that Zumbilly is alluding to "Regeneration" or maybe the overall effects level in the mix, either way, going THROUGH a pedal/rack or whatever, ISN'T the correct modus operandi.
The steel's tonality will be altered by the extra circuitry, no matter how high a quality the effects unit is.
(As Dave Nutt has already pointed out)Pioneered by Les Paul, since the late 1940's the use of reverb and echo mixed in with the original signal has enhanced instrument sounds and overall recordings: ALWAYS used in a send/return mode WET ONLY..
The original signal is enhanced by the addition of the effect in this way, that's what the send/return sockets are for, leaving the CLEAN DRY signal on the input of the amp or mixer.
It's standard studio/PA engineering practise to use effects in this way to preserve the quality of the original signal and to prevent phase problems cancelling out random frequencies.
Most effects pedals are mono in stereo out with a facility to alter the direct signal level vis a vis the effected one.
The stereo out (When mono'd) can cause quite sever cancelling of various frequencies, in particular bottom end ones.
When used in the stereo mode, delay parameters on the left and right outputs are DELIBERATELY different, to enhance the stereo image and create a larger perceived sound. In a mono stage situation, it is best to just use the output of ONE of the channels, but if possible the other COULD be routed to the PA and would considerably enhance the effect.
Dunny's unit addresses these problems and that's why it's so "CLEAN" sounding.
Most recording steel players that I know either record semi dry and "Sweeten" later, OR record in Stereo. I know of very few who migrate that method to their live situation, but those who do, have a stereo stage setup.
Although a single source sounding instrument with no panning of the spectrum of notes played, the use of stereo effects does considerably enhance not only the sound delivered to the audience, but also makes the playing experience MUCH more pleasurable.
I'm often amazed at the number of bands using MONO PA systems, or at least, a stereo system with everything panned centre. For the life of me I can't understand why. Or, even worse, playing stereo tracks through a stereo PA but using MONO effects on the instruments, and no effects on the desk except reverb on the vocals, usually fed and returned incorrectly.
Stereo existed in recordings from 1931 and had been experimented with before 1930. The fidelity of the 1934 EMI Abbey road session recordings (made by Alan Blumlein, an EMI research engineer, whose contribution to the invention of stereo sound is only now starting to be appreciated,) of Sir Thomas Beecham conducting the London Philharmonic Orchestra is far from 300 to 4Khz that some think is the norm for that era..It has been digitally restored to the original quality and has proven to be virtually full range, not sonically in a dynamic sense but definitely falling within the normal criteria for "Hi Fi" As a recent BBC broadcast of the original has confirmed.
Just "Google Alan Blumlein , or go
here to read more about the TRUE history of Stereo and Even Surround Sound which Alan Blumlein patented in ..... 1931
The salient point are
Blumlein lodged the patent for "binaural "sound, in 1931, in a paper which patented stereo records, stereo films and also surround sound.
By 1935 it was concluded that amplifiers and speakers with a frequency response of 20hz to 20Khz would be needed to accurately reproduce recorded sound. in the UK by the late 30's that goal had been achieved by Both the BBC and EMI with the aid of Blumlein and his fellow engineers..
Ooops, I forgot to mention Harvey Fletcher and his research assistant Winston Nelson.
In 1933, Fletcher and his research group had successfully transmitted a live performance at the Academy of Music in Philadelphia over AT&T telephone lines to Constitution Hall in Washington, D.C. The audience in Washington had been invited to hear a concert of Bach, Beethoven, Debussy, and Wagner by the Philadelphia Orchestra. They sat facing a closed curtain, behind which they believed the actual orchestra was playing. In Philadelphia, the assistant conductor was leading the orchestra, while in the back of the Washington hall, Maestro Leopold Stokowski used a control unit to manipulate the amplifiers of the three-channel system so that the dynamic range of the sound coming from the speakers went beyond what was possible from the signals in Philadelphia. By adjusting levels, Stokowski could make parts of the orchestra come in higher and lower as he saw fit. It was a convincing demonstration of the possibilities of live stereophonic sound reproduction. When the curtain parted at the end of the performance, the people gasped to find a bank of loudspeakers producing the music, not a live orchestra. A few years later, Fletcher’s team returned — this time with a four-track optical film recording technique that offered greater fidelity and dynamic range. Fletcher specifically requested the orchestra to play Stravinsky’s Firebird Suite because its rich harmonic structure and thundering climaxes showed off the system’s advanced technology.
See
THISBack to the OP Question,
How do Y'All set Your'n
Billy
I use compressssion, reverb and delay IN Stereo, Left channel into my amp (Which is D.I.'d) and right channel into the desk. AND steel/electric guitar/midi etc CLEAN fed to the desk. Failing the need to put the steel through the PA, I use two of my NV112's judiciously placed.
I didnt notice the setting until I changed to play My Strat,I of course reset the delay to My usual setting and continued for the rest of the evening.
I usa a T.C.Electronic delay and the knob which controls the number of repeats is labelled Feedback and the knob which controls the wet/dry is labelled mix. I did probably cause confusion by saying I had the "repeat" knob at 40%,I hope I have made it a bit clearer and You can give some advice on the subject.
