Welcome to the Guitar Player Forum, Jerry1980! The short answer is, no.
The longer answer is, you might overdrive the input of your Roland Cube Street EX amp if you turn up the output volume of the Harley Benton Acoustic Preamp pedal very high (assuming that the HB Pre has enough output power); this could cause an overdriven, distorted sound, that you may or may not even find desirable, also depending on the COSM model mode that you may use. (What guitar are you using with this amp and these pedals? What style of music are you playing the most and what sounds are you going for?)
But this probably wouldn't damage your Roland amp or its speakers, unless you turned EVERYTHING WAY UP VERY HIGH and got a lot of runaway feedback and played VERY hard. You will probably just get badly distorted tone before you ever even begin to damage the amp or speakers.
You might experiment and try connecting your Harley Benton Preamp via your Cube EX Amp's Line-In input; also, via the XLR input with an XLR cable, if you haven't already.
Eco Mode will save on your portable Roland Cube EX amp's battery-life, though as you've noted, it will also reduce the available output-power, and probably make any unwanted overdrive and distortion more likely. You will get a lot more available output-volume and clean headroom in full power mode and may not even need the Harley Benton Preamp to raise your volume- your amp will just run out of battery power sooner.
Many thanx !! I actually have an acoustic guitar. I have set the amp in clean mode. I have never heard any distorted sound What is the difference using xlr instead of the simple jack?? Also what is the best way to connect a looper if I want to use the effects of the amp ??? ( Because if I connect it front there is an echo in any loop )
Concerning Yamaha VP1: Not true, there's probably 10 to 20 pieces, most of them are in Japan. I'm maybe the only musician who has recorded double CD "VP1 Impressions" in 1997 at Yamaha Europe in Hamburg, Germany, on one of three pieces which were in Europe. I could buy it for good price but still too expensive for me. So that one was bought by Austrian colleague, later he sold it to one German doctor who still has it in his collection. There are threads about it in some other discussion forums. You can hear some of my improvisations on my page www.soundclick.com/forrotronics
And thanks to my cooperation with Yamaha as a Product Specialist, Demonstrator and Clinician I'm one of the first musicians who started to use VL1. Still I have two pieces, plus two VL1m, and more VL engines in other instruments. That's a pity Yamaha abandoned this way...
My instinct was and still is to immediately purchase a Dave Smith Oberheim. But I was tapped politely on the shoulder and reminded that the joint account is reserved for the renovation of the kitchen ... so after that’s done I can pull out the “special” credit card.
Ugh, seriously! Can't wait!! This is definitely a hugely unexpected and incredibly exciting development, particularly if more of these are planned in other contexts. I don't know if my first post quite expressed my excitement because I had just seen the picture on FB a few times, but man, is this gonna be cool. Thank you new MPN Overlords!!
Never realized you play standing, I cannot do that.... The only way I'm comfortable playing standing is with my keytar.... Or during a synths solo to reach the 3rd keyboards and to be more into the Mod wheel and pith bend... I supposed, years of classical training with staring first with the "right position"....
I had a similar situation in a rehearsal.... First time I put me in the main speakers with the new QU16 the guitarist/BL had bought but asked me to run for him, "I was way too loud!!!" He said.... Then, I turned me down, BOTH in my powered speakers (that are geared towards me by the way....) AND the main PA... Next comment I get after "playing" 7 songs (just moving my hands on the keys....) was, "Well, good job, now, that's it, perfect volume!!!!"... To be honest, neither the singer, bassist is drummer noticed my lack ok keys in the mix anyway as well...
Module can’t be split with another app when using AUM. This is why the new split and layer functions are a welcome addition in my opinion. I don’t know if it’s possible with Camelot Pro or Keystage. I would assume not, as I think Korg has limited the Module Inter-App audio features accessible through other apps,
I don't know enough about AUM. But the way you could do it with some of those other apps is, as I mentioned, placing the Module sounds into Gadget (which allows you to load multiple Module sounds, on the same or different MIDI channels. If you put them on the same channels, you have a layer. On different channels, you could use a keyboard that transmits on a single channel, and one of these other apps to split the incoming MIDI from that keyboard to send some notes back out to Gadget on one channel, and other notes back out to Gadget on another channel, to create a split (or even combinations of splits and layers involving more than two sounds). Though if your keyboard, itself, functions as a multi-zone controller, you don't have to bother with this additional app. Anyway, I haven't done this myself, but I believe it should work. What it requires is that those other apps see Gadget as a MIDI destination.
In the 1970s, in my first band (I was 16 years old, the others were between 23 and 30), the guys all went out to a van during the break between sets and passed a joint around. We all took hits, including underage-little-me. Then we went back into the bar for our last set.
I noticed three things: (1) my fingers responded like someone had stuck a delay line in my nervous system -- I remember saying at the time that it was like playing while embedded in molasses. I knew what was going on, but could not do a damned thing about it.
(2) The other guys in the band definitely sucked. Timing, chords, and even lyrics went down the cognitive chute.
(3) After the gig, the other guys said "See? I told you we would play better."
"Too much gear". I'm always accused of this, but talking with other people on forums, I feel like I bring less gear than anyone else. I used to be a single-88 guy (controller through laptop), but 9 months ago added the Mojo61 to the lineup. I have a number of smaller auxiliary boards: keytar, Seaboard block, and a trumpet, but those come and go depending on the gig, and were all at the urging of my bandmates (except seaboard, which is tiny). I have a single, double-tier stand for everything, and keytar on a guitar stand near the drums. 20mins to setup, tops. Yet my friends have begun calling it "The Armada".
We downsized from our home of 18 years to an apartment a few months ago largely due to my health issues. This meant I needed to sell my Yamaha U3, which was purchased new in 2002 for about $8000, as I recall. I called a local piano dealer, who offered me $3500 in cash for the U3, and I gladly took it. I feared it could take a long time to sell the piano on the open market, even here in Chicagoland. Bottom line - the number of pianos being sold continues to decline...
From the article:
Although this will make music lovers cringe, the reality is that some pianos have become disposable. There are lots of them around, some not in great shape. Although memories of an instrument may spark joy, sometimes circumstances dictate that a piano be let go. Downsizing boomers often don’t have room for them; millennials can’t (or won’t) squeeze them into urban quarters; teens often learn to play on electric keyboards.
“They often just won’t fit,” says Libby Kinkead, one of the owners of Potomac Concierge, which offers downsizing and moving services.
She adds: Sometimes “people have to choose between their couch and their piano.”
Their sheer weight — 500 to 1,200 pounds — makes them difficult and costly to move: Fees can start at $200 for uprights and $300 for baby grands, plus extra for stairs and distance. Then there are tuning costs. But anyone looking for a piano is in luck: Plenty are available free if you pay for the move. The downside: Many more old pianos end up in landfills, some after being chopped up so they’ll fit in a truck."
I've recorded with the XR18 and the QSC Touchmix16.
I currently own the Touchmix and I recorded last night's show. It worked great.
I bought the Touchmix because I can plug in a small USB SSD drive and multitrack record directly to it. I don't have to bring a laptop and manage a DAW to record... I just plug in the SSD, arm the right tracks, and press record. I throw the tracks in Logic after the show.
The XR18 will function as a computer audio interface, so it's better if you'd like to use it in that way. I have a decent interface in my studio, so I didn't need that functionality in my live mixer.
I also like that the Touchmix has a screen interface if something goes wrong with the iPad... or if I don't wish to bring the iPad.
I worked in R&D for one of the big golf mfgs for 4 yrs. I’d tell you it makes a fairly small difference and probably not worth the cost of changing, but that all depends how obsessive a golfer you are. If golf is THAT important - every difference is a difference.
Iddunno, I'm a little leery- d' ya think I might be alright with an octave fuzz... ?!
Thanks, Dannyalcatraz; very interesting...
Now, that led me to another Wren & Cuff fuzz pedal on their 'site, the Irkella Manifest Fuzz- which, by its description, seems very much fitted to the requirements of my mission-statement...
Originally Posted by Wren and Cuff, on their 'site
A low noise floor and wide gain range lets you dial in anything from synthy precision to a warm drive that will push your tube amp over the top.
The Irkalla has also been designed to have the elusive combination of dynamics via the guitar's volume and tone knobs, yet no sensitivity to buffered pedals before or after it. Stick it wherever you want in the chain, and it'll be just fine.
I use the Krome 61 which I understand has the same keybed as the Kross 2 61.
It takes a bit of getting used to. Playing velocity-sensitive patches with a good level of control is tricky, and the keys give a “squishy” rather than “snappy” response. The other challenge is the unusual hinge point of the keys, which make it slightly more challenging playing chords or passages laden with sharps/flats.