Connect two amps
Moderator: Shoshanah Marohn
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- Location: Georgia
Connect two amps
Want to use effects processor with 2 amps. Can i connect my 2 amps together?
AMPS: NV400 and S400
how is this done?
AMPS: NV400 and S400
how is this done?
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- Mike Perlowin
- Posts: 15171
- Joined: 4 Aug 1998 11:00 pm
- Location: Los Angeles CA
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I split the signal with a stereo chorus and ran a line from each output of the chorus to each amp.
Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin
I also prefer the method Mike uses (or an A/B/A+B box), as you get full use of the different EQ sections of each amp (and the EQ each power amp was matchhed with) by running through the entire amp.
You generally get much richer sound that way as there will be a more significant difference in the harmonic content, plus you can set one amp tweaked for highs and one for lows, or one with mids enhanced and one with scooped mids - gives you a lot more options. You can use a stereo chorus, stereo delay....stereo anything. Just run your processor ahead of the effect used as a splitter, keep the effect turned off and it'll split the signal for you.
One question though - many "effects processors" (meaning multi-effect units) are stereo anyway - if so, just hook it up with the L and R outputs and you're done.
You generally get much richer sound that way as there will be a more significant difference in the harmonic content, plus you can set one amp tweaked for highs and one for lows, or one with mids enhanced and one with scooped mids - gives you a lot more options. You can use a stereo chorus, stereo delay....stereo anything. Just run your processor ahead of the effect used as a splitter, keep the effect turned off and it'll split the signal for you.
One question though - many "effects processors" (meaning multi-effect units) are stereo anyway - if so, just hook it up with the L and R outputs and you're done.
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional
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- David Doggett
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Dennis' method slaves the 2nd amp to the first amp, and bypasses the preamp EQ controls of the 2nd amp. Only the preamp EQ controls of the 1st amp are in use.
Mike and Jim's method splits the signal and runs it to both amps, including the preamp section of each amp. Thus, the EQ controls of each amp are in use.
There is also an old "jumper" method where you run the signal into one amp, and jumper a cord from the 2nd input of that amp into the input of a second amp. I have never been clear on why or how that works.
Mike and Jim's method splits the signal and runs it to both amps, including the preamp section of each amp. Thus, the EQ controls of each amp are in use.
There is also an old "jumper" method where you run the signal into one amp, and jumper a cord from the 2nd input of that amp into the input of a second amp. I have never been clear on why or how that works.
- George McLellan
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- Joined: 4 Aug 1998 11:00 pm
- Location: Duluth, MN USA
2nd amp slave
David, I'm not sure if this was your question, but this is how I do it with a NV112 & 63 Fender Pro (it'll work the same with a Twin Reverb or any other Fender tube amp).
Out of the NV112 pre to the number 2 input of the Fender, then I have full control over what ever I need.
Geo
Out of the NV112 pre to the number 2 input of the Fender, then I have full control over what ever I need.
Geo
- Jonathan Shacklock
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Come-on, don't you realize that an occasional shock lets you know that you're alive?! And gear paranoia is fun and rewarding? I used to get a reasonable shock with a 63 Princeton and a Real Tube pedal. I found ways to not touch anything metal (I was playing hard blues anyway) for a whole decade when setting up. OCD fun
RICK ABBOTT
Sho~Bud D-10 Professional #7962
Remington T-8, Wakarusa 5e3 clone
1953 Stromberg-Carlson AU-35
Sho~Bud D-10 Professional #7962
Remington T-8, Wakarusa 5e3 clone
1953 Stromberg-Carlson AU-35
No.Do any of these methods benefit from lifting the ground on one of the amps,
If you have to lift the ground there is a problem that needs to be solved in terms of safety. A ground lift is a quick-and-dirty method some people use to reduce hum, but I strongly advise against it. Find the problem and solve it. A ground lift, seemingly done correctly, can turn YOU into the ground. Not a good idea.
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional
- Justin Griffith
- Posts: 1219
- Joined: 22 Nov 2001 1:01 am
- Location: Taylor, Texas, USA
Justin - If that's happening there's usually a polarity problem with either one of the amps or they are being plugged into seperate power sources where polarity is reversed. AC power, contrary to what many think, has polarity - that's why modern extension cords have a large and small lug (and extension cords with equal-size lugs should be thrown away). It's not unusual for an amp with a 3-prong plug to be wired backwards - the reason you often see the ground plug chopped off; so the cord can be reversed.
If everyone you know ids having this problem, I venture guess everyone you know does not check the wall plug they are using as a source with a circuit tester - which should be an esssential toolkit item for every player. About $7 buys you a lot of safety. But if you check and find reversed wall wiring - call an electrician. If it's reversed in the amp, it's a 15-20 minute job for a tech. There is NO reason for a ground lift to be used that can't be fixed with a combination of modern, properly grounded amps.
If everyone you know ids having this problem, I venture guess everyone you know does not check the wall plug they are using as a source with a circuit tester - which should be an esssential toolkit item for every player. About $7 buys you a lot of safety. But if you check and find reversed wall wiring - call an electrician. If it's reversed in the amp, it's a 15-20 minute job for a tech. There is NO reason for a ground lift to be used that can't be fixed with a combination of modern, properly grounded amps.
No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional