The Shotgun takes either a mono or stereo input, and routes it to as many as four amps. It has ground lift and phase flip on three of the outputs. Output one is always on. I must say, after getting phase flipped correct for all three, it's pretty impressive. I mean, each amp has its own sound, but all together as one wall of noise it's nice and meaty.
I also had a new stereo set of Lewitt LCT140s and a new interface (Scarlett Gen 4 18i20). Hooked everything up, threw the new mics in an x pattern about six feet in front of the amps just to see if they picked up the room well and recorded them, tossing them on either side of a stereo spectrum. While I wouldn't use that sound alone in a real mix, I was fairly impressed by the accuracy. A little phase-iffy, but thicker than I expected. At any rate, I figure my first mic'ed recording in the new house should go somewhere.
That's a lie. My first mic'ed recording was a test of vocal harmonies in the living room because I love the natural verb, but that's not at all about gear.
Anyway, here's the Les Paul through the DSL combo (Greenback), the Studio Pro combo (Swamp Thang) and the Catalyst combo (Whatever it comes with) smashing the mics from six feet or so away though the new interface.
https://theleehousehold.com/mp3/StereoWhatevs.mp3
