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Message: [QUOTE="Queen, post: 90755, member: 27"] HeadRush firmware 5.1 loads exactly one NAM file per rig, a ceiling the launch coverage skipped entirely, and one that shapes every rig you build. The release notes are blunt about it. "One NAM A2 (Full or Lite) or one NAM A1 (Standard, Lite, Feather, or Nano) file can be loaded natively per rig without any required conversion or loss." That is the whole rule, sitting in a PDF almost nobody opens. It reads like a footnote until you try to stack a captured Deluxe Reverb behind a captured overdrive pedal and find the second slot is not there. The limit is the same on all three boxes, because [B][URL='https://goldmidi.com/community/threads/headrush-added-nam-and-tone3000-to-prime-core-and-flex-core.76020/']the free 5.1 rollout across Prime, Core, and Flex Prime[/URL][/B] shipped identical NAM handling to a 499 dollar pedal and a 999 dollar one. [HEADING=2]The DSP cost explains where the ceiling came from[/HEADING] Steve Atkinson, who wrote NAM, ran the numbers on a Prime and published them. An empty rig sits at roughly 7 percent CPU. Load a single A2 model in full mode and that jumps to about 30 percent. So one capture eats close to a quarter of the machine before you have added a delay, a reverb, or a compressor. Flip the Lite Mode switch and the same model drops to around 24 percent, which buys back a useful slice for effects. The arithmetic is worth sitting with. If one full A2 model costs 23 points over an empty rig, a second would land somewhere near 53 percent, which still leaves headroom on paper. The one-file rule looks like a product decision rather than a hard processing wall, and decisions get revised in later firmware. Either way, the trade sits in front of you every session. Full mode for the amp carrying the song, lite mode when the rig is crowded and the capture is doing background work. [HEADING=2]Scenes stretch one NAM block across two sounds[/HEADING] The read-me caps a rig at one NAM file. Atkinson's own walkthrough gets around that by assigning captures to scenes, with a clean scene calling up a Deluxe Reverb and a heavy scene calling up an EVH 5150III, both running through the same block. A scene on Prime is a combination of models switched on or off by one footswitch, and you can put one or two scenes under a single switch. That is enough to cover most sets without touching a rig change. When you do need a third or fourth capture, the second rig is not the compromise it sounds like. Prime handles gapless preset switching, so reverb and delay tails carry across a rig change instead of getting chopped off at the switch. Beyond that, setlists are the honest answer. A setlist is an ordered collection of rigs you save and recall, which is how a covers player gets eight captured amps across one night without fighting the per-rig limit at all. [HEADING=2]The rest of the chain does not have to be NAM[/HEADING] This is the part people miss when [B]building a rig around one NAM capture[/B]. On Flex Prime the NAM block is one slot among fourteen footswitch slots holding amps, cabs, IRs, clones, and effects, and the onboard library still runs to more than 600 amps, cabinets, microphones, and effects. Nothing stops you from putting a captured amp in the middle with modeled drive, modulation, and time-based effects around it. The capture is the voice. Everything else is furniture you already own. The cab question depends on what you downloaded. A full-chain capture already contains the amp and the speaker, so you plug it in and play, which is exactly what Atkinson found with his Deluxe Reverb file. Amp-only captures are the other half of the library, and they need a cab or an impulse response behind them or they sound thin and fizzy. Prime lets you assign two IRs to a single block, so you can blend a pair of cabinet responses behind one capture rather than picking one and living with it. Version 5.1 also shipped a matched impulse response alongside its new 90 ACM 900 ReValver amp, which hints at how HeadRush expects the cab stage to work. Captures handle the amp. The cab stage stays flexible. Where the ceiling actually bites is on rigs built around two different captured heads panned apart. That setup is off the table, and no amount of DSP headroom changes it, because the limit counts files rather than processing. [/QUOTE]

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