Best way to combat digital high end w. Axe FX settings?

I

imrecs

Inspired
Enjoying the Axe FX so far, though my main gripe is the digital high end. I've been a/bing a lot with my analog tube gear, and finding that the Axe is really close in terms of character, but has an extended high end that I'd like to tone down. Just using the treble knob on the amp block, as I would with a tube amp, isn't really doing the trick, so I am wondering what other settings should I look to first in order to best tame these high frequencies. I have tried to use the 10M+cap input setting which helped a bit. I don't necessarily want to use an EQ block, so what other settings should I look towards altering?
 
imrecs said:
Enjoying the Axe FX so far, though my main gripe is the digital high end. I've been a/bing a lot with my analog tube gear, and finding that the Axe is really close in terms of character, but has an extended high end that I'd like to tone down. Just using the treble knob on the amp block, as I would with a tube amp, isn't really doing the trick, so I am wondering what other settings should I look to first in order to best tame these high frequencies. I have tried to use the 10M+cap input setting which helped a bit. I don't necessarily want to use an EQ block, so what other settings should I look towards altering?
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Have you tried cutting the high end in the cab block?
 
spend more time with a cranked tube amp and the issue with hearing that high end will resolve itself in time lol.

out of curiosity, why don't you want to use an EQ block ? There are some fantastic EQ options in the axe for tonal shaping, and it uses minimal CPU. I usually dial most of my high cuts in the cab block though personally. Perhaps start there, doing a high cut around 6 kHz or so.
 
The cab IR makes a big difference in this department - many recommend starting there. Select a warmer sounding Cab IR - maybe one with an angled mic, and maybe one of the ribbon models (Royer), and one with back of cab and/or rear/ambient/room IR mixed in. Maybe turn down the 'presence' just a bit.
 
I remember reading on here a while back that while IR's are really good at capturing the sound of the cab/mic position, they also capture a lot of additional high and low end, so you ought to use the high and low cuts in the cab block to cut those out. I use them on every patch I have, it helps take care of some of the sub-bass rumbliness I get with some amps, and the sibilance I get with others
 
That "digital" high end you're hearing is also there with analog tube amps that have been mic'd, too. Do what most producers do and roll off the high end until the annoying highs are gone.
 
I agree with many of the above posters. Spend some time finding the cab IR that sounds good and then low pass within the cab block.
 
It's not 'digital' high-end; its hi-fi high-end. There are several places to roll off the high end but the Cab block, Cabinet page, is as good as any. I have every pre-set rolled off at between 6 and 10K depending on the type of sound (vintage v. modern etc…)
 
I agree with the comment above, that extra highs and lows are in most IR's captures . There's a difference in the way the lows and highs ( especially highs ) are reproduce by an actual speaker and cab ( quite a bit of highs are still there ,but theres Lots of filtering and phase notching going on there ) ,and a Hi Fi monitoring system (reproduces what it receives ) from my perception the cab and speaker is where the difference between a physical cab and an IR lies. So, I do my sculpting after the amp ,. It would require a very complex EG curve ( such as tone match curves ) to get very accurate with it. Simply high and low passing doesn't get so close , but at this point of development everyone has to find a method that works for them . I do believe progress in the technology is at hand to correct much of this !
 
d2dark said:
Low pass filter in the Cab block, find what you like between 6000-15000Hz
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I cut down to 5000 in the amp, and another 10000 in the cab. They both seem to affect things differently. Just don't put anything before the cab block that needs a full frequency sound, like a huge bright delay, or a crystal echo, or it'll pretty much snuff it out.
 
Does anyone know what the slopes of the high and low pass filters in the cab block are (db/oct or order #?)

Just got cab pack 10 and they're amazing but definitely have extended highs that could be tamed a bit. I've been using a filter block to get a 4th order low pass filter with a slight resonance bump at 13250, and a normal high pass at 60hz...though might just do it in the cab block.

Is anyone just turning the treble / presence / hi cut on the amo down really low to combat excessive high end?
 
The filter slope in the cab block is 6 dB/oct. The amp/cab models are extremely accurate. If you are finding excessive high end then I would suspect something in your monitoring chain. Either that or you are expecting it to sound like "amp in the room" rather than a recorded amp. If you cut all the highs out it will get lost in the mix.
 
Go to the Amp block then to speaker section and pull back the "Hi Resonance" this might be what your hearing
 
mnemonic said:
.....they also capture a lot of additional high and low end, so you ought to use the high and low cuts in the cab block to cut those out. I use them on every patch I have, it helps take care of some of the sub-bass rumbliness I get with some amps, and the sibilance I get with others
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This.
 
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