Eric T Amble
Inspired
Hi everybody,
So here's what I'm thinking. We've all worked with FOH people who can't get us to sit in the mix/cut through/etc. for a host of reasons.
Is there such a thing as an optimum EQ curve for a guitarist in a certain situation (e.g., hard rock, I'm one of two guitar players, keyboard and 3-part harmony vocals, double kick, in a medium-sized room, etc.) that I can obtain and tone match to--that will let the FOH guy set me more-or-less flat and then tweak me just a bit for the room? This could "bake-in" e.g., all the high and low shelving for the cab, spike in the high mids, etc. to get me to sit best in my band's mix without the sound guy having to put down his or her bong.
Is this just a pipe dream? I know it varies from room to room, and we shouldn't have to ask for more EQ on already EQd sound, but can we find out the best rule-of-thumb, and then tone match to it to minimize the avoidable problems?
Side note: it would be cool if the sequel to the Axe-Fx was called the "Band-FX", letting you plug in all your mics and instruments and offering interdependent, per-instrument compression/EQs to make the whole band sound like whatever, from whenever.
Anyway, please comment!
Thanks,
Eric
So here's what I'm thinking. We've all worked with FOH people who can't get us to sit in the mix/cut through/etc. for a host of reasons.
Is there such a thing as an optimum EQ curve for a guitarist in a certain situation (e.g., hard rock, I'm one of two guitar players, keyboard and 3-part harmony vocals, double kick, in a medium-sized room, etc.) that I can obtain and tone match to--that will let the FOH guy set me more-or-less flat and then tweak me just a bit for the room? This could "bake-in" e.g., all the high and low shelving for the cab, spike in the high mids, etc. to get me to sit best in my band's mix without the sound guy having to put down his or her bong.
Is this just a pipe dream? I know it varies from room to room, and we shouldn't have to ask for more EQ on already EQd sound, but can we find out the best rule-of-thumb, and then tone match to it to minimize the avoidable problems?
Side note: it would be cool if the sequel to the Axe-Fx was called the "Band-FX", letting you plug in all your mics and instruments and offering interdependent, per-instrument compression/EQs to make the whole band sound like whatever, from whenever.
Anyway, please comment!
Thanks,
Eric