Thanks! Btw I find usefull the low and high cut when use the same FRFR or for recordings. When gigging at differents venues I prefer the sound guy to do his job just the same when you use a real cabinet.
In my experience it doesn't make a huge difference as in most cases the most you'll get is them having the low cut switch pressed on the board cutting 80 Hz or so. You can give them a fuller frequency range and hopefully they will make the cuts needs, or you can cut those extremes yourself, and it essentially won't matter if they cut something that is already cut. Where it helps is in the events they don't do it, you've got a bit more control over your sound.
I'm generally in favor of trying to provide as dialed in of tone possible to the board, with some obvious changes in things like not running stereo patches, not using a huge diffuse reverb etc. Essentially all stuff that won't translate well to a live mono playback system. I've seen too many guys have these patches that sound amazing in stereo listening at home, or especially with headphones, a real sonic treat for the ears, but then they play live and its a smeared muddy mess as the house system in mono, the room is reverberate already etc.
I would not however suggest trying to tweak a patch for a specific room, as the sound guys generally do have some knowledge of tweaks for the room, how it sounds with a room full of bodies, vs how it sounds empty etc. I've give them a good dialed in tone, and if they feel they need to tweak it a little to account for the room, the playback system etc, let them do it.
Essentially its as simple as this.... If they can play some known tracks through the house system, and things sound pretty good, then the direct to FOH tone your sending, as its dialed in to sound good, will also work. Having run a little bit of sound in my day, I've often seen guys complain the system doesn't sound "good", because they don't like their tone. At the same time, I've had other bands sound just great, and I'll throw on some music over change-overs and everything sounds quite fine with well known recordings. So in most cases, if some didn't like their tone, its because the tone wasn't good to start with, not because I made them sound bad. Certainly it could be argued that the sound engineer should try to make them sound as good as possible, but realistically, when you've got a 15 minute changeover, your simply not going to have the time/desire to go and perfect each channel on the board, play with mic placements, worry about instrument bleed, etc etc. Its pretty much a good enough for rock n roll, just go play your set type of thing. No time or interest for guys who want 45 minutes of dialing in when they are playing a 25 minute slot at 9pm for the 12 people in the club who are busy shooting pool.
