A few questions about FOH

xX144Xx

xX144Xx

Member
Hello,


I’ve got a gig coming up in a few weeks, and this will be my first time using the AX8. Frankly, the only thing I’m nervous about are issues relating to FOH connections. I’ve been watching a few threads on here, trying to get a good idea of what to expect. Sound checks are typically 10 minutes, so I’m trying to at least figure out what I know and what I *don’t* know.


  1. I’ll be using two Friedman ASC-12s from the 1/4 outputs. XLRs to FOH. Is it necessary to add the fx loop to my presets if I want independent volume control on stage?

  1. I’ve read where some people use a DI box for the FOH. What are the benefits of doing this?

  1. What is the most important thing that you’ve learned from using the AX8 live?
 
  • The FX Loop block is not necessary for separate control of stage volume. When you adjust your ASC's volume to the level you want, what the FOH does to your volume in the house would have no impact on your stage volume. Using the FX Loop block would only make adjusting the stage volume easier. It would allow you to use the OUT 2 Level control on the front/top of the AX8 for control of the stage volume.
  • Using the XLRs to FOH shouldn't need a DI, I've never encountered a scenario where one was necessary.
  • The most important thing I've learned is talk with the sound engineer before setting up and letting him know your setup. Start with the OUT 1 Level knob @ 9:00 position and tell them you have more signal to give them if they need it. Most FOH boards will not be set to receive Line level so if you have the knob @ noon or higher, there's a risk of excessively high volume when you start playing. Not a great way to begin a sound check.;)
 
Thanks, I’ll keep those things in mind.

At the last rehearsal, I wound up having the volume on the ASCs maxed out, and the out1 level was almost noon. When I first started using the AX8 a few months ago, I got the impression from the austinbuddy level and gain-staging video that out1 needed to be maxed out all the time. I also did some experimenting and ran the xlrs into the rudimentary 4 channel PA we have at rehearsal. It is a pretty hot signal coming out of the xlrs, I’ve learned.

First time using the Ax8 as well as the frfrs for this gig. The learning curve is pretty...curvy. o_O
 
This is what I would recommend.

Initial setup........
  1. Set Output 2 Echo to 'Output 1' (I/O menu). This will send an exact copy of output 1 to the output 2 Jack's.
  2. You will be able to adjust Output 1 to satisfy FOH, and adjust Output 2 for your ASCs (stage volume).
  3. This will also give you the added benefit of being able to use Output 2's Global EQ for stage EQ adjustments without affecting FOH.
  4. Run the Output 2 1/4" outs to your two ASCs (Output 2/left to one, and Output 2/right to the other).
Gain staging.......
  1. Set both ASC levels to minimum, set the AX8 output to knob to maximum.
  2. Gradually turn up the levels of the ASCs until you reach the maximum (safe) level that you will typically ever need. (Remember or mark that setting).
  3. This will limit the Output 2 knob's max range to prevent you from accidentally turning up too loud and damaging equipment and/or ears.
  4. Don't be afraid to use that knob (i.e. turn it down) at shows, at rehearsals or at home. (That's what it's for)
FOH....
  1. Run the Output 1 XLR outs (left and right) to FOH.
  2. Initially set Output 1 knob to around 2 o'clock and adjust per FOH's recommendations.
  3. Tip .... Set Output 1 knob to full (if they can handle it?). It's easiest to repeat, if it gets bumped.
 
I have a question please about handing the sound man a stereo pair of XLR’s from the AX8.

I have been asked by them,” Do you want these panned hard left and right or .......?

.......and never really knew How to answer this
I have some basic stereo effects, digital and analog delays,if that helps.
Thank you
 
Some people keep a DI box in their kit for those times when you get a sound guy who can’t figure out how to handle a line-level signal. The DI lets you send him a mic-level signal instead. Fortunately, that’s rare.
 
teddis said:
I have a question please about handing the sound man a stereo pair of XLR’s from the AX8.

I have been asked by them,” Do you want these panned hard left and right or .......?

.......and never really knew How to answer this
I have some basic stereo effects, digital and analog delays,if that helps.
Thank you
Click to expand...
Yes, you want them panned hard left and right
 
Isn’t this dependent on if the PA being used is being run in stereo? I thought that sending a stereo signal to a PA being run in mono doesnt give the results one would expect - But I may be completely wrong there.
 
Brian Coonan said:
Isn’t this dependent on if the PA being used is being run in stereo? I thought that sending a stereo signal to a PA being run in mono doesnt give the results one would expect - But I may be completely wrong there.
Click to expand...
in this particular situation, if the sound engineer is asking if you want it panned, then let's assume the PA is in stereo.

if it isn't, and the sound guy is asking that question, you have bigger problems. we can list every possible caveat for any question on the forum, but sometimes you just have to provide an answer to the basic question.
 
Boy...my setup is so much simpler...course I'm using one cab and no stereo fx.
AX8 >CLR via L-XLR...R-XLR to FOH...done.
 
fastgraham said:
Output levels on AX8 should always be maxed out for unity, correct?
Click to expand...
Only if the receiving unit can handle a modern 'Line level' signal, and your presets are leveled to around the '0' line on the internal VU meter. It's a pretty hot signal.

I typically set my AX8 Out 1 knob to around 2 o'clock (50%, as shown in the VU meter page). And my Axe-Fx II to around 12 o'clock (50%, as shown in the VU meter page)

And make sure to tell FOH that it is a 'Line Level' signal, not 'Mic Level'. The XLRs can confuse "engineers" with less experience.
 
Last edited:
Not if you are going XLR out. If you go XLR out set yourself up with the UV meter at the line and your output knob at noon. This gives you room to make adjustments at any gig either way.

The lore of the output max is theoretical based on 1/4" outputs and line out signals. I would probably still lean toward having some room to compensate with the output knob - but that's me.
 
Actually, the XLR outs provide +4 dBu line level with Out1 maxed. The 1/4" outs are unbalanced and thus they are three dB lower.

It's fine and maybe even advantageous to give yourself some wiggle room by turning Out1 down a bit.
 
Moke said:
This is what I would recommend.
Click to expand...

This turned out to be key advice. It’s nice to be able to have that kind of control over your stage volume if the sound guy is less than attentive. Thanks, Moke!

Used the AX8 with the Friedman frfrs for the first time last night. I got a lot of compliments on my sound, and a few valuable tips from some fellow AX8 users as well. I’ve still got a lot to learn, but I couldn’t be happier.
 
chris said:
in this particular situation, if the sound engineer is asking if you want it panned, then let's assume the PA is in stereo.

if it isn't, and the sound guy is asking that question, you have bigger problems. we can list every possible caveat for any question on the forum, but sometimes you just have to provide an answer to the basic question.
Click to expand...
Good point Chris...
 
Rex said:
Some people keep a DI box in their kit for those times when you get a sound guy who can’t figure out how to handle a line-level signal. The DI lets you send him a mic-level signal instead. Fortunately, that’s rare.
Click to expand...

A DI can also be useful to kill a ground loop between your onstage rack and the mixer.
 
You must log in or register to reply here.
Back
Top Bottom