A few words about live sound

Like I said, there is still information above 6 K. The audio above 15K is useless do I cut it out. My point was to not concentrate or enhance or boost anything above 6K. These are frequencies that show up after having been mastered or sweetened. I find that if you make a hard cut at 6K, it wouldn't sound natural because there IS information up there. Not much but it's there. If you have the opportunity, play any guitar amp and look at the frequency response with a high quality RTA.
The low frequency of 125 is very important to the low end of the sound. Look at where the low cab frequency is situated in the AMP block. It's going to sit around 114-120 HZ so I surely wouldn't want to bring the high pass into that area. 100 Hz and below is mud The audio guys can dial in where they want the cut which is easier than trying to add low end information to your sound.

Also, if I want to add an effect of any type, I wouldn't want to limit its effectiveness above 6K. Why limit yourself?

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Like I said, there is still information above 6 K. The audio above 15K is useless do I cut it out. My point was to not concentrate or enhance or boost anything above 6K. These are frequencies that show up after having been mastered or sweetened. I find that if you make a hard cut at 6K, it wouldn't sound natural because there IS information up there. Not much but it's there. If you have the opportunity, play any guitar amp and look at the frequency response with a high quality RTA.
The low frequency of 125 is very important to the low end of the sound. Look at where the low cab frequency is situated in the AMP block. It's going to sit around 114-120 HZ so I surely wouldn't want to bring the high pass into that area. 100 Hz and below is mud The audio guys can dial in where they want the cut which is easier than trying to add low end information to your sound.

Also, if I want to add an effect of any type, I wouldn't want to limit its effectiveness above 6K. Why limit yourself?

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I am going to try it
 
I send Front of House and MON the same L+R signal post everything.


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So the FOH signal contains that room reverb in the Cab block.

Thanks for the insights you're giving us!
 
So the FOH signal contains that room reverb in the Cab block.

Thanks for the insights you're giving us!

Oh yes, that's the whole idea. That gives them some of that ISO box sound they are used to. It's less of a "Direct" sound. Liken it to a digital piano module, without the piano's soundboard emulation (reverb or room) it's not going to sound natural.
There is an interaction there.
Actually, I keep joking that there should be a Random Electrical Noise block that fizzes and pops and crackles every so often! The Old Dirty Tube Socket block.
Z


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Best thread ever!

Are you adding ambient reverb to the IEM or is the Room parameters enough to create space?


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No other reverbs added. Often, the monitor engineer will mix some of the audience mics into the IEM mixes, especially on outdoor stages. Typically those are shotgun mics located at the front edge of stage right and stage left. He would then have control over that level on a daily basis depending on the stage and how much PA you hear on stage and what the crowd is like.


Best thread ever!

Are you adding ambient reverb to the IEM or is the Room parameters enough to create space?


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First, thanks for the highly detailed and informative post! I don't perform live anymore, but it's still great data.

Out of band, I'd just like to say 'Thank You' for years of wonderful music! I've seen TSO twice in Denver, and listen to you guys every holiday season. The fusion you guys create is amazing.
 
Thanks for the Info Chad, Not sure if i understand all of it (a picture of the Axe Screen would help) Ive made some tweeks and it seems to sound better anyway to me, I think LOL
 
No other reverbs added. Often, the monitor engineer will mix some of the audience mics into the IEM mixes, especially on outdoor stages. Typically those are shotgun mics located at the front edge of stage right and stage left. He would then have control over that level on a daily basis depending on the stage and how much PA you hear on stage and what the crowd is like.

Thanks for the earlier reply. If you are up on the newest firmware you may want to consider replicating the room setting using the reverb block and using the HQ reverb. The sense of space is greatly improved to my ears. The space is still defined by what I'll call room boundaries or size, but you get less of the "stuck in a giant square can" vibe. I also find I can add more reverb before noticing it.
 
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