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'm just a weekend warrior these days playing small bars, 100 - 300 people usually so it's cool to hear how you guys deal with things on the Area level in this digital age.
I send Front of House and MON the same L+R signal post everything.
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darn right!Hey, whether you play to 30 or 30,000 people, they all deserve to hear a great guitar tone, right?
[emoji3]
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So the FOH signal contains that room reverb in the Cab block.
Thanks for the insights you're giving us!
Out of interest are the guys running custom IRs or factory?
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.