A few words about live sound

This is great stuff. Solid experience on the frontlines by people who know and care, clearly written and explained. There's one thing, though, that I don't quite follow:

There is some minor compensation (1 to 1.5 dB around 2K) at the monitor desk due to the physical properties of the in-ear monitors. This is achieved by using the high and low pass filters at the CAB.
How do you make a minor tweak in the middle of the spectrum with the high- and low-pass filters in the cab block?
 
How do you make a minor tweak in the middle of the spectrum with the high- and low-pass filters in the cab block?

I think that the "minor compensation"-sentence just briefly interrupts the flow. The high/low-pass stuff seems to apply to the sentences before that one. :)
 
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Sorry for the dumb question but can someone tell me how I get the block file posted here in a preset, I cant find a way to import it and the file open option only allows sys file types, cheers
 
Sorry for the dumb question but can someone tell me how I get the block file posted here in a preset, I cant find a way to import it and the file open option only allows sys file types, cheers
Put the file in Axe edit's block folder. In axe edit, right click in the grid and go to library and then insert the block.
 
Great post! I am such a noob when it comes to this stuff. As a big TSO fan it seems their sound is nearly identical year after year and I am betting this is no accident. Is Angus the only TSO guitarist using the Axe?
 
Great post! I am such a noob when it comes to this stuff. As a big TSO fan it seems their sound is nearly identical year after year and I am betting this is no accident. Is Angus the only TSO guitarist using the Axe?

Angus was the one using the Axe with the TSO West Coast troupe. For the East Coast, I believe Joel Hoekstra was using the Axe-Fx. They were both fans of the Axe-Fx from using it in the "Rock of Ages" show on Broadway.
 
Great post! I am such a noob when it comes to this stuff. As a big TSO fan it seems their sound is nearly identical year after year and I am betting this is no accident. Is Angus the only TSO guitarist using the Axe?
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From what I heard, both East and West coast bands are using the AxeFx. I had heard they were using Line 6 rack mount stuff a few years ago, and switched to Fractal in 2014.
 
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From what I heard, both East and West coast bands are using the AxeFx. I had heard they were using Line 6 rack mount stuff a few years ago, and switched to Fractal in 2014.

Chris Caffery had used a digitech GSP1101 for a long time... I never heard of them using any Line 6 stuff, but that doesn't mean they didn't.

Awesome if they actually switched to fractal - they sounded awesome in Pittsburgh this year!
 
I find the Axe FX without any reverb or room sound a bit too dry compared to what I'm used to from playing real amps....so I love the "medium room" reverb algorithm when playing my Axe FX at bedroom levels, to give it a bit more of that amp in a room sound, without it sounding like a reverb.

I haven't gigged with the Axe yet though we are entering rehearsals shortly and I'm tweaking my patches for the live set. Should I turn the medium room off, or might that work fine in a live situation? Since a venue adds it's own natural reverb, at gig volumes I wonder if the "medium room" reverb will negatively affect the sound for the audience. Also since the verb is stereo, not sure if that will collapse and sound worse than just going dry? For example, I love the sound of stereo delays when I'm playing for myself or in in-ear monitors, though I tend not to use them in a live situation since a mono delay tends to sound better through a mono PA than a stereo delay does when it collapses (maybe I'm wrong about that but for example I think the mono tape delay sounds better in mono than the stereo tape delay when it collapses to mono).

Thoughts on room reverb and stereo vs mono verb/delay live?
 
Depends on the room you're playing and the way you've dialed in your reverb.
 
Depends on the room you're playing and the way you've dialed in your reverb.

This is true. If it's a big echoey room and you've got a high mix big reverb then you might get buried. If it's just a little verb for ambience I think you're ok most of the time.

I use either the medium or large plate...they seem to stray out of the way.
 
I always cut around 6-6.5k. If i cut at 15k i'd hardly hear the difference and it'd shred my ears off at high volume.

Can you get controlled feedback when cutting that low? Can you change the feedback note by moving yourself on the stage?
 
I've been cutting my cab block to between 250/300 and 10k for a while. It just sounds more like an amp in a room through my powered speaker, and more like a real mic'ed up amp in my in-ears. I let my bassist fill the low end, which lets us both cut through, and sit in an open area. I also make some cuts to let my vocals come through without fighting with the guitar. I can go from a whisper/mumble to a hard yell/scream without loosing my vocals in our inears. I've been told our live mix sound pretty great too, and the local sound guys tell me they barely have to touch the mixer.


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Can you get controlled feedback when cutting that low? Can you change the feedback note by moving yourself on the stage?
Oh, yes. If you're getting feedback above 6 or 7 kHz, the crowd will be covering their ears.
 
Oh, yes. If you're getting feedback above 6 or 7 kHz, the crowd will be covering their ears.

I wasn't talking about the feedback fundamental note XD
I think you need some of the 10k-ish frequencies to to make the feeback start easily.
 
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