Asking for your TRUTH

Ty guitardoc for taking the to answer my over asked question. Unfortunately i e never had the honor to really use tube amps until I met our other guitarist which is an equipment nerd. All I've played on is a pod x3 through an atomic 212-50. I've never even gone FOH.
 
Lvc, it's been years since I've played live. I recently joined a band so this is changing. Last couple of times everything was mic'ed. Unfortunately it was not the greatest experience. They did not have monitors and I could not hear a darn thing.
 
Edrod said:
Lvc, it's been years since I've played live. I recently joined a band so this is changing. Last couple of times everything was mic'ed. Unfortunately it was not the greatest experience. They did not have monitors and I could not hear a darn thing.
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I think in your situation you might be better off getting something like a powered Xitone wedge and go from there.

these things are built like tanks (right here in the USA). I have a couple of pro player friends that use them and love them.
 
sbanville said:
Most guitarists should adjust their tone with the cab right in their face to truly hear what the amp is sounding like. I for one, love the Axe and FRFR with my CLR pointed up in my face. I know exactly what the audience is hearing.
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When I occasionally compare my FRFR output monitor/IR's with my real 4x12 that's how I position both to listen to them; a few feet back and pointed right at my head to hear the true, on axis tone/response. You definitely hear exactly what's going on and what you're sending to the FOH.

While I'm intrigued by getting a far-field/IR of how a real cabinet sounds and duplicating that, I invariably get better tones and far more flexibility out of my FRFR monitor using close miced IR's then I do using my 4x12 at this time.

Taking control of my FOH tone was one of the biggest motivators for me to use an AxeFX direct and ditch the real cabinets and the many variables in micing them up at gigs.

I do have to carry the room occasionally without going thru the FOH and my FRFR monitor handles that deployment with ease.
 
Yzaviv said:
To whom it may concern, i am new a this forum and new to the axe fx, i haven't replied yet because i need more time to read/try all the great ideas people have written...
BTW - thank you all
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I hope some of our posts don't put you off. There are some old men on this forum that get grumpy once in a while, that's all (me included). Pretty good bunch of guys, and some killer players too. You'd be hard pressed to find a more dedicated bunch, I think.

BTW, just get the CLR, it's good.
 
personally I don't think you should worry too much about what the audience hear..
you have very little control over it, and most often you're the wrong side of the PA..
let the sound engineer handle that.. and to a reasonable degree, most folk in the audience won't hear much difference anyhow..
they just want a guitar to sound like a guitar..

us guys, up there playing on the other hand have to work with the tone on stage..
how it inspires [or not], sounds and feels to us is the difference between an ok or great performance..
whatever it is that you want, like, need.. FRFR, trad cabs or whatever.. it has to be great for you above and beyond everything else..
because the one thing Joe Blo in the audience can tell, is if you're having a bad day in the office, or if your performance is blowing them away..

choose your rig… dial the Axe into that rig.. and make it sing for you..
nail that.. and the crowd will love you for every great song you throw down..
 
FractalAudio said:
you simply can't fool your brain when it comes to directivity.
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I wouldn't be too sure at all, personally...

Sadly this info "Sound that is not allowed" is only in Dutch AFAIK
Some Dutchmen here should try and check it out.
I believe the nulpuntenergiegroep has a unit they rent out and have a clue how it works, but probably won't tell.
It uses techniques way beyong mainstream science and schematics probably wouldn't help you.

|| DHTRob - Henri van der Heide: Geluid dat niet mag? ||
Geluid dat niet mag Henri van der Heide

IIRC, one of the features was that the specially recorded sound could be played back through his system, and you would always hear it just like you were there, no matter where you stand in the room. (I mean, I think you can go stand next to one speaker and not have the usual effect of doing that. The sound would remain the same, or who knows, change as if you would change your position in the original place.)

There's a lot more to it, but when it is not mainstream, it is automatically in the "conspiracy lore" of course, so until one of the Dutchmen gives testimony, there is nothing to see here ;)
 
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clarky said:
whatever it is that you want, like, need.. FRFR, trad cabs or whatever.. it has to be great for you above and beyond everything else..
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Yes, absolutely agree with this. That's why the AFX and FRFR works so well for me; I create presets/tones to my personal taste which inspire me to play creatively and they all sound great thru the FOH with very little tweaking (usually just a bit of low end taken out globally is all that's required to sit in a mix). It's nice to know that I'm sending a killer signal to the FOH as well as being very happy with my onstage tone. It's the best of both worlds.
 
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vAmp said:
I wouldn't be too sure at all, personally...

..."Sound that is not allowed"...
It uses techniques way beyong mainstream science and schematics probably wouldn't help you.

|| DHTRob - Henri van der Heide: Geluid dat niet mag? ||
Geluid dat niet mag Henri van der Heide

IIRC, one of the features was that the specially recorded sound could be played back through his system, and you would always hear it just like you were there, no matter where you stand in the room. (I mean, I think you can go stand next to one speaker and not have the usual effect of doing that. The sound would remain the same, or who knows, change as if you would change your position in the original place.)

There's a lot more to it, but when it is not mainstream, it is automatically in the "conspiracy lore" of course, so until one of the Dutchmen gives testimony, there is nothing to see here ;)
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Until they take it beyond "we have secret knowledge that can do unheard-of things, but we won't tell you how or demonstrate it for you," there truly is nothing to see here. ;)
 
I want to sound like a studio mixed guitar sound when I play, and I am getting the feel/groove with my K12's and now CLR's. The sound is always consistent, and worked with allot of different sound engineers lately.
I get comments from them how good and easy my guitar tone is to mix. Not to mention players asking me what the hell I am using.
The tones I salivate over have always come out of stereo speakers anyway.
I love my EVM12L's but,,, not missing them lately.
 
PJ1 said:
I undoubtedly spend more time tweaking than recording/creating music. It should be the complete opposite .
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This is the ONLY negative to this fantastic box. I know professional guitarists who won't even let themselves look at the Axe because they want to spend ALL their time making music and not tweaking.
But if you have a bit of geek in you ( as I do) then tweaking becomes part of the fun and magic of the box.
 
Gamedojo said:
If its a great sounding room... a Good PA speaker behind you pushing your AxeFx2 guitar patch will sound even better to an audience then a guitar amp in that same room. Reflections in an acoustically treated room benefits all audio devices. The difference is that the Axe Fx with a neutral PA speaker will spread your frequencies better then an open backed amp. Maybe not so much to YOU on stage, but to the audience for sure.

...also, if its a gig without a PA, I would say its worthless...'cause you're probably not getting paid much :) HEHE
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Well, I'm a jazz guitarist who plays smaller rooms. Some of them are very good sounding rooms. Even if there's a PA, what's important to ME is how it sounds for me. I play loud enough anyway that most often the PA isn't putting much of the guitar through anyway. It's putting the piano, horns, drums and bass, but barely puts the guitar in. I guess I play too loud. I stand in between my two small cabs and am in heaven.
 
henryrobinett said:
Well, I'm a jazz guitarist who plays smaller rooms. Some of them are very good sounding rooms. Even if there's a PA, what's important to ME is how it sounds for me. I play loud enough anyway that most often the PA isn't putting much of the guitar through anyway. It's putting the piano, horns, drums and bass, but barely puts the guitar in. I guess I play too loud. I stand in between my two small cabs and am in heaven.
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Everyone has a different gig so it makes sense what works for some won't work for everyone. It also depends on where you are as a musician. Are you an entertainer performing for a living? A bedroom player hitting up the Monday metal Jam? a gigging cover band getting % of sales?

Regardless of where you are, I think your stage volume should never be more than the acoustic volume of your drummer's kit. IMO If you really want it louder for personal reason's you should go In-Ears instead of destroying the stage mix for everyone else or, killing the first few rows of unlucky patrons getting the cone of deaf from your 4x12 cabinets, and making it impossible for the sound engineer to reinforce you to the audience...... Just my opinion after 27 years of learning about sound reinforcement.

I wanted to add to this as well. I have worked with hearing protection my entire life. In one of my previous bands, the drummer and bass player do not and have never used protection. These 2 guys together are beyond tone deaf and it's really quite sad. For example, The drummer thinks on many studio recordings that the kick drum is doing 4/4, hitting every beat, when the reality is it's the bass guitar while the drums are kick / snare / kick / snare, but he's so deaf he can't distinguish the difference, the result? people actually clear the dance floor cause no one can get into it, it's like double bass all night long....... Now the Bass player isn't as bad, but he consistently sings out of tune because of it. Guess what both their answers are to deal with it? PLAY HARDER, PLAY LOUDER, SMASSSSHH! The drummer breaks sticks left right and center he hits so hard just so he can hear himself, and the bass player is probably double the volume he should be at. I tapped the mains from our desk a few times and recorded the FOH mix and the results showed little to no drums or bass in the PA at all because they were already loud enough on stage. Now, in order for the guitars to hear ourselves, we had to turn up as loud as them, THEN our vocalist needs her monitor to be on top of all of us so she can hear herself...... I'm sure by now you see where this is heading. So now that everyone is so loud that sound engineer can't even create a FOH mix without foldback because we are only playing a 150 person room, we are going to sound like shit all night to the audience and venue, no matter how happy you "personally" are on stage.

anyways, I'm sure most of us have been there..... it's no fun.
 
There is not much difference between active wedge and matrix + passive wedge. If you intend to go FRFR an active wedge makes probably more sense. If you are not certain yet the second option gives you more flexibility though since you may hook up a guitar cabinet as well. Difficult decision... What kind if music do you play?
 
toolfanem said:
"Opinions are like assholes, everyone's got one and they usually stink..."
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This forums is so awesome when some one gives critics even the goal is to make this product even better. Kissing ass won't make this product better (wich most people do). It's not my "opinion" that there's still something to do to make axe fx better, it's a fact, even this is the best piece of gear out there and I love it. Sorry if it stinks...
 
Irotlas said:
This forums is so awesome when some one gives critics even the goal is to make this product even better. Kissing ass won't make this product better (wich most people do). It's not my "opinion" that there's still something to do to make axe fx better, it's a fact, even this is the best piece of gear out there and I love it. Sorry if it stinks...
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My bad, I dont know why I quoted your comment rather than just adding a new one. It wasn't supposed to be specifically pointed at you :) My apologies. I was more trying to make a general statement along the lines of everyone has their own opinions, and to outsiders, those opinions are usually bad and become points of argument. This topic just makes me laugh a little each time it comes up because it comes up frequently. IMHO, getting the "amp in the room" sound is as simple as putting a speaker in a room :) Boom, amp in room. It may not sound exactly like a 4x12, but certainly it be tweaked to be quite close.
 
toolfanem said:
My bad, I dont know why I quoted your comment rather than just adding a new one. It wasn't supposed to be specifically pointed at you :) My apologies. I was more trying to make a general statement along the lines of everyone has their own opinions, and to outsiders, those opinions are usually bad and become points of argument. This topic just makes me laugh a little each time it comes up because it comes up frequently. IMHO, getting the "amp in the room" sound is as simple as putting a speaker in a room :) Boom, amp in room. It may not sound exactly like a 4x12, but certainly it be tweaked to be quite close.
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Haha ok no problem man :)
 
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