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Axe FX II with Atomic CLR active cab

Discussion in 'Axe-Fx II Discussion' started by don_joe, Sep 15, 2018 at 5:30 PM.

  1. don_joe

    don_joe
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    Hello

    Does anybody of you have this setup for playing live with a band?

    I just can't find the right sound when playing louder with other musicians. As long as a play through my CLR in my studio, which is an euphemism for a small dusty cellar department without isolation and with hordes of spiders, I manage to find a spongy sound with right punch and attack. When I record with the Axe FX, it's all fine, the feeling through studio speakers is almost there, in the recording everything ok.

    But when I turn the CLR louder, in a band room, it gets congested, overcompressed, boomy and glassy, all at the same time. It sounds like sh**.

    So, I've messed with the gain staging, found out that I have to turn the Axe FX volume really really low. On the CLR, the channel gain to almost maximum and master almost maximum, cause it's not loud enough with enough headroom. If I turn the Axe FX louder, all the negative stuff mentioned above gets exponentially worse. I've also tried the CLR preset button FF/Tilt/Back Line but nothing of it works as desired.

    You would make me very happy if you know this problem and if you tell me how to solve it. Is there anything I've missed? Maybe Axe FX input level? Or an amp or cab parameter? I do the cuts in the cab by the way (85/8500 Hz). Where is the trick? Global EQ? Motor drive? How do I get a normal feeling like playing through a normal amp, where I can hit the strings without every preset sounding too harsh?

    Much appreciated.
     
  2. yek

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    The nominal output level of the III is not that important, because the input gain on the CLR compensates.

    Your experience shows all the signs of dialing in your sound at low volume level / not within the context of other instruments.

    Try dialing it in with a backing track, at medium-to-loud level (90 dB or more), make use of Low Cut and High Cut in the Cab block, and turn up those Mids.
     
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  3. Billbill

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    Yep! Great sounding tone, regardless what's generating it, will sound extremely different when cranked up! Do what yek said and read up on fletcher Munson curve as well.
     
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  4. don_joe

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    Thanks yek! Well, I think something is wrong in the amplification chain. It just can't be that for example B/M/T knobs could be that sensitive how they react with the cab. Those nuances don't change this harsh texture. The tone is just unbelievably glassy, it cuts through the brain. It's not like a preset problem, it's definitely something in the amplification. When I hit the strings, it's not like a bad preset, the cab just reacts too sensitive and the sound is a bit distorted in a bad way. Definitely too much boost/punch, all the warmth and organic feel disappears with the volume level.
     
  5. chris

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    no idea what this means.
    you've again described the FM curve.
     
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  6. dpeterson

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    Bring low cut down to like 6500 or lower in the cab block on the II. Helps with the harsh highs when loud.
     
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  7. yek

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    Indeed. And when you’re not playing clean Fender/Vox stuff, and mainly medium to high gain, you can go even lower.
     
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  8. don_joe

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    The output is too hot.
     
  9. don_joe

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    OK, you've convinced me to try again at loud levels. I'll do it tomorrow and I'll get back to you. Thank you all.
     
  10. USMC_Trev

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    Don't wanna get Munsoned out in the middle of nowhere.
     
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  11. don_joe

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    OK, I gave it a try with the high cut in the cab block. I've messed with every parameter in the amp block. Nope, I'm not just another victim of Fletcher-Munson. The pick attack is the problem, not the EQ, it's abrasive all the time. It goes partly away only if I turn the master volume in the amp block to some 0.5 - 1 down. If I do this and if I cut in the cab block until 3 kHz, it's still abrasive.

    Does anyone of you have a CLR? Could you maybe share a middle to high gain preset and the settings of your CLR? Does no one have this kind of experience with a CLR? If I plug my guitar into a real amp, the pick attack is smooth and organic (I'm not talking about the tone again). With CLR it's just not playable, rather frustrating, artificial and embarassing.

    Thanks.
     
  12. chucma

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    I have some CLRs, send your patch through and I’ll test it out on my side.
     
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  13. chucma

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    Also, what guitar/pups are you using?
     
  14. don_joe

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    Carvin DC727 with BK Rebel Yell set. I'll send you a preset with one of the factory cabs soon. Thanks, that's kind of you.
     
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  15. chris

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    Yes, please upload some presets that exhibit the issue.
    This part initially caught my attention, and it just doesn’t sound right. Having to turn the CLR channel all the way up is not my experience, and the amount of output from the Axe shouldn’t affect the tone at all. Have you tried the 2nd input on the CLR? Most have the CLR channel levels around 1 o clock on the dial, with the Axe perhaps around 12 o clock.

    Upload some presets please, even if they seem basic to you, it will help us eliminate many factors for troubleshooting.
     
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  16. don_joe

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    Great, this is some useful info. I've tried both CLR inputs, they are the same. But I'll check it out again, just in case. I'll upload a preset in a day or two. I just got informed that I have to travel tomorrow. I'll be back to you. Thank you for your help.
     
  17. spv

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    I run my CLRs at 1 or 2 o'clock, and then set the master based on the room and overall volume. The Axe FX is set typically at 12 o'clock, but I will vary between 11 and 1 dynamically. At gig volume, I drop the lowest 3 bands in the global EQ by about 3 db each to reduce boominess and increase "cut." I also take out some of the highs depending on the specific situation if needed. This seems to work well for front of house and also for stage volume. It doesn't sound great alone but works in a mix.

    In a practice setting, I found the tilt setting to be problematic -- too loud for me and not enough for the other musicians. Then I set it at "backline" and people across the room found that irritating. So I came up with this: turn the CLR toward the wall, tilted, about 2 feet away. It creates a reflection against the wall, INTO the room, which really maximized sound presence and dispersion per unit of audio volume. The band really appreciates it as do my ears.
     
  18. xrist04

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    As others have noted, this effect is brought to you by Messrs. Fletcher and Munson, Set your EQ at gig volume levels.
     

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