EQ'ing the mic'ed amp tone in live situation

freakymax

freakymax

New Member
hi, i will buy soon an ax8 + asc friedman frfr. i've understood that i will no get the amp in the room tone but a mic'ed amp tone in my asc and in the foh. so how must be my guitar eq at rehearsal and in live situation ?

basically my eq is always midrangey, i cut all before 100hertz and all after 6000hertz, i boost 400hertz 500hertz and 600hertz, (very qotsa sound) , can i do the same with the ax8 or does it need to be tweaked differently, like an isolated guitar track from a recorded song by example ? how do you deal with that frfr sound when you're at rehearsal and play with a drummer and a bassist who is playing with a real bass amp ? does it feel weird to compete their raw tone versus your mic'ed amp tone?
 
Start by dialing in your sound at the volume you are going to gig at! let you ears do the rest. It sounds like you already have a good handle on how to adjust EQ but at first instead of pushing the mids I might start by cutting the highs and lows depending on your volume level then add the mids if you need them.

I haven't played through an ASM but I have read a lot of threads of people that have and it sounds like it should be fairly easy to get the sound you are looking for pretty quick.

I have never had an issue sitting in a mix playing with other instruments using FR as long as it was EQ'd and volume balanced correctly it's really no different than an amp on stage with you only if your using a wedge type monitor it's more in your face. Maybe set it up back line style if using it like a monitor doesn't work for you.

Other than that your just going to have to experiment on what works best for your application.

Good luck!
 
My opinion on the whole “you can’t get an amp in the room sound” with a full range monitor is completely overhyped and untrue. If you create the preset properly and crank it up so you are getting reflections from the room you are physically in, it can sound exactly like an amp and 4x12 cab. It just takes a bit to find the right mix of amp/ir and hi/Lo cut etc. just plan on spending some time learning and don’t expect it to sound perfect right away. You have to work at it but once you get there it just keeps getting better.
 
Tahoebrian5 said:
For live I wouldn’t think a far field would be a good call.
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Agreed, not the best for sending to FOH.
By the same token, your suggestion isn't best either, "exactly like an amp and 4x12 cab. It just takes a bit to find the right mix of amp/ir and hi/Lo cut etc." If you mix something to be exactly like a 4x12 cab, it's also not great for sending to FOH.

Anyway, OP is asking for what he can use during rehearsals and live-amp type situations, for which far-field IRs will work well.
 
I never really warmed up to the FF I/R's as it limited my selection quite a bit and I didn't really like the sound they offered. I look for the I/R I like best for a raw tone then add in a bit of early reflections to get the room effect if I'm not in a room that's big enough to get that vibe.
 
yeky83 said:
Agreed, not the best for sending to FOH.
By the same token, your suggestion isn't best either, "exactly like an amp and 4x12 cab. It just takes a bit to find the right mix of amp/ir and hi/Lo cut etc." If you mix something to be exactly like a 4x12 cab, it's also not great for sending to FOH.

Anyway, OP is asking for what he can use during rehearsals and live-amp type situations, for which far-field IRs will work well.
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To each his own, but getting an authentic 4x12 sound is exactly what most people talking about amp in room are looking for. And sticking a 57 in front of that tone is usually what front of house is doing prior to digital so I don’t see why that would be undesirable for foh. Anyway my point is you can get recorded tone as well as amp in the room tone with the axe. I like amp in the room blasting as a back line and send it to foh and let the sound guy worry about the rest.
 
Tahoebrian5 said:
getting an authentic 4x12 sound is exactly what most people talking about amp in room are looking for. And sticking a 57 in front of that tone is usually what front of house is doing prior to digital so I don’t see why that would be undesirable for foh.
Click to expand...

4x12 sound and 4x12 through an SM57 sound are two different sounds.
 
Amp in room needs a room. Amp on an outdoor stage sounds totally different, as does amp in large reverberant venue, etc.

It’s basically that most guitarist are used to how their amp sounds sitting in their bedroom or den playing, which gives some nice sound bouncing around, with enough absorption from carpet etc to sound pleasing. Open back combo amp in a room is a great tone for sure.

However amp in concrete basement isn’t a sound anyone seems to long for. It sounds awful in that acoustical space.

Ever put your “loud” amp on an outdoor stage. Wow, suddenly it sounds like you lost 90% of your volume when there isn’t a roof lol

Basically folks just need to realize and accept that no matter what you do, and where you play, it’s not going to sound like it does at home or in your rehearsal space. It’s not a cab vs frfr thing, it’s an acoustics thing.
 
I used to love hauling around a pair of 412's... not! but the sound I got from a pair of those was great! as long as you stood in the really narrow sweet spot, you know the one right between the comb filtering null's.

I'll take a pair of FR 112's anyday even questionable one's, turn them up and EQ it until I have that huge smile on my face.
 
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