Finding the right amount of mids with being honky tips!

cragginshred

cragginshred

Fractal Fanatic
Plexi rock tone context. Most reduce bass on plexi's to reduce flub. What I am fining at live volumes through an Atomic CLR to PA there can be bit too much top end so the question is how are you all dialing this out? Bringing bass up anywhere close to noon introduces flub starts to kill mids

I found bringing some depth up and reducing the bright cap a very little helped. Any other tricks you've all found?
 
cragginshred said:
Plexi rock tone context. Most reduce bass on plexi's to reduce flub. What I am fining at live volumes through an Atomic CLR to PA there can be bit too much top end so the question is how are you all dialing this out? Bringing bass up anywhere close to noon introduces flub starts to kill mids

I found bringing some depth up and reducing the bright cap a very little helped. Any other tricks you've all found?
Click to expand...
What Ir? And what are the low
And hi cuts set at ?
 
Greg Ferguson said:
This is a bit confusing.

Are you feeding the CLR and then tapping from there to FOH? Or are they separate feeds?

How/when are you EQing? At home and at home volume, then trying to readjust on stage at stage volume?
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Yes CLR feeding house PA is that wrong or causing me to have too much highs at high volumes ?

No EQ pedal. Need to post screen shot of amp settings
 
cragginshred said:
Yes CLR feeding house PA is that wrong or causing me to have too much highs at high volumes ?
Click to expand...
Not wrong because the CLR is probably not messing with the signal, but if the CLR doesn't have the same frequency response as the FOH then it'll be misleading. You could EQ for the CLR which will send that EQd feed to FOH and, unless you have an engineer on that mixer who knows you're doing that things could get wonky for the audience.

A symptom of the Fletcher-Munson effect when we EQ at low volume and play at high, is that the highs and lows get over accented so I always have that in my head when I set up a preset, then I adjust and save it during sound check and leave it alone from then on. Unless I start playing with Dyna-Cabs when I get home… :)

A while back I set up my FM9 sending the left channel to my EV and the right to FOH, then had to reEQ the EV send to cut some highs, and was stuck because I was using the global PEQ which affected both. DOH! Now I use separate OUT feeds so I can EQ them separately, though by default my FOH is flat so the engineer can do what he wants with it, and I just make a recommendation that it be 12 dB cut at about 100Hz and 5K-6KHz which seems to work pretty well.

There are so many ways to EQ the OUTs on the modelers they're their own form of option paralysis. :)

Regarding the flubbiness, have you adjusted the master volume in the Amp block? It can make an amp sound real flubby when pushed too high. Also, the Input EQ page of the Amp can help by changing the guitar's signal into the amp. And, I've found I tend to use too much gain initially, then at stage volume the (Fender Blackface-based) amp sounds too fat/flubby and it clears up when I reduce the gain.
 
Maybe I’m in the minority but I usually turn the bright caps off on Plexi’s. I get the highs back with other controls. I’m a classic rock gain level player and at those levels, the bright cap is too much.
 
skolacki said:
Maybe I’m in the minority but I usually turn the bright caps off on Plexi’s. I get the highs back with other controls. I’m a classic rock gain level player and at those levels, the bright cap is too much.
Click to expand...
Interresting with Wich controls?
 
skolacki said:
Maybe I’m in the minority but I usually turn the bright caps off on Plexi’s. I get the highs back with other controls. I’m a classic rock gain level player and at those levels, the bright cap is too much.
Click to expand...
At the moment, my Plexi tone is using the normal channel with the bright cap off and the presence wide open.
 
Joshua_L said:
Interresting with Wich controls?
Click to expand...

Just the usual suspects presence treble high treble. Sometimes bump up highs in the speaker curve. Brighter IR’s. Output GEQ. The thing with that big bright cap is that it has a lot to do with getting that honk. I don’t like it much by itself but in a mix I do like it.
 
cragginshred said:
Plexi rock tone context. Most reduce bass on plexi's to reduce flub. What I am fining at live volumes through an Atomic CLR to PA there can be bit too much top end so the question is how are you all dialing this out? Bringing bass up anywhere close to noon introduces flub starts to kill mids

I found bringing some depth up and reducing the bright cap a very little helped. Any other tricks you've all found?
Click to expand...
I've come to rely on the 5 band passive EQ type in the Output EQ to put the finishing touches on live tones. Slight boosts or cuts in each band makes a big difference.

Some may argue that the amp is no longer 'authentic' when using the Output EQ, but I prefer to use any of the tools available to get the tone needed for an environment. In my experience, it's usually the IR that causes some of the EQ 'issues' that need to be addressed. It has gotten me closer to the off-axis mic position I prefer.
 
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