FM9 Firmware Version 2.0 public beta

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Not sure how everyone else is doing it. But, for myself, if something is not right it is typically an adjustment to the equalization due to room characteristics which is always done on the PA not in the presets.
It depends. If my FOH guy wants me to make adjustments first, I will. I often do tweaks to gain, delay mix and reverb based on the room and save it as I go.
 
It depends. If my FOH guy wants me to make adjustments first, I will. I often do tweaks to gain, delay mix and reverb based on the room and save it as I go.
I have two faders set up for at-gig quick-fix adjustments of a global nature, to make it easier to 'turn down the suck' some on the fly. One does some F/M compensation, boosting or cutting the lows/highs depending on the fader setting. The other controls the level going into delays, so a dry or echoey room can be compensated for.

Since they are MIDI, the initial value can be set in the global settings so they start at 50% (middle), and they stay there if they are not touched....

0213221915.jpg
 
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I have two faders set up for at-gig quick-fix adjustments of a global nature, to make it easier to 'turn down the suck' some on the fly. One does some F/M compensation, boosting or cutting the lows/highs depending on the fader setting. The other controls the level going into delays, so a dry or echoey room can be compensated for.

Since they are MIDI, the initial value can be set in the global settings so they start at 50% (middle), and they stay there if they are not touched....

0213221915.jpg
Cool little faders. Who makes those?
 
I’ve been loving the Powerstage 170 for any kind of on-the-fly tweaking, since it’s only B/M/T that generally has to be adjusted for a room, it’s right there on the PS170, I haven’t had to tweak the FM9 itself once yet. Actually….that’s not true….I turned the delay mix up on a preset once at band practice.
 
I have two faders set up for at-gig quick-fix adjustments of a global nature, to make it easier to 'turn down the suck' some on the fly. One does some F/M compensation, boosting or cutting the lows/highs depending on the fader setting. The other controls the level going into delays, so a dry or echoey room can be compensated for.

Since they are MIDI, the initial value can be set in the global settings so they start at 50% (middle), and they stay there if they are not touched....
That's pretty rad...might have to get me one or two of those...
 
Not sure how everyone else is doing it. But, for myself, if something is not right it is typically an adjustment to the equalization due to room characteristics which is always done on the PA not in the presets.
We don’t always have the best sound guys available. I’ll usually try the Global Out EQ myself first. Works 98% of the time.
 
We don’t always have the best sound guys available. I’ll usually try the Global Out EQ myself first. Works 98% of the time.
We run our own sound. I just see the PA as the tool for adjusting to the sound of the room. But I understand that is not everyone's preferred way of working.
 
I’ve been loving the Powerstage 170 for any kind of on-the-fly tweaking, since it’s only B/M/T that generally has to be adjusted for a room, it’s right there on the PS170, I haven’t had to tweak the FM9 itself once yet. Actually….that’s not true….I turned the delay mix up on a preset once at band practice.
Was using the PS170 with my AX8 and now with my FM9. I totally agree that the tone controls on the 170 are really more than adequate to adjust for the room. While all my presets are made with global EQs flat, with the AX8 I had to use them to adjust for the room and while you can make finer adjustments, it was definitely not as easy.
 
I had my first FM9 freeze a couple of weeks ago at rehearsals. After booting, the screen didnt go beyond the initial FM9 screen. Was good to go after rebooting.
 
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