Fractal Sounds Different in FOH?

I use Fractal strickly FOH, no amp. The issue I have is programming my patch via my home/studio speakers and the patch sounding so different via the FOH. I've tried different speaker and amps but still, it doesn't translate. Any suggestions? How do you do it?
 
The venue sound system can dramatically effect the end result tone, which is why it is most desirable to make your presets on the flatted possible speaker system.

Then you either have someone at the board that knows what you are looking for tweak overcome the venue limitations, or you go out and walk the audience space via a wireless and have someone adjust your global EQ for the FOH as you desire it.

Most venue systems are built around a scooped tone, often in mono. :(
 
Nature of sound systems there. Just like unplugging a 4x12 and plugging up a 2x10 cab changes sound, so will going from one system or room to the next. Even the volume difference from home to venue can alter the perceived tone.

If your presets sound good with the band at gig volume using an FRFR or through a representative PA, then it’s a sound guy thing to tweak it for the system/room, exactly as he’ll need to do for the rest of your band. But you need to make sure you’re at that spot with your preset first. There’s simply no workaround for testing the preset with the band, and at the volume the band plays. Anything else is shooting in the dark.
 
It's nearly impossible to get the same thing going. It's why people stress the importance of a good FRFR speaker. All pa's will sound different.
 
I had a similar experience when going direct with the AX8, sounded "great" at home but terrible through the PA. I discovered that the tone at home was much too bright and lacked bottom end but I had grown accustomed to it. I picked an amp and the appropriate cab and played without tweaking anything and thought "wow, that's how the guitar is supposed to sound". Tried it at our next rehearsal and it sounded great through the PA.

Start with the default settings of a preferred amp and a typical cab and try it at a rehearsal, no matter how it sounds to you at home. I believe tweaking modelers through studio monitors we can over-polish the tone or tweak it to the point where it's really no longer a true representation of the actual mic'd guitar cab.
 
what are your home/studio speakers? some are very hyped in certain frequencies so they sound "better" to the average listener. you also can't really expect tones dialed in on a 5 inch desktop monitor at conversation levels to sound the same in a cranked array of 12-15" speakers
 
The issue I have is programming my patch via my home/studio speakers and the patch sounding so different via the FOH.

I have one HS8 Yamaha and one EV ELX112P. I set the Axe up at a similar db to the locations I would play - maybe even a little louder. ***I also (big factor) make sure the mixer is flat on the eq. settings I am going in to. The other differences would be out of my control as the room my be eq'd different than my home music room... but with this method it is close enough and sounds pretty consistently good from Home to FOH.
 
Honestly .... unless you own the system you are playing out of every night .... or you're fancy enough to have a rider stating what speakers you want to play out of FOH .... or you play in the same venue night after night and can purchase the same system to have at home to make patches with .... its always gonna sound different! Biggest thing to make sure of though is that the FOH guy knows you are using a modeler and you can get him/her to set your eq on the board Flat with the exception of a Low Cut and possibly High Cut.
 
Quite a few factors here - The frequency response of your monitors vs PA. The sheer volume (Fletcher Munson effect). The EQ on the board and the master EQ before it hits the speakers. The room you're playing.

Dial in patches at a loud (gig level) volume with a standard PA instead of studio monitors and cut out the harsh 2-4khz area to get rid of the ice picky stuff especially when playing leads. Add in a fair bit of high cut (I start at around 8khz). Anything below 100hz can probably be left to the bass and kick. Dial down the presence and bump the mids. Play with a bass player and drummer and a vocal to really cut out frequencies that overlap too much.

The rest I guess you'd have to leave it up to the FOH engineer.
 
This is what happens with real guitar amps that are mic’d at the gig and no one ever knows because they just hear the amp on stage and think it’s all good.

Create tones at stage volume, or adjust them at gig volume at a sound check when possible. This is probably the number one question from practice to performance. It happens to everyone and there’s no quick way to solve it, you have to do the adjustments at gig volume; it’s how sound works for any instrument.
 
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Lucky thing is the audience doesn’t know it sounds different (nor cares if it did), so while you can tell something might sound a bit off, no one else listening is going to. This isn’t to say there isn’t “bad sound”, guys doing a horrible job running the board etc, but too often guitarist sweat the small stuff of their tone, when it just doesn’t matter that much live. Band mix live is going to sound different then rehearsal or recording, playing at home with monitors in a bedroom is going to sound different than a reverberant venue, which is going to sound different full of people vs sound check etc etc.

At least with the Axe your controlling a ton more variables than how your amp is mic’d or running on a given night etc which can sound different gig to gig even at the SAME venue lol

Bottom line is generally trust the engineer, perform well with passion and enthusiasm, and the audience will enjoy it, they aren’t really as picky about guitar tones as us folks who obsess about it in gear forums :)
 
I find some FOH systems reek havoc, due to very heavy subs and very sensitive HF drivers. The tone can get boomy or piercing real quick. I have a PEQ block right before out 2, so I can tweak as needed, for different FOH systems. My starting point is always low cut roll off at 100hz and high cut roll off at 6 to 8k depending on the system. This insures I will lose the boom and shrill.
And as stated you have to trust the sound engineer to dial in from there.
 
If you turn up your studio monitors to where they are quite loud for adjusting sounds, you will get closer. Tweaking at bedroom volume never works!
 
If you turn up your studio monitors to where they are quite loud for adjusting sounds, you will get closer. Tweaking at bedroom volume never works!

Amen.

Maybe try to find a mix that you can “fit” into ... a good recording of your band or during practice.
 
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