I picked up an ASM-12 and have had to pull mids down to come close to my patches originally set up in the studio on Adam A7Xs with sub. It sounds great then, but I haven't played it out yet. My intention was to use it as backline and go direct to FOH. However, I'm not convinced that my patches will translate. Anyone have any experience directly related?
I know I'm jumping the gun but I may return it to get a CLR. I play metal and got this based on the rock/metal suggestions.
Thanks.
Eric
I picked up an ASM-12 and have had to pull mids down to come close to my patches originally set up in the studio on Adam A7Xs with sub. It sounds great then, but I haven't played it out yet. My intention was to use it as backline and go direct to FOH. However, I'm not convinced that my patches will translate. Anyone have any experience directly related?
I know I'm jumping the gun but I may return it to get a CLR. I play metal and got this based on the rock/metal suggestions.
Thanks.
Eric
Just keep your studio pre sets in a different bank then dial in your live ones for Friedman Asm use With only slight tweaks in dialing back to bass, depth ect I assure you they will be greative been thinking about getting a friedman for the same application as backline support with direct to FOH. but having to change sounds that I dialed in so carefully in the studio is a concern.
very curious to hear what your experiences are once you go live with it.
Just keep your studio pre sets in a different bank then dial in your live ones for Friedman Asm use With only slight tweaks in dialing back to bass, depth ect I assure you they will be great
the question that comes to mind is, how different is the tone in FOH from what you're hearing in the ASM-12? if you're adjusting for the ASM-12 won't that skew the FOH ? or can you set different EQs for your backline and FOH?
You'll run into this problem with each and every FRFR you choose. The problem isn't the FRFR but whatever they're using FOH. If you buy a CLR and they are using CLR FOH, you're good. If you buy a Friedman and the are using ASM-12 FOH, you're good again. If you buy a Friedman or CLR and they are using QSC, JBL, RFC, etc, then you'll have to re-EQ.
One thing I can't seem to wrap my head around..if using a frfr such as the friedman ASM-12,I understand it's a great match for a modeler type rig,it accompanies a power amp,as in the ASM-12, such as 500 watts of class G power..,could it not drive another speaker with 500 watt? Maybe the impedence values would be a challange but should be a possibility..seems logical to think a 500 watt amp could drive more than a 2x12 wedge..if not it kind of disintegrates the idea of a fly type rig if having to bring another amp head to power a 4x12..makes it a tough choice for me to get a wedge..if it could possibly push another cab of sort I would think it would be a major benefit..thanksUpdate: I bought an ASM-12 directly from Dave Friedman. I happen to live very close to his shop and he was very generous and kind to meet me there on an off day and sell me the ASM-12. I've had some involvement working with some high-profile musicians and apparently knew of me which came as a surprise.
All I have to say is the speaker sounds amazing. It's the perfect balance between being FRFR and a guitar cab. It sounds almost similar to my Port City Cabs, just with a little more extended high end and low end (as a good FRFR cab should), but without the stringent top end most tweeters in a standard monitor would give you. I low-cut at 100 and High cut at 7k as a standard on all my patches. Patches dialed in studio monitors and the Friedman translate well. Perfect accuracy? I don't think so. Dave told me himself that he was looking to build something that had the thump of a real cab and wasn't too harsh or bright up there. In my opinion, the ASM-12 is perfect for that.