Friedman ASM/ASC: Stage volume question

T

ToneDriven

Inspired
I have written a lot on how much I absolutely love my Friedman ASC12 and ASM12 as I practice at half stage volumes with the FM3: The thickness, the feel, the punch, the amp-in-the-room best cab tone ever - blah, blah, blah..... HOWEVER, I have been noticing that as I stand in front of my ASM and my CLR “as floor monitors” at FULL stage volume that my ASM virtually disappears NO MATTER how loud I crank it... Why??? The CLR and ASM are identically fed from the FM3 as the left and right from OUT1...
 
our ears can only handle so much SPL. after that things start compressing. so if it's incredibly loud, you might only be able to discern a brighter signal, which may be coming from your CLR.
 
Did you try turning down the CLR rather than turning up the ASM?

Just because they get the same level in doesn't mean they put out the same level. They're different speakers, different enclosures, different amps.

Also, what is "half stage volume"? Could be Fletcher Munson to a degree.

When you say "identically fed" are you doing Copy L>R in your I/O setup? If not they may not be getting identical signals depending on your signal chain.

Have you tried swapping L/R to see if that makes a difference? Check your cables, too... I've had interesting experiences with some functional XLR cables that don't produce the same levels.
 
I offset (point) the CLR for the bassist next to me and I still can’t hear the ASM aimed right at me (ASM ends up being the only thing pointed at me). Outside the band mix, when I play alone - the ASM is a rock star. I’ll try some of unix-guy’s ideas...
 
Maybe the problem is frequency response. I had an ASC-10 for a while. Although it was full-range it didn't have a flat response throughout the frequency range. It sounded much darker than my CLR. Maybe an EQ block just for the output to the Friedman will help.
 
rickboot said:
Maybe the problem is frequency response. I had an ASC-10 for a while. Although it was full-range it didn't have a flat response throughout the frequency range. It sounded much darker than my CLR. Maybe an EQ block just for the output to the Friedman will help.
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Some people find the ASM to be dark. In a mix, the darker sound is going to have a harder time cutting through.
 
Rex said:
Some people find the ASM to be dark. In a mix, the darker sound is going to have a harder time cutting through.
Click to expand...
Yup, that’s what I’m afraid of. It sounds awesome without the band, but pretty dull (practically silent) IN the mix. Maybe engaging it’s low freq cut would help? If not, I’m gonna try Unix’s ideas... It sounds SO good w/o the band I’d hate to sell it, but when I’m at full stage volume, I’m wanting to trade it for another CLR...
 
I have (and love) the ASM12. But I also find it a bit dark. I’ve tried a CLR and think it’s awesome. It has a wide sweet spot too which is nice. Unfortunately they’re hard to find so I went with the Friedman.
 
I don't know...I have 2xASC-10s that I installed Fender tilt back arms on that are facing me in front of my Axe III or FM3 at rehearsals and holy hell....1000Watts is just fine to be heard. The cab is only dark when you have it sitting flat like a guitar cab. Tilted up and it's punchy as hell and loud.
 
That’s possible too, but when my CLR is at noon and I’m diming my beloved ASM12 I start to wonder what’s going on...
 
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