How are you measuring dB to ensure the best preset sound/level?

MLocascio said:
Not sure if this has been requested before, but a new block that could that could adjust the EQ to compensate for the Fletcher-Munson curve could be really useful for translating presets from home to rehearsal to live gigs, etc.

For example, you use a decibel level meter and input that number into the Fletcher-Munson block before dialing a preset at home. Then when at rehearsal or a live venue, you check the decibel levels and simply change the dB level number in the Fletcher–Munson block and the block adjusts the EQ to compensate.

This of course wouldn’t account for room acoustics, which I am in no way discounting, as that is a huge factor as well.

Edit: Or in lieu of a new block, perhaps a simple Fletcher-Munson On/Off switch with a user adjustable dB level parameter in the Out EQ blocks of the setup menu.
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Try this PEQ block.

It basically adds/subtracts roughly the difference between the F/M curves to approximate the changes between them.

If you move the controller above 50%, it adds the bass and treble to sound better when listening quietly.
Below 50%, it removes the same bass and treble, to hopefully dial back the "boom and sizzle" and save your gig when using presets dialed in at lower volumes and you are getting lost in the mix.

It's not the be-all and end-all, but it helps.
 
Dave Merrill said:
No resistor, just the cap, yes?
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That's what I do, yes. Others like the resistor & cap in parallel, and some like the resistor and cap in series. PRS uses the 180pF cap. I had used 250pF for a long time, but found it added a bit too much zing sometimes, and had taken to wiring my tone controls a particular way to allow them to also control how much treble boost the treble bypass cap gives, but have switched over to the PRS value, as it just seems to work fairly decently through the volume pot's range without any extra tweakage.... For 250k volume pots, I use (roughly) double the cap value, 390pF....
 
Joe Bfstplk said:
In the studio music recording class I took years ago, we were instructed that 85dB was the best level for mixing, to minimize tonal issues with F/M at other levels. It's not so much 'defeated' or not, but a middle position where there is minimal issues with sound changes resulting from level changes in either direction up from that point.

It's more of a sweet spot thing than a 'beyond this threshold' thing, so setting up sounds far above 85dB is just as counter-productve as doing so far below that level.

The instructor worked with the likes of Lyle Lovettt, The Pointer Sisters, and Paul McCartney, so I figure he is at least moderately competent. ;)
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I learned the same thing.
 
Joe Bfstplk said:
A 180pF Orange Drop probably doesn't exist. Never seen one below 1nF.

Separate bleed network per volume pot. They jump from the input end of the pot to the wiper of the same pot, to allow the trebles to bypass the series resistance of the top portion of the rolled-down pot.

A good ceramic or silver/mica cap will do fine here. I ordered a slew of 'em from Mouser, IIRC....
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Damn they whack you on shipping for this small stuff!
Now what else do I need besides these two caps? :)
 
Dave Merrill said:
Damn they whack you on shipping for this small stuff!
Now what else do I need besides these two caps? :)
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A n d. I was looking for something else amongst the parts and tools I have around, and found that I have small collection of 180pf caps, so no need to do the Mouser thing. Seems I've been here before...
 
Joe Bfstplk said:
That's the difference between you and me. I would have found them the day after ordering some.... :D
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But I actually can't find my Allen wrench for fender bridge saddles,. 050 I think. Pisses me off, since I know I have one.

I was trying a StringSaver saddle on the high E only of my EJ, because there's this weird high overtone only on that one string.

Don't think it helped much, which is puzzling, what else could it be? Happens on fretted notes so it's not the nut. Happens on the last fret, so it's not hitting a higher one, but I'm not 100% about that, will check again tomorrow. Doesn't happen on the same notes played on other strings, so it's not a playback thing.

Odd.
 
Dave Merrill said:
But I actually can't find my Allen wrench for fender bridge saddles,. 050 I think. Pisses me off, since I know I have one.

I was trying a StringSaver saddle on the high E only of my EJ, because there's this weird high overtone only on that one string.

Don't think it helped much, which is puzzling, what else could it be? Happens on fretted notes so it's not the nut. Happens on the last fret, so it's not hitting a higher one, but I'm not 100% about that, will check again tomorrow. Doesn't happen on the same notes played on other strings, so it's not a playback thing.

Odd.
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How close are the pickups?
 
lqdsnddist said:
I’d wager it’s generally more an issue of room acoustics etc more so than volume level that affects how stuff sound at home vs a gig.

For example, you can have a great sounding reverb at home, even pretty loud, but total mud at the revenue. Or what can sound a bit tinny in an empty basement sounds different in a club with 500 soft bodies,

I don’t think there is any secret to just playing it at a given volume and magically making it translate anywhere.

More about just knowing how the isolated guitar track can sound in a full band mix, backing off reverb, maybe not using stereo effects if it’s mostly mono house sound


As far as meters go, the apps are surprisingly accurate. Tested and compared a dozen or so for a grad school project once and there isn’t much reason to buy stand alone.

Biggest difference is just understanding differences in A vs C weighted, how you set it up etc, using external mic vs built in etc
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I second the opinion, volume will not fully compensate for something related to frequencies.
Just a thought, If patches used for the show are limited an EQ block at the end will help you fine tune to the location. In a way it emulates what the FOH engineer will do with your signal. If there are way to may patches to edit, the output overall EQ may be an option. Isolated tones don't translate the same when other instruments are added.
 
When making a new set of presets for a band, I use a db meter on a stand in front of the speaker system to get the levels to match, then tweak by ear. The tools in the Axe Fx would likely serve the same purpose, but mine is an old habit and I do like to include the whole sound path while adjusting. When I just use my ears I find that, usually, cleans are too loud and distorted presets too quiet (and too distorted) in the band setting.

I’m not presenting my way as the way. Just saying it’s worked well for me through several bands and many Fractal versions. The things mentioned earlier in this thread, such as setting at gig volume with your band, are also key to having “no surprises when the curtain rises”… my goal. Best of luck to you.
 
dr bonkers said:
I learned the same thing.
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This depends also a lot on size of room, speakers distance to listening position etc...i would loose my hearing if i was mixing at 85dB daily in my studio. In my control room 75dB is already...LOUD. 73dB feels the most confortable level. Though recording electric guitar(with AXE FX) feel is better, is more fun to play around 77-78dB. But as i said, these are levels which work for my studio. Will be different in a different room.
 
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