Dpoirier
Fractal Fanatic
In the past, I've seen some pretty extreme settings suggested by (very respectable) members of this forum. Things like "31 and 63 all the way to the bottom" or "8k and 16k at -6db". These suggestions were made to take out the rumble at the bottom and the fizz at the top. I *think* these were suggestions for FOH, and *not* for on-stage monitoring, but I'm not 100% sure...
My dilemma is two-fold:
- If these knowledgeable users also tame down the lows and highs for their on-stage monitors, then why not leave everything flat instead, and dial in you basic tone to avoid the rumble and the fizz in the first place (rather than fix it after-the-fact in global EQ)
- If, on the contrary, these knowledgeable users apply these suggested settings only to FOH (and this implies their basic tone *is* in fact properly dialed in for their monitors), then this means that these users generally think that their on-stage monitors do not translate well to FOH (hence their need for radical EQing to limit the damage).
I am just barely starting to prepare my presets on my new XL, and my tendency would be to leave EQ flat (both Out 1 and Out 2), dial in my tone for my monitor (without rumble or fizz), and hope that my monitor's behavior is close to whatever FOH will be imposed on me at gigs (then use Global EQ as a one-evening adjustment to correct any FOH/room oddities).
Help? I can't reconcile this approach with the fairly common use of "fixed" global EQ settings...
My dilemma is two-fold:
- If these knowledgeable users also tame down the lows and highs for their on-stage monitors, then why not leave everything flat instead, and dial in you basic tone to avoid the rumble and the fizz in the first place (rather than fix it after-the-fact in global EQ)
- If, on the contrary, these knowledgeable users apply these suggested settings only to FOH (and this implies their basic tone *is* in fact properly dialed in for their monitors), then this means that these users generally think that their on-stage monitors do not translate well to FOH (hence their need for radical EQing to limit the damage).
I am just barely starting to prepare my presets on my new XL, and my tendency would be to leave EQ flat (both Out 1 and Out 2), dial in my tone for my monitor (without rumble or fizz), and hope that my monitor's behavior is close to whatever FOH will be imposed on me at gigs (then use Global EQ as a one-evening adjustment to correct any FOH/room oddities).
Help? I can't reconcile this approach with the fairly common use of "fixed" global EQ settings...