How to deal with sound engineers to have the Fractal Fm3 sound perfect in a Live setup : Distorted/Solo Patches drowning in the mix ( worst case )

If you’re getting buried that’s on FoH and they need to do better. That said, I boost my leads and they shouldn’t need to ride levels.

If you are boosting your leads and they are not commensurately louder, FoH may be compressing/limiting so extremely that it actually gets quieter when you boost, or at least doesn’t get louder but becomes buried if there is more gain and/or FX. Or maybe they don’t like the fact that you are boosting and they turn it down. Only they know (or maybe they don’t even know) - either way, get better sound techs or, if venue/promoter/etc is supplying them, find better venues/promoters/etc.
 
@chris has it right I think.

If your solo boost is before the amp, which the OP said it was a few posts in, it's just hitting the amp harder, increasing compression and distortion more than actual volume.

Try a parametric between the amp and any long time-based stuff at the end, like reverb and relay. I usually leave it flat, 3 or 4db of gain, but you have the option to goose mids or highs if needed to cut and sit right in the mix.

See above for why it's before verb and delay.
 
Dave Merrill said:
@chris has it right I think.

If your solo boost is before the amp, which the OP said it was a few posts in, it's just hitting the amp harder, increasing compression and distortion more than actual volume.

Try a parametric between the amp and any long time-based stuff at the end, like reverb and relay. I usually leave it flat, 3 or 4db of gain, but you have the option to goose mids or highs if needed to cut and sit right in the mix.

See above for why it's before verb and delay.
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Sure ! But why a Parametric EQ and not just a Volume block between Amp and FX ? Aren't you just lifting the volume or do you also wanna change the EQ curve when you boost
 
On the Fm3 because of the 3 footswitches only I was trying to use an Ampero Dual switch to move up and down between scenes but I never managed to be able to do it !
 
from my experience in the last 2 years of playing gigs with the FM3, we've always provided tech riders/input lists and a quick description of what's being sent out and there's also leeway for the FOH engineer to do their thing to compensate for the venue

more volume won't necessarily have the desired impact for example if the EQ at FOH is not aready in a good spot , sometimes a mid boost with some volume can be more effective

in any case for my scenes, i've got any cleans a bit lower in volume/level than my distorted scenes, something i've always sort of done from using real tube amps, has always worked for me, it's not something i check only with levels but rather perceived volume, by playing
maybe that helps

otherwise always give as much information as possible to the FOH engineer, talk with them and be courteous =) they're there to make you sound good so if you can help in doing that by communicating, that's always good
 
I also use the filter block approach, but also have the filter block have a smidge of 1K boost in it (so +3db over all and another 1.5 db or so at 1K). Always seems to cut really well. I always tell the FOH engineer about this also and make sure we test the gain structure in sound check.

On some presets I may also have a drive pedal kick in to give it a bit more compression and grind. Doesn't negatively impact how well it cuts.
 
Paul Bradshaw said:
from my experience in the last 2 years of playing gigs with the FM3, we've always provided tech riders/input lists and a quick description of what's being sent out and there's also leeway for the FOH engineer to do their thing to compensate for the venue

more volume won't necessarily have the desired impact for example if the EQ at FOH is not aready in a good spot , sometimes a mid boost with some volume can be more effective

in any case for my scenes, i've got any cleans a bit lower in volume/level than my distorted scenes, something i've always sort of done from using real tube amps, has always worked for me, it's not something i check only with levels but rather perceived volume, by playing
maybe that helps

otherwise always give as much information as possible to the FOH engineer, talk with them and be courteous =) they're there to make you sound good so if you can help in doing that by communicating, that's always good
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Good advice all around.

Another thing to keep on mind: Try not to show off your knowledge too much. A less-knowledgeable sound tech who feels threatened by your knowledge isn't likely to be on your side. And if the tech knows more than you do, he'll just be bored by your show of force. Keep it friendly, respectful and supportive whenever you can.
 
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Rex said:
Good advice all around.

Another thing to keep on mind: Try not to show off your knowledge too much. A less-knowledgeable sound tech who feels threatened by your knowledge isn't likely to be in your side. And if the tech knows more than you do, he'll just be bored by your show of force. Keep it friendly, respectful and supportive whenever you can.
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With this we're going into the Sound Engineering PSY-op strategy territory :D
 
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