Is low end the enemy? EQ with FRFR

[DonPetersen]

what I meant was that: every live and recording engineer cuts these frequencies from real cabs - they DO exhibit these problematic frequencies and if you don't notice them in a rehearsal room, that's because the sound is generally so bad that it's hard to tell anything.

 

[mwc2112]

hey, if it sounds right, it IS right!

Truer words have never been spoken.

I usually don't turn on the hi-pass on my EV LiveX speaker and prefer to fix it in the patch itself. Mostly because I go direct to PA so I want to keep the speaker as wide open as I can when building patches since I wouldn't have the luxury of an automatic "cut under 100hz" switch on the PA (and our PA operators aren't always the most knowledgable folks).

 

[scotts]

All my patches have some degree of cut or block in the low frequencies. I get things sounding/feeling the way I like at home. In any venue I play in I always have to make minor (and sometimes major) low end adjustments with the Global EQ to get things sounding good to me. Any given room/hall/etc. emphasizes different frequencies. Regardless of the EQ settings in any given patch, global adjustment from room to room is to me always a must.

This is to me no different than what I used to experience with a traditional rig except that with a traditional rig I couldn't fix the problems I was hearing in an un-mic'd environment.

FWIW I never globally adjust anything above 500 and I rarely touch 500. If a room is causing a problem that I am perceiving to be in the high end the culprit is usually a problematic low end frequency. The global 125 and 250 sliders are my friends.

One of my Axe using students gets bugged by this global business. He doesn't understand why he should have to fiddle with the global EQ every time he moves his rig. His first inclination is to blame the Axe as in; "...I didn't have to do this sort of adjustment with my old tube rig...". The important point is that he didn't have the ability to do this with his old rig and he had learned to live with boomy, muddy, boxy, etc. tone from one gig to the next. Now he is hyper aware of the phenomena and also aware that he can "tweak the room" as it were. He is acquiring a new degree of sensitivity to the environments he plays in and he is fussing about it. Maybe to him ignorance was bliss.