Low Cut, High Cut

barhrecords said:
In my experience, I play two kinds of shows.

a) The sound crew doesn't know the band well. In these scenarios, they usually do nothing to the band inputs unless there is an issue. They really don't care if I low cut / high cut / eq or whatever. They assume the tone is what I like and move on. The focus is almost always the lead vocal and drums.

b) The sound crew knows the band well. In these cases, which are rare for me, there is more concern and communication about the guitar.
Click to expand...
Thanks for the input brother. This is pretty much what I experience myself regarding the sound guys I run into. At home I'm trying to create my presets at gig volume on my CLR's for what I think will sound good going to FOH which includes low and high cuts in the cab block along the lines of what everyone has mentioned above regarding the cuts. I want it to sound good out front. As long as I can hear what I'm doing on stage I'm good.
 
StickMan said:
My understanding was that many IR's were a blend of individual mics in different positions, in an attempt to capture different aspects of the sound of the speakers.
Click to expand...
Many companies offer mixes, we have some mixes in our factory cabs as well but those are prob mixes of single mic IRs mixed together in something like cab lab. That for example is what ML does. They are not shooting a Multi mic IR
 
bishop5150 said:
Thanks for the input brother. This is pretty much what I experience myself regarding the sound guys I run into. At home I'm trying to create my presets at gig volume on my CLR's for what I think will sound good going to FOH which includes low and high cuts in the cab block along the lines of what everyone has mentioned above regarding the cuts. I want it to sound good out front. As long as I can hear what I'm doing on stage I'm good.
Click to expand...
I have found that when I sound good out front I usually sound good on stage. I have only had a handful of times where the FOH guy drastically did something to my tone and honestly they ruined it but other than those moments all I ever have is amazing experience and sound guys just raise my fader
 
Eanna said:
Thanks, I had considered that, but is it not fixed frequency & so a compromise in terms of accuracy, compared with the cab block's configurable filters, slope options, etc,?
Click to expand...
Another option, you can modify your ir's with baked in hi/lo cuts cab lab. Could still be a bunch of work but it will save a block over the peq strategy
 
Tahoebrian5 said:
Another option, you can modify your ir's with baked in hi/lo cuts cab lab. Could still be a bunch of work but it will save a block over the peq strategy
Click to expand...
Good idea...! You've got me thinking... if I could somehow automate the hi/low modification process for each cab (I've got a lot!) this could be a very viable workaround. i'm going to check out cab lab and see if it's possible to write some kind of macro for this...! Thanks ☺
 
As a recording engineer and ir producer, I always remember something a mentor of mine Bob Both (James Brown) said, "You can always cut later to fit something in a mix, but you can't put something back in if you have totally eliminated it." I always tried to preserve the tone of a player in tracking unless the player specifically told me he or she had problems getting a specific tone. Then decisions of how to shape it can be made in the mix when hearing all the parts together.

That's my same approach when producing ir's as there are so many variables with pickups, playing styles, strings, setups, instruments, and song arrangements, it's difficult to predict a "one size fits all" approach to cuts. In that case I historically preserve the given cabinet using the mics I have, give some ideas with mix ir's, and let the player or engineer make the specific taste calls.
 
Hi all,

I do like to analyze how people are doing their presets. In Yek presets (from which I learnt so much... thanks again!), I often see low/high cuts in the cab block for the out1 (FOH) but I don't remember the same EQing for OUT2. I see several explanations to this (if I remember correctly because I'm a bit tired!):

1°/ It's a possibility to keep a "full guitar sound" because from time to time, it's good to have it all (practicing...).
2°/ Out2 is for my personal sound on stage and I want the full sound there to feel the vibes.
3°/ The cut is made in the Global EQ of the Out2 and I don't see it. Na!

Any input?
 
dr bonkers said:
As a recording engineer and ir producer, I always remember something a mentor of mine Bob Both (James Brown) said, "You can always cut later to fit something in a mix, but you can't put something back in if you have totally eliminated it." I always tried to preserve the tone of a player in tracking unless the player specifically told me he or she had problems getting a specific tone. Then decisions of how to shape it can be made in the mix when hearing all the parts together.

That's my same approach when producing ir's as there are so many variables with pickups, playing styles, strings, setups, instruments, and song arrangements, it's difficult to predict a "one size fits all" approach to cuts. In that case I historically preserve the given cabinet using the mics I have, give some ideas with mix ir's, and let the player or engineer make the specific taste calls.
Click to expand...

Yup. My father was a carpenter. We were building a speaker enclosure together when I was a teenager. I asked him some stupid question. He pointed to all the tools hanging on the wall and said "do you see any tools over there for putting wood back on?".
 
FractalAudio said:
Yup. My father was a carpenter. We were building a speaker enclosure together when I was a teenager. I asked him some stupid question. He pointed to all the tools hanging on the wall and said "do you see any tools over there for putting wood back on?".
Click to expand...
Being my natural smart ass self, I'd have probably pointed out the glue, staple gun, brad nailer, etc...:p:rolleyes:

But the analogy mostly holds!
 
Eanna said:
Good idea...! You've got me thinking... if I could somehow automate the hi/low modification process for each cab (I've got a lot!) this could be a very viable workaround. i'm going to check out cab lab and see if it's possible to write some kind of macro for this...! Thanks ☺
Click to expand...
You can batch set a parameter in all the presets you want with fractool, I just did the same a few days ago ;-)
 
joegold said:
You mean by using a stereo Cab Block with one side of the stereo IR in slot one and the other side in slot 2, with both IRs hard-panned?
I suppose that might work as long as you can break up your stereo IR into 2 mono files which should be trivial.

But generally speaking, actual stereo IRs are not possible to use with the Axe yet, unless I'm highly uninformed.
If the latter, then please inform me.
Click to expand...
IIRC cab-lab wav2syx conversion tool automatically splits stereo wavs into 2 files
 
Practice your scales you bunch o nerds!
Ha, just kidding! I had a long working day and needed to shout something, sorry...

Now, seriously - my low cut is around 120, my hi cut 6.5 kHz depending on the cab. I do this usually when alone in the rehearsal room and not during a rehearsal. Do you feel your overall guitar sound in a band mix would be even better when you cut it even more? Where would the sound man apply the cuts or EQs in a rock band mix?
 
Last edited:
Hhuent said:
Where would the sound man apply the cuts or EQs in a rock band mix?
Click to expand...
60Hz to 140Hz 3rd order high-pass.
6kHz to 10kHz 1st or 2nd order low-pass.
1Q dip between 600Hz to 800Hz.
Maybe a wide dip between 2kHz to 4kHz to help vocals poke through.
Some EQ or even better a multi-band compressor to control the 70Hz to 250Hz range.
 
B:ASSMASTER said:
60Hz to 140Hz 3rd order high-pass.
6kHz to 10kHz 1st or 2nd order low-pass.
1Q dip between 600Hz to 800Hz.
Maybe a wide dip between 2kHz to 4kHz to help vocals poke through.
Some EQ or even better a multi-band compressor to control the 70Hz to 250Hz range.
Click to expand...

Ah, those nasty sound men, they take the best out of my beautiful tone. And, just to think about it, for whom? Vocalists, those spoiled brats. And bassists... Well, they're bassists, we all know what that means.
 
I generally cut at 100-120Hz in the cab block, but I'm keen to try the bass cut switch in the amp block. I've seen a few people recommend that method.
 
dbun said:
I generally cut at 100-120Hz in the cab block, but I'm keen to try the bass cut switch in the amp block. I've seen a few people recommend that method.
Click to expand...
Different things. The Cab block cuts are a "general" tone refining, to help it fit in the band context. The Cut switch in the Amp is a filter which trims the bass prior to the amp's gain stages, much like an overdrive pedal might, resulting in a "better" distortion tone (but not that much actual low-end cut in terms of the band setting).

See Cliff's post on pre-gain EQ for a better understanding of the latter.

http://forum.fractalaudio.com/threads/the-power-of-pre-eq.80951/
 
You must log in or register to reply here.
Back
Top Bottom