I think the Atomics claim themselves to be FRFR, i.e. full-range/flate-frequency, and therefore are closer to an FRFR monitor than a normal guitar amp. Having said that, that claim is somewhat unsupported (the manufacturer refuses to publish frequency response data, and it uses tubes in its power amp section, which is usually done to add coloration, and is therefore another departure from FRFR).grumpops said:
Both the Cornford and the German 4x12 have a lot of bottom.
gizmotron said:It's a recording trick. There's too much at 200hz. You can try filtering out the congestion at 200hz. I do it by pulling down the 200hz and boosting 100hz in anything that is amplified, like a guitar amp. There is this proximity effect that exists when microphones and amplifiers are used to capture sound. The trick is that the first harmonic of 100hz is 200hz. So in effect you are getting it back. I'd experiment a little. The goal is to get rid of that muddy sounding range at around 200hz. So I use the clarity of the 100hz secondary harmonic to replace it. It works great in sound reinforcement. It works while mastering mixes in the mix room. It's a way to clean up muddiness. So I look for anything producing 200hz that also has 100hz. After a while you get used to checking for it. You know when it's muddy sounding.
P.S.
I mean just the guitar. You take it out of each instrument that produces too much of it.
gizmotron said:Regarding muddiness in the sound: You want to minimize the source of the muddiness. In all amplified sound reinforcement a proximity mic problem becomes an issue. There is a buildup of 200hz that makes everything producing it have an affect on the entire room you are monitoring in. This effects live music and recording rooms too. So you take action on all of it everywhere. I've been doing this for more than twenty years. It works great from front of house. If you are on a stage, using your amp with the 200hz moderated the way I suggest and you use a mic to send your sound to the mixing board then the mic will reproduce the audio coupling affect. So the main mix must take out the proximity effect even after you have already done so at the stage. There is plenty of 200hz for you in the first harmonic of 100hz, which is 200hz. Overcoming muddiness is basic physics. It would make a nice feature for the Axefx-Ultra to have it be a button click, (A/B). It's a trick of the trade so everyone will start doing it. Funny 20 years later and I now share it. Beware, it leads to arguments from sound engineers that won't admit it works. I waited 20 years for affordable 24 bit processing in effects processors. After I heard 24 bit Yamaha reverbs in a recording studio I was hooked forever. AXEfx ULTRA is a dream come true.
From another thread:
gizmotron said:It's a recording trick. There's too much at 200hz. You can try filtering out the congestion at 200hz. I do it by pulling down the 200hz and boosting 100hz in anything that is amplified, like a guitar amp. There is this proximity effect that exists when microphones and amplifiers are used to capture sound. The trick is that the first harmonic of 100hz is 200hz. So in effect you are getting it back. I'd experiment a little. The goal is to get rid of that muddy sounding range at around 200hz. So I use the clarity of the 100hz secondary harmonic to replace it. It works great in sound reinforcement. It works while mastering mixes in the mix room. It's a way to clean up muddiness. So I look for anything producing 200hz that also has 100hz. After a while you get used to checking for it. You know when it's muddy sounding.
P.S.
I mean just the guitar. You take it out of each instrument that produces too much of it.
a-Ha, I've been turning up my blocking PEQ to 240Hz or something at rehearsals. If I block at around 100Hz-140Hz it just isn't clear enough for me. So I just kept turning the frequency up until it sounded like it should for me.mentoneman said:
