nasally Tone when using overdrive....ALL cabs.

Honestly mate, I'd avoid any stereo setup live, and just run everything mono to one channel. Running a stereo FOH mix just doesn't work well in most venues, at least without a lot of extra work, and it carries the high risk that what the audience stage right and stage left are hearing can be quite different, and neither group may be able to enjoy the same mix that those stage center are listening to.

I love a stereo setup at home, when I'm able to stand right between my monitors and hear a proper effect; love ping pong delays that way. Same as listening to a great album on a good pair of headphones, the stereo effect really can be appreciated, but live....just doesn't work very well.

Given how many variables your already dealing with, I'd just set-up basic, good sounding, simple patches, run mono, and deliver that same thing to the right and left FOH speakers, as well as your on stage FRFR monitor speaker. Remember, "our" goal here is to get you one dialed in tone, that sounds good, both to you on stage playing, as well as by everyone in the audience, be they standing in front of the stage, or maybe over by the tables far stage left or right, back of venue etc, as well as having your bandmates also hear that tone accurately too.

Sounds like you do gigs in a variety of venues too, so your motto should really be "have tone, will travel", and the Axe delivers just that. Remember in the Metallica video, where they were saying how they love the Axe, because its the same tone, night after night, venue after venue. They just show up, plug in, and don't even have to think about tweaking the sound at the board, just running the mix totally flat. How cool and simple right ?

That (on a non-Metallica world tour scope) is that you need to aspire to think I. Having your tone dialed in as it comes out of the Axe. Not too muddy, not to harsh, cutting well with the band mix, and becoming a fixed variable. You guys just show up, plug everything in, and without adjusting anything on your tone, other than volume, deliver it to the FOH, and done. Adjust your keys, vocals, horns etc as need be, but keep your guitar tone as the benchmark in the mix.
 
Did a gig last night, the venue was awful accousticly and the sound bounced all over..... However, I got a great sound on the Q12 and it also seemed to sound good FOH, I saved the sound ready to use on my next gig (not until this Friday), fingers crossed I (we) may have cracked this - thanks again guys. I will report back as soon as I'v done the Friday gig.
 
Yeah, I was thinking about the Stereo thing a bit more, you may be better off just keeping things mono if you don’t have good control over your sound, ie., if you don’t know the venue or the engineer.
If you are familiar with it then personally I prefer it as you’re basically using the same sound on both sides, it just for some reason fattens & cleans & smooths it somehow. It’s subtle either way, so no huge deal either way anyway. But you are opening yourself up to possible sound engineer mistakes. One less thing to go wrong, one less thing to worry about. Diminishing returns.
 
Follow the forum on daily basis. And a big compliment to those who have a positive way of helping people here. There are many fractals that really try to help others with their problems and challenges. They dont give up.

Sjapoo! Big salute!
 
lqdsnddist said:
Honestly mate, I'd avoid any stereo setup live, and just run everything mono to one channel. Running a stereo FOH mix just doesn't work well in most venues, at least without a lot of extra work, and it carries the high risk that what the audience stage right and stage left are hearing can be quite different, and neither group may be able to enjoy the same mix that those stage center are listening to.

I love a stereo setup at home, when I'm able to stand right between my monitors and hear a proper effect; love ping pong delays that way. Same as listening to a great album on a good pair of headphones, the stereo effect really can be appreciated, but live....just doesn't work very well.

Given how many variables your already dealing with, I'd just set-up basic, good sounding, simple patches, run mono, and deliver that same thing to the right and left FOH speakers, as well as your on stage FRFR monitor speaker. Remember, "our" goal here is to get you one dialed in tone, that sounds good, both to you on stage playing, as well as by everyone in the audience, be they standing in front of the stage, or maybe over by the tables far stage left or right, back of venue etc, as well as having your bandmates also hear that tone accurately too.

Sounds like you do gigs in a variety of venues too, so your motto should really be "have tone, will travel", and the Axe delivers just that. Remember in the Metallica video, where they were saying how they love the Axe, because its the same tone, night after night, venue after venue. They just show up, plug in, and don't even have to think about tweaking the sound at the board, just running the mix totally flat. How cool and simple right ?

That (on a non-Metallica world tour scope) is that you need to aspire to think I. Having your tone dialed in as it comes out of the Axe. Not too muddy, not to harsh, cutting well with the band mix, and becoming a fixed variable. You guys just show up, plug everything in, and without adjusting anything on your tone, other than volume, deliver it to the FOH, and done. Adjust your keys, vocals, horns etc as need be, but keep your guitar tone as the benchmark in the mix.
Click to expand...
He’s definitely 100% right here. I tend to forget that I’m not going to be be the guy running your sound. So I often look at things from my perspective from my days of sitting behind the board & constantly monitoring every aspect of the mix.
But I also remember the nightmare days of going into venues of places with not so great PA’s and sound guys who either didn’t care or didn’t know... That’s one of the reasons I went to such great lengths to produce the very best possible mix 100% of the time for every band that came through. And it certainly paid off.
But this is the one big advantage of the AxeFX, once you know you have a killer patch that you can send to the board direct and have them just set flat, and ALL they have to do is set the level, you are sooo far ahead of the game. Occasionally you may have to deal with some clown who thinks they “know” what your guitar “should” sound like and they’ll start post eq’ing for ya lol. But hopefully that won’t happen often much or it’s just done in tiny increments to adjust to the room, (just not some massive mid-scoop lmao).
 
Still using the FRFR setup gig lastnight and another tonight ....
I'm still liking this... The way the band sets up is with my Axe fx over to one side of the stage, it's in the same rack as my vocal harmoniser and matrix anp and also my RAC 12.
I'm thinking of a way og putting the RAC 12 in a separate rack to have near my FRFR cab so I can adjust the tone etc etc.... But it means getting a long MIDI cable to go to the AXE... Does anyone know if there are any wirless MIDI unit that could do this? I looked at one but it was MIDI to computer not MIDI to MIDI.
 
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