New live stage monitoring technique - wanted to share

O

olorin

Member
I’ve used the FM3 for years now and love it. One thing that has always bothered me however, was what I perceived as excessive brightness through my monitor on stage. And I’ve watched a ton of great videos from Leon, Cooper Carter, etc for live sound tips. I’m the lead singer and only guitarist in a cover band playing the usual - bars, clubs, outdoor festivals, etc. I also run the sound from stage through our QSC PA. I’ve dialed in pretty good tones to my ears out of the FM3 and know that the brightness cuts through nicely in the mix. In addition, I’m a tele guy, so I know how bright the guitar is as well.

Was messing around with the Dyna cabs, which I now love and then a thought popped into my head - to simply use the Output 2 Global EQ band to send a second signal to the board to feed into my QSC K10 monitor, which I use for my guitar and vocals. So Output 1 goes to FOH with no Global EQ tweak. On Output 2 I cut the lows below about 100 Hz, the highs from 8k and up, and also reduce 2K and 4K about 2-3 dbs.

And voila, FOH gets signal it needs and now my monitor feed is like an amp in the room, without touching my FOH tone. Was considering getting a different FRFR for the stage but this seems like a great alternative and less gear to carry.

Don’t know if anyone posted anything like this so just wanted to share.
 
I use an FM3 and use a Qsc k8 as a monitor. The first live gig my tone was too thin.
So I changed around a few amps , reevaluated my low / high cuts and used Output 2 to do just as you did.

At home it definitely sounds much better but need another gig before I get too cocky.
 
Thanks!

Do you also EQ in the cab block? I ask because I've found that in order to get close to what I'd typically get with a mic'd cab, I do need to do some EQing - including cutting lows and highs at about the frequencies where you are - notwithstanding that this shouldn't be the case (for example, the cuts inherent in using a mic'd guitar cab should already be reflected in the IR?). And I chose to do it in the Cab block because I run some things through the FM3 that may warrant extended range (including acoustic instruments and including synths), so my thinking is that when using electric guitar with the Cab blocks the EQ cuts will be in place, but when I bypass the Cab block for acoustic instruments, synths, etc. I'm not necessarily cutting (though of course I can still add those, if warranted, using an EQ block or other mechanism). One advantage of your approach though is that FoH can do their owns cuts (though I suspect in many cases they are doing similar - for example, HPF and LPF), whereas I'm cutting right in the preset/scenes so FoH doesn't even get the extended range.
 
I actually us a PEQ right after the cab block to make any tweaks that I need. I had stayed away from Dyna Cabs, but really took some time with them and now use them exclusively. My clean tone is a 59 Bassman amp and believe it or not I found the Dyna Cab Princetone to be exactly what I was looking for.
 
I’m sure you could send only one output with the same cuts to both monitor and foh.

These are reasonable cuts and exactly what you would send to foh.
 
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