So if the Axe is REALLY bright when you point your FRFR at your face...do you...

Cem said:
I also am. But It is really hard!

Last gig, I found myself, cutting 4-8-16 khzs 5-6 dBs. And still harshing around. It depends on the monitor soooo much.
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I agree!

It is quite different for sure.....I'm still working on it myself.

Thruout my years of playing I sounded great ...but blowing away my other band mates and pissing off the sound man!

Maybe a separate ff ir for Output 2.....or a magic setting for Global EQ on Output 2.
 
Cem said:
I guess the "matter" is, having very bright sound at "on stage". and if we turn down the treble, FoH also gets Darker.
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That's not really a problem.

But if you want separate signals (FOH <> own monitor), use both outputs. OUT1 to FOH. OUT2 to personal monitor.

Method 1: enable Copy OUT1 to OUT2 in I/O (and don't use a FXL block). Then use the OUT2 Global EQ to adjust the monitor tone.

Method 2: spilt the signal on the grid and send one signal to a FXL block (make sure it's not connected to the OUTPIT on the grid or decrease its LEVEL to -80). FXL feeds OUT2. Insert a PEQ before FXL in the branched row. Use the PEQ to finetune your tone by setting the last band to Blocking and adjusting the frequency. Don't be afraid to set it as low as 5 kHz for example. Works well on stage.
 
yek said:
That's not really a problem.

But if you want separate signals (FOH <> own monitor), use both outputs. OUT1 to FOH. OUT2 to personal monitor.

Method 1: enable Copy OUT1 to OUT2 in I/O (and don't use a FXL block). Then use the OUT2 Global EQ to adjust the monitor tone.

Method 2: spilt the signal on the grid and send one signal to a FXL block (make sure it's not connected to the OUTPIT on the grid or decrease its LEVEL to -80). FXL feeds OUT2. Insert a PEQ before FXL in the branched row. Use the PEQ to finetune your tone by setting the last band to Blocking and adjusting the frequency. Don't be afraid to set it as low as 5 kHz for example. Works well on stage.
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Yea I always use Method 1.
 
I roll back the tone on the gtr to make adjustments after soundcheck.

I find when playing loud at shows, the gtr vol and tone controls are your friends :) Lot's of my guitars get into the sweet spot with my tone rolled back slightly.
 
For sure, SixString. The discussion of whether my tweaks for my onstage sound should also be for my FOH sound remain to be tested...I'll have to find out if making my on stage sound less bright causes my FOH sound to be too dark, or if the same adjustments needed to be made for FOH.
 
rickgk said:
My CLR is super bright when facing it directly, I stand off axis and it sounds great.
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Back when off-axis was all I heard, I thought so, too. One night, I had the idea that me and the other guy could hear each other better if we faced our cabs at each other.....whoa....highs amongous. That was scooped mids days. If you got mids in your sound, and not too much, face on is my favorite. But volume is some proportion to distance, yo.
 
rickgk said:
My CLR is super bright when facing it directly, I stand off axis and it sounds great.
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If you're hearing super-bright sounds when facing your CLRs, then your audience is hearing super-bright sounds too, because they're also directly facing speakers. Fix your tone, not your monitor position. :)
 
Cem said:
With every single preset ? ( I use 10, 5 for PRS 5 for Suhr ) and On stage??

View attachment 17895
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I so don't get your question. If you were playing through ten different amps, you'd have to adjust the treble knob on all ten amps. When you're playing through ten different presets, you still have to do that for all ten presets. The same goes for the bass and mid knobs, the gain knob, and so on.
 
Cem said:
I guess the "matter" is, having very bright sound at "on stage". and if we turn down the treble, FoH also gets Darker.
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That's the whole idea. If you're running a FRFR monitor, then you're using the same kind of speakers as FOH. If the highs are cutting your head off, they're doing the same thing to your audience.
 
bgrizzmayne said:
For sure, SixString. The discussion of whether my tweaks for my onstage sound should also be for my FOH sound remain to be tested...I'll have to find out if making my on stage sound less bright causes my FOH sound to be too dark, or if the same adjustments needed to be made for FOH.
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I used to do this with the FOH and monitoring system that I ran. I would dial in presets starting with FOH as I wanted the audience to hear the best sound that I could dial in and I would do this from the board using a wireless in the context of the gig. A pain for sure but it leaves little doubt for the result. I would tune the monitors last (with FOH off) the monitoring and FOH sounded fairly different for obvious reasons so the amount of EQ'ing done at the monitor board was quite different.

The situation I was in was unique with that fact that it was a church setting so after this process was done nothing really changed from practice to gig unless of corse a firmware update was done or someone messed with the board.

Are team did from time to time do gig's out side of the church. So for the most part I would use the same basic steps but using a copy of the presets used for the installed system EQ'd to work with the mobile PA setup that we had relying on global EQ to deal with last minute tweaks for room.
 
I actually just bought a G90, so at our last gig I was out during a few songs listening to the band. It's actually a pretty great tool for bands that run their own sound, or even just for piece of mind, wondering what it sounds like out at FOH

I haven't been using my Axe FX rig as I'm waiting for an MFC to control my axe. I've got an FCB but I just miss having the control like I have over my pedal based rig.
 
Use output 1 for your monitor, and output 2 for your FOH. For output 1, global EQ out some of the high end frequencies.
 
Sixstring said:
I used to do this with the FOH and monitoring system that I ran. I would dial in presets starting with FOH as I wanted the audience to hear the best sound that I could dial in and I would do this from the board using a wireless in the context of the gig. A pain for sure but it leaves little doubt for the result. I would tune the monitors last (with FOH off) the monitoring and FOH sounded fairly different for obvious reasons so the amount of EQ'ing done at the monitor board was quite different.
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FWIW, I approach things the opposite way. I'm using in-ears and I dial in my tones so they sound good in my in-ear mix. I assume that either the room is properly EQ'd, and that I will sound essentially the same out front, or that the sound tech will EQ my tone until it sits properly in the mix. I would do the same if I used a FRFR stage monitor rather than in-ears.

That said, I doubt that either of the above are actually true! ;) If I had the chance I would EQ my FOH tone on the FOH mixer so that it matched my in-ears!

Terry.
 
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