What is everyone doing for live setup?

M

Marc Provenzano

Member
Im curious what is the best, or most popular way of using AX FX III live?

I love the way this sounds in my DAW. Pro Tools and/or Logic. I’m using pretty nice near field monitors.

I am not digging the sounds through an amp. It’s losing a little “juiciness” I have tried using the Friedman Flat Response powered cab. Tweaking the Output 2 eq I get it close to my DAW. But it’s missing some love.

I’ve tried tube amps and standard 2 and 4 12 Marshal cabs. We will know that sounds good. But basically defeats the cab modeling and flexibility of the unit.

I’m interested in what you guys think.
 
1) Direct to PA for most places with decent setup.
2) Out to my PA and with a Xitone wedge or MBritt cab behind me for monitor
3) Out to Xitone for small places with no real pa
 
Beer + Axe-FX III + MFC > DI to house + Matrix GT1000FX 2U > two Fearful 15/6/1 cabs for big gigs. Just one cab for mid size, and no cab for small venues.

Should note I've only used the III for gigs where I play bass. Haven't used it for guitar yet but my old XL+ went DI into PA.
 
i use it to any full range speaker available, including the PA system. adjust EQ if necessary on the Global Graphic EQ or the mixer if i have access to it.

i don't know what everyone is doing.
 
Axe-Fx III > Output 1 > FOH

Axe-Fx III > Output 3 > Seymour Duncan PS-170 > Port City 1x12 with Celestion G12-150 Red Back.

Output 2 is reserved for FR monitoring with its own volume control.
 
So far I only use the AXE 3 with InEar. Very happy with the sound and no need for additional cabs or wedges. We use a Midas M32 for monitoring. We split the signals and the FOH guy is doing his job. The AXE sits in a 3 unit SKB shallow rack. No need for a power conditioner or similar. I like to travel light ;-)
 
When I fly I use OUT1 to the backline, usually 2 Marshall cabs. I use OUT2 to FOH, and OUT4 to my IEM's. Local gigs I run OUT1 to my Matrix GT1000FX into my Matrix NL212's, OUT2 to FOH, and OUT4 to my IEM's

Life is good:)
 
Really good presets should work even on coloured sounding monitors. So when your presets don't amaze on the Friedman they are still not there.
Why? You can't predict what PA and what monitors they bring to the next gig, you don't have much expirience what sound colour you band members monitors or in-ears are.
When your presets work on studio monitors, on headphones and on some different floor monitors, they should be good.
 
On bass - Axe Fx 3 Out 1 to FOH and fed to the PA, in ears and wedges. I almost never use the backline because the tone can vary with different cabs. The wedges are there mostly for a bit of volume and "air" on stage, nothing too loud. Everyone in my band is going DI to the FOH which keeps stage volume down and the mix as clean as possible (bleed and feedback on the vocal and drum mics).

The key to live sound is an exaggerated mid range for both guitars and bass, in my opinion. Dialing in your tones at around 100db seems to translate well to most gigs. Scooped IRs sound great on records but to me - the ML IRs translate the best in both live/studio situations.
 
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Out 1 > FOH (split to stereo IEM)
Out 2 > Yamaha DXR10 for personal monitor on stage.
 
Out 1 - FOH
Out 2 - Boogie 1x12 Cab powered by a Matrix GT1000 2U Power amp.

We are playing a small venue tonight so I might just go to FOH and monitor from our monitor wedges. It depends how loud our drummer is tonight.
 
Out 1 (guitar) 3 (Piezo) and 4 (Synth) to FOH (or if the sound guys are not as good a copy of output 2).

Output 2 to Backline.

I had the Friedman ASM as well and I must say I'm not as crazy about it (nor is my back). I just got the Atomic CLR's and am very impressed with them.

MM
 
666was999 said:
Really good presets should work even on coloured sounding monitors.
Click to expand...

I think this may depend on how picky we’re being... my experience has been it doesn’t take much eq to ruin a guitar tone. At least, when it comes to taking the fun out of playing.

Stage wedges are generally eq’d for maximum vocal volume before feedback—that’s often NOT a good recipe for guitar tone.

I would LOVE to travel light and rely on stage monitors for all my tone, but with a different venue with different gear and a different monitor engineer every night... I prefer more consistency, which is why I bring either IEM or a full range speaker. (Currently loving my Xitone wedge)

YMMV :)
 
atomic clr for a personal monitor - I only use one and the pa is mono so I sum l+r. Use 2 outputs and only control volume going to the clr with an expression pedal. The house always gets the same level.
 
I've done only 3 gigs with my III and an MFC, but decided to put it on ice until I can get an FC going cause it was a pita to program and my exp pedals were just not cooperating. Been back using my Marshall based rigs in meantime.

1 gig was a pretty large outdoor stage, and 2 were clubs. Went out-1 to my CLR backline, and out-2 to FOH with them sending some monitor back.

The club gigs went great. Of note is I had ample time in sound check and got dialed.
The outdoor gig was so so. I hardly had much time to check + too many people gathering in crowd to keep wanking figuring it out. Ended up just lowering monitor and cranking the CLR (they can get pretty dang loud).

I recommend having some form of monitor you are familiar with and already have dialied in, and not rely so much on house.. use them as a bonus.
 
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