Which set-up (PA, cabinet, etc) do you use when playing live?

H

Hansen

Experienced
Do you bring your own monitor, cab or only the Axe?

I am yet not sure how I will use the Axe live. Through my JCM 800 and Marshall 4x12 or direct to the PA. What I like about the Axe is that it is easy and light. The ideal would be just to bring it to a concert and plug it in the PA (as it is supposed to be..). On the contrary, if I use my JCM 800 I still need to carry with me a lot of stuff.. Additionally, not all places we play have a great PA. I have experienced crappy monitors, having to share monitors with the bass player, the sound engineer "shutting off" my monitor, etc. So without any cab in your back you're are sort of screwed with a shitty sound guy.

Is there a way I can have all my presets tailored for PA, monitor with the cab, but still send the presets directly to the PA without the sound being affected by the cabs (except my stange sound)?
 
Last edited:
Yes ..... this is more or less the way the Axe was designed to be used on stage live.

When you are designing the preset - put a FX Loop block just before the Cab block - this means that the signal is now split and a copy of the pre-cab chain elements get sent to the Axe outputs 2 - you then send the output 2 from the Axe out to your stage rig and Output 1 goes to DI/FOH with the Cab IR.

However - if you use your JCM's power amp (using the Axe outs into the JCM's Fx return on it's FX loop) for this signal it will probably add too much extra tube colour to the sound and not sound the best. A flat response SS power amp and your own personal monitor would be a better option for this.

To get round the need for a SS amp then you'd have to design the preset chain to have use 2 Amp blocks and duplicate all the post Amp FX blocks so you could tailor the output 2 outs to use no power amp simulation - either by turning Sag to zero in the Output 2 Amp block (or using a Global value on Output 2?? Not in front of Axe so can't remember if this is possible?). This will increase your Axe CPU usage pretty severely per preset so it's down to you to experiment and see if you have enough to make the presets work ok with the number of FX blocks you require.
 
Why not get a decent, hi powered wedge monitor, then at gigs with a good PA you can use it as a personal monitor, and at gigs with a bad PA stick it on a pole and use it as back line.
Look in the Amps and cabe section and you'll see this is what some do with top line monitors like the RCF NX12SMA, which as I understand it can live with a 4x12 for volume.

That might be the best way to go which gives you options without carrying loads of heavy kit.
 
I second SparkyG's post, and it's also the way I do it.

Usually I have my active monitor as my "amp" with me. It's totally sufficient for rehearsals and small gigs/stages, when there's just a small PA for vocals. Then I put the monitor behind me, standing or at a raised position so it can spread to the other musicians and to the audience.
Most of the time the gigs and venues are decent enough (= good PA and enough monitors) that I could do without my own monitor but I prefer being independent and that I can rely on "my" sound on stage. Then I have my monitor at my feet and the rest of the band can demand the amount of guitar in their monitors as they prefer.
My patches are all designed for FRFR/going direct, so the signals going to PA and to my monitor are identical.
Out 1 goes to the board. I set the level as the soundguy wants to and leave it at that.
Out 2 goes to my monitor. Depending on the volume on stage (e.g., drummer goes crazy in 2nd set ;) ), I can turn up/down without affecting FOH mix.

Seb
 
maxdown said:
Yes ..... this is more or less the way the Axe was designed to be used on stage live.

When you are designing the preset - put a FX Loop block just before the Cab block - this means that the signal is now split and a copy of the pre-cab chain elements get sent to the Axe outputs 2 - you then send the output 2 from the Axe out to your stage rig and Output 1 goes to DI/FOH with the Cab IR.

However - if you use your JCM's power amp (using the Axe outs into the JCM's Fx return on it's FX loop) for this signal it will probably add too much extra tube colour to the sound and not sound the best. A flat response SS power amp and your own personal monitor would be a better option for this.

To get round the need for a SS amp then you'd have to design the preset chain to have use 2 Amp blocks and duplicate all the post Amp FX blocks so you could tailor the output 2 outs to use no power amp simulation - either by turning Sag to zero in the Output 2 Amp block (or using a Global value on Output 2?? Not in front of Axe so can't remember if this is possible?). This will increase your Axe CPU usage pretty severely per preset so it's down to you to experiment and see if you have enough to make the presets work ok with the number of FX blocks you require.
Click to expand...


OK. So output 2 to the PA and output 1 to the cab when I bring it?

If I use the JCM 800 return, shouldn’t I bypass the preamp? You mean the power tubes will color the sound too much too?
Regarding the last thing you wrote. Would not this be solved simply by turning off power amp in the global section or would that then also affect the sound going to the PA?
 
I thought about buying a monitor and that might be the best option.. Just heard those costs a lot of money, at least if you want a good one. So I figured I might as well just use the cab I already have. Just spent a lot of bucks on the Axe itself. Anyway, may I ask how many bucks you would reckon for a good monitor?
 
Last edited:
is this so that??
output 1 to the PA would have the cabs in the signal path
output 2 to the amp would have a 'send' block placed between the amp and cab blocks
 
Hansen said:
So on gigs with good monitors you will put this on a chair and use it as a “cab” behind you?

Did you guys every think about the “look” at stage? A small monitor on a chair will perhaps look a bit weird?
Click to expand...
All decent stage monitors have a hole for pole mounting so you just put it up on a regular monitor stand and that looks better than on a chair! lol
 
You would easily get enough money for a great monitor from the sale of the JCM 800 and the 4x12, assuming they would then be surplus to requirement.

I certainly sold all my Marshall and Cornford gear and have never looked back. :). YMMV of course
 
Hansen said:
Did you guys every think about the "look" at stage? A small monitor on a chair will perhaps look a bit weird?
Click to expand...

tumblr_ls1ibjIFpB1qztjl1o1_r1_500.jpg
 
I've run FRFR for 5 years running.

My rig is fairly simple and flexible depending on the wide range of situations I have found myself in. Private parties, P&W (both big and small), Clubs, hole-in-the-wall bars, Festivals, etc..

I prefer to run direct to FOH with my powered monitor facing me, or use my powered monitor either flipped up (it has a tilted back) or on a speaker stand when it has to be the backline. No chairs for me. LOL.

I've found my current FRFR powered speaker solution very powerful, very loud, very clear and am very satisfied with it in every way. That said, I am a huge fan of Tom King and Atomic and will be giving their upcoming CLR powered wedge a very serious review compare/contrast.

For guys that want to run a hybrid system (onstage amp/cab and Axe-FX direct to FOH) the Fractal gear is very well designed to handle that sort of role too.
 
a lil' note that's more appropriate to folk like me that do that vast majority of their live work overseas....
I can never trust my tone to the PA monitors because I never know what's there in terms of numbers of monitors and numbers of individual monitor mixes available..
the big gigs are easy.. the smaller ones less so...
Da Boss [David Cross] plays through a Boss GT-10 and DI's it.. as a result he requires three monitors and two mixes..
1 - his stereo pair for himself..
2 - his regular band mix
most often this is ok but occasionally he gets caught out [tears, dummy spat out - jeez I hope he don't read this.. lol]

me.. I take my processor and stereo power amp.. my rider asks for a pair of Marshall 1960b cabs in the bigger places and a single 1960b in the smaller ones [which I use as a pair of 2x12's in a single cab - not exactly utopia but I can work with it]..
Marshall cabs are real easy to get hold of anywhere in the world...
my live tone is built around them.. this means I have consistency everywhere I go and total control of my own on-stage tone..
I am therefore not at the mercy of the venue's PA..

I don't really worry what it sounds like out front.. I have no control over it and it is what it is... for the sake of the fans I just hope it's great..
but I really care about what I sound like on stage because that is what I have to work with...
one monitor with plenty of kick, snare, bass and a little of everything else [but not me], one pair of Marshall 4x12's and I'm good to go..
I don't have the luxury of taking my own speaker cabs unless I'm rehearsing or gigging in the UK [both of which are very rare events] cos I have to fly to get there..
 
Last edited:
SparkyG said:
You would easily get enough money for a great monitor from the sale of the JCM 800 and the 4x12, assuming they would then be surplus to requirement.

I certainly sold all my Marshall and Cornford gear and have never looked back. :). YMMV of course
Click to expand...

YEah. That is true. I don't need it. But I want to keep it as backup equipment. At least for some time.
 
Scott Peterson said:
I've run FRFR for 5 years running.

My rig is fairly simple and flexible depending on the wide range of situations I have found myself in. Private parties, P&W (both big and small), Clubs, hole-in-the-wall bars, Festivals, etc..

I prefer to run direct to FOH with my powered monitor facing me, or use my powered monitor either flipped up (it has a tilted back) or on a speaker stand when it has to be the backline. No chairs for me. LOL.

I've found my current FRFR powered speaker solution very powerful, very loud, very clear and am very satisfied with it in every way. That said, I am a huge fan of Tom King and Atomic and will be giving their upcoming CLR powered wedge a very serious review compare/contrast.

For guys that want to run a hybrid system (onstage amp/cab and Axe-FX direct to FOH) the Fractal gear is very well designed to handle that sort of role too.
Click to expand...

How many bucks do you reckon for a good monitor? I guess one is enough?
So the difference with a monitor and a cab is that the monitor has a build in power amp of some sorts (since you dont need a power amp)?
 
Last edited:
clarky said:
a lil' note that's more appropriate to folk like me that do that vast majority of their live work overseas....
I can never trust my tone to the PA monitors because I never know what's there in terms of numbers of monitors and numbers of individual monitor mixes available..
the big gigs are easy.. the smaller ones less so...
Da Boss [David Cross] plays through a Boss GT-10 and DI's it.. as a result he requires three monitors and two mixes..
1 - his stereo pair for himself..
2 - his regular band mix
most often this is ok but occasionally he gets caught out [tears, dummy spat out - jeez I hope he don't read this.. lol]

me.. I take my processor and stereo power amp.. my rider asks for a pair of Marshall 1960b cabs in the bigger places and a single 1960b in the smaller ones [which I use as a pair of 2x12's in a single cab - not exactly utopia but I can work with it]..
Marshall cabs are real easy to get hold of anywhere in the world...
my live tone is built around them.. this means I have consistency everywhere I go and total control of my own on-stage tone..
I am therefore not at the mercy of the venue's PA..

I don't really worry what it sounds like out front.. I have no control over it and it is what it is... for the sake of the fans I just hope it's great..
but I really care about what I sound like on stage because that is what I have to work with...
one monitor with plenty of kick, snare, bass and a little of everything else [but not me], one pair of Marshall 4x12's and I'm good to go..
I don't have the luxury of taking my own speaker cabs unless I'm rehearsing or gigging in the UK [both of which are very rare events] cos I have to fly to get there..
Click to expand...

What is the reason you choose to bring a stereo power amp and not a monitor?
 
SparkyG said:
Why not get a decent, hi powered wedge monitor, then at gigs with a good PA you can use it as a personal monitor, and at gigs with a bad PA stick it on a pole and use it as back line.
Look in the Amps and cabe section and you'll see this is what some do with top line monitors like the RCF NX12SMA, which as I understand it can live with a 4x12 for volume.

That might be the best way to go which gives you options without carrying loads of heavy kit.
Click to expand...

Hi,
Good advice, thanks.
I have a pair of Peavey PR15 powered monitors. Are these the kind of quality monitors you are talking about? Or is there a lot better than that? Just be happy with an opinion. Thanks
 
You must log in or register to reply here.
Back
Top Bottom