If our Line 6 devices could output a reference tone and briefly monitor that signal using a reference microphone, the device could internally run a process to automatically set the global EQ. This would allow us to quickly calibrate our entire guitar setup for optimal tone—regardless of cabinet or backline. This would be possible at lower volume instead of annoying the neighborhood in the name of Fletcher Munson Curves. Of course, we could still fine-tune the sound further using the global EQ if desired.
Manufacturers invest a great deal of effort into crafting presets that replicate the sound of iconic amps, and we buy their gear with the expectation that these tones will match the advertised character. But without a way to establish a neutral reference point, factory and user-purchased sounds often fall short of sounding exactly as intended. While reference-based calibration is common practice in professional audio, photography, and other fields, it hasn’t yet been applied to guitar modeling.
This approach could improve the faithful reproduction of modeled and captured tones—no matter what speaker or amplification method you use, including the 4-cable method.
And since a reference mic would already be part of the equation, it could serve an additional purpose: measuring volume for a few seconds on each snapshot or patch to automatically level output. That kind of feature would significantly simplify the process of leveling patches and dialing in perfect lead boosts.
While professional audio engineers can make nearly any guitar sound excellent through a PA, most of us don’t have access to that level of expertise. Developing a calibration-based system like this could help close that gap.
