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Why Global EQ?

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I'm just curious as to why someone would use the new global eq in a real world situation? Are you adjusting to the room you are playing in? Is it because the sound/mixing board you are going into is tone sucking your stuff?

 

How do we turn it On and Off?

 

Thanks!

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Are you adjusting to the room you are playing in?

 

That's the most common use of it. I used this feature (albeit not a deep) on the Vetta II to tune my output to the room a bit better when giging. Some rooms are boomy, some shrill. It's a quick way to adjust the whole tone of your rig without messing with each patch.

 

I haven't updated yet, but I believe it's located in the System setup on the HD500x/Pro X. It's not available thru the HD Edit application.

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you can also use it as a low and high cut to get rid of boomyness and hiss/harshness across all presets... frees up space for more fine-tuned EQ in the preset

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I haven't downloaded it yet. I won't be using it. 

'Room shaping' is why sound men get paid. 

 

 

For the record: 

I don't use an amp. I go straight to the PA. 

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Most of us think in terms of how we personally use it (me included) not in how it can be used.

 

I have a couple gig locations that the hard walls and tight quarters made my patches very boomy. I dealt with it -- in my case with my Crown power amp and FRFR monitor, by using the Crown's high-pass filter and rolling off the amp at about 80 - 90 Hz. I was lucky that the Crown has that. Not all amps do, and not everybody goes into a guitar amp, or direct into the mixer with fold back monitoring or in ear monitoring. I do a send to the sound man for the FOH, and control my stage mix myself. I will probably not make overt use of the global eq so I don't mess up my PA send, but may make minor adjustments if I have to use a different stage speaker -- each have their own tonal differences. I wish we could have independent EQ for the different outputs, but that's not in the cards, so far...

 

We all have different circumstances to deal with.

 

Dave

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I have global EQ on my Vetta, and I love it. I know everyone does different things as a guitar player, but I play mostly in small old bars that weren't designed to accommodate bands. Some rooms sound like you're playing in a water tower, others sound real boomy, and others make everything extremely shrill on the high end. I adjust these at most every show to make up the difference.

 

Someone else pointed out that "that's what the sound man is for". I DO agree with this, but in the places we play, I run my own PA, and most of the guitar sound is coming from the amps, not the mains. Using the global EQ allows me to make subtle changes without having to dig in to my presets to do it.

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Someone else pointed out that "that's what the sound man is for". I DO agree with this, but in the places we play, I run my own PA, and most of the guitar sound is coming from the amps, not the mains. Using the global EQ allows me to make subtle changes without having to dig in to my presets to do it.

 

I am the one that constantly says "that's what the sound man is for", and I live by that.

Probably by the time I was out of the 3rd grade, I never went on stage without a pa providing sound to the crowd. I may have sometimes lacked monitors and needed to provide my own volume on stage, but never for a crowd. 

Nor do I know how you run sound from the stage. If you aren't out in the crowd to hear what it sounds like, how do you know what needs adjusted -- in real time. 

 

If you can get away with it, good for you. That is not how I operate, and therefore can only speak on what I know. 

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I am the one that constantly says "that's what the sound man is for", and I live by that.

Probably by the time I was out of the 3rd grade, I never went on stage without a pa providing sound to the crowd. I may have sometimes lacked monitors and needed to provide my own volume on stage, but never for a crowd. 

Nor do I know how you run sound from the stage. If you aren't out in the crowd to hear what it sounds like, how do you know what needs adjusted -- in real time. 

 

If you can get away with it, good for you. That is not how I operate, and therefore can only speak on what I know. 

 

It's just not always and option for all of us, no sound guy means you have to run sound off stage. You do the best you can to sound check it and set the best you can.  For me nothing just replaces the sound of tube amp behind me. The POD via the PA is good option and close but not quite the same. That's the main reason I got the DT amp along with my POD, just gotta have some tubes. Maybe it's just in my head but it makes me happy.

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It's just not always and option for all of us, no sound guy means you have to run sound off stage. You do the best you can to sound check it and set the best you can.  

 

Exactly. Thanks.

 

   We all do this for different reasons, with different gear, with different budgets. Don't get me wrong, if I had my way I would hire a sound guy for even the smallest bar shows we play. Maybe your band sells out entire soccer stadiums in South America for millions of dollars, but I play in a rock cover band in crap hole bars, and by the time we split the money with the other band members, I'm lucky if it pays enough to pay for the gas I used to get there and back. So needless to say, sound man out of the question.

 

   I only play in a band as a fun way to let off some steam from a stressful job, drink a few beers, and keep up my chops. I totally respect that a lot of guys take this more seriously, possibly even as their full time job, but you also have to respect that there's a hefty amount of people who are either just starting out, or like me, just choose to stay low key, and do not have the options that you may have. No offense meant by this, just trying to put it in perspective for you.

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   We all do this for different reasons, with different gear, with different budgets. Don't get me wrong, if I had my way I would hire a sound guy for even the smallest bar shows we play. Maybe your band sells out entire soccer stadiums in South America for millions of dollars, but I play in a rock cover band in crap hole bars, and by the time we split the money with the other band members, I'm lucky if it pays enough to pay for the gas I used to get there and back. So needless to say, sound man out of the question.

 

lol. You and me are in the same boat! I would love to have sound guy at every show and play shows for millions of dollars, but that just ain't my reality. So I keep playing for Gas, Beer, and just the love of performing.

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lol. You and me are in the same boat! I would love to have sound guy at every show and play shows for millions of dollars, but that just ain't my reality. So I keep playing for Gas, Beer, and just the love of performing.

 

That quote should replace a verse or two in the national anthem!

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lol. You and me are in the same boat! I would love to have sound guy at every show and play shows for millions of dollars, but that just ain't my reality. So I keep playing for Gas, Beer, and just the love of performing.

 

Wait?!?!?! You guys get paid? ;)

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PAID?????? I was assured by the club owners and promoters that just getting people to listen to my little noodlings was payment enough.

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Jake: Uh, Bob, about the money for tonight.
Bob: Oh, yeah, $200... and you boys drank $300 worth of beer.

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We hope for perfect conditions, but we prepare for worst case scenario.  Global EQ is for the realists among us who know that not every room has good balance, and not every engineer knows how to fix all the problems.  

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When I was gigging around San Diego our first song was always a "dunta dunta" (srv) and had our singer go into the crowd and point up and down at certain players to get our overall instrumental mix right, also got the willies out of our system too....then we were good to go. Then the bassist would drift out during the first song to get the vocal level right.

Simple but it worked. lol.

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a choice like either the looper or the global eq active could have left some extra dsp.

just hate the idea its eating up dsp even when not in use.

eq of all the things that could have been fixed would have been last on my list, its nothing new, plenty of eq already in the box.

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a choice like either the looper or the global eq active could have left some extra dsp.

just hate the idea its eating up dsp even when not in use.

It's been stated by Line 6 that the code has been optimised to a point where you are not losing DSP (and may, I repeat MAY) gain a tiny percentage more.

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its also been stated many times that the looper doesnt take up DSP.

believe me if the ability to disable the looper gave them any substantial DSP availability that ability would have been added long ago.

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i tend to believe everything the experts say on this forum. but the looper not using any dsp?

i want 2 loopers then. or better yet 3 or 4.

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I'm far from an engineer but my basic understanding is that the looper routes through a memory location in the audio path. It uses that path and the available memory but does not do any significant processing (DSP) The path and memory are limited so multiple loopers is not a viable option.

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Yeah, loopers need RAM, not DSP (although there'll be a tiny amount used to use it within the device of course).

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I was hoping the global EQ sounded a little better, but for my ears...just won't work.  I have an MXR 10 band on my pedalboard.  It's all flat...and when I'm in a room where my cab needs more or less bottom....more or less highs...I quickly dial it in.  From what I heard with 2.6 so far, my MXR is still a way better sounding solution.  The minute I turn on the global it should sound flat until I start tweaking, but that's just me.  

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I haven't downloaded it yet. I won't be using it. 

'Room shaping' is why sound men get paid. 

 

 

For the record: 

I don't use an amp. I go straight to the PA. 

 

 

That's pretty much my attitude as well. I prefer to try and get my tones with as little additional EQ as possible (99% of time just amp model EQ). It saves me from the "endless tweaking" ordeal. I usually run the Pod to a power amp and guitar cab that gets mic'd, and if the room sounds a little different, I'll live.

 

It's nice to know the global EQ will be there if i ever need it, but don't plan to use it.

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How is this "Global EQ" accessed? Is it a new screen on the Pod itself? 

I am also learning that you can not use the new global EQ feature with a Pod and a DT Via L6 link. If that is true, why?

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How is this "Global EQ" accessed? Is it a new screen on the Pod itself? 

I am also learning that you can not use the new global EQ feature with a Pod and a DT Via L6 link. If that is true, why?

Tb: Hold down the View button, then scroll all the way down.  Then hit enter to turn it on.  

 

I heard the global does not work through L6 link.

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How is this "Global EQ" accessed? Is it a new screen on the Pod itself?

I am also learning that you can not use the new global EQ feature with a Pod and a DT Via L6 link. If that is true, why?

Yes it is true unfortunately. Digital igloo explains why in this thread: http://line6.com/support/topic/12866-eq-loadedno-go/

 

Essentially it is due to the architecture of l6 link which allows the output signal to be tapped from several points which in turn means multiple copies of Global EQ would be needed to cover each of those points. That is a no go because they had to optimise all the code just to make room for one copy of the Global EQ.

He did say though that they would look at shoehorning it in for the L6 Master L/R outputs but could not promise anything and even if it is possible it would not be part of 2.6.

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EQ is a huge post-amp tone shaper that can help a tone cut through better as well as dial out fizz and other things.

 

Why NOT? It's a necessity when you want to finalize the tone.

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I for one have been looking forward to a Global eq solution. Up till now, I have always assigned my outputs to "Combo Front" even though I run direct to the board. Combo Front has a "Focus' function that allows a method for aiming the focus of, or tuning the frequency....so to speak.

 

The question that I hear most about digital rigs is, "why do they sound great at home through my phones, but sound heavy and brittle at the same time on the gig?" You have to read the Fletcher Munson Loudness Study to really understand. Basically as you increase the volume, the eq curve flattens out with the upper mids going through the roof.

 

The Global EQ will allow for creating sweet sounding patches in the phones and tuning the rig live to compensate for percieved loudness.

 

Here is my beef with the Global EQ(always a complaint eh?) I was hoping for something more "Graphic" looking with sliders, instead of having to set a Q value and select a frequency value prior to adjusting. I don't have the skills to hear a problem and make a "swag" at the frequency numerical value, width of the Q, so on. All this and I haven't messed with it yet. More to follow once I get a chance to play around with it. If it gets TOO good, I may be saving dollars by NOT buying the Firehawk. Just sayin'!

 

I did use my HD500X in place of my Amplifi FX 100 this week, and was reminded just how much horsepower the HD500X has.

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I use the Global EQ when I'm tweaking or coming up with new patches at home. My current speakers are not FRFR and I compensate for that, and the boominess of my living room, via the Global EQ. I've compared enough how the patches sound in my living room and in most live situations so I have a general idea which frequencies to boost or cut. For live gigs, Global EQ would be off. I leave the fine equalization of the venue to the sound guy, Im fortunate enough to have one every gig.

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I for one have been looking forward to a Global eq solution. Up till now, I have always assigned my outputs to "Combo Front" even though I run direct to the board. Combo Front has a "Focus' function that allows a method for aiming the focus of, or tuning the frequency....so to speak.

 

The question that I hear most about digital rigs is, "why do they sound great at home through my phones, but sound heavy and brittle at the same time on the gig?" You have to read the Fletcher Munson Loudness Study to really understand. Basically as you increase the volume, the eq curve flattens out with the upper mids going through the roof.

 

The Global EQ will allow for creating sweet sounding patches in the phones and tuning the rig live to compensate for percieved loudness.

 

Here is my beef with the Global EQ(always a complaint eh?) I was hoping for something more "Graphic" looking with sliders, instead of having to set a Q value and select a frequency value prior to adjusting. I don't have the skills to hear a problem and make a "swag" at the frequency numerical value, width of the Q, so on. All this and I haven't messed with it yet. More to follow once I get a chance to play around with it. If it gets TOO good, I may be saving dollars by NOT buying the Firehawk. Just sayin'!

 

I did use my HD500X in place of my Amplifi FX 100 this week, and was reminded just how much horsepower the HD500X has.

 

 

You’re absolutely spot on about perceived loudness, Stratotron.

 

 Go and check out my video regarding the use of a parametric eq. You might find it useful, especially the part about finding the nasty frequencies.

https://www.youtube.com/watch?v=iJ9v7SCCt_c&feature=youtu.be

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