Global EQ for FOH

[Flipp15]

Been using the HD500 for about 2 years now FOH and actually been happy(due to endless and countless hours of tweaking and A/B'ing) but withOUT using the global EQ. Just recently started tweaking with it and gotta say, I've been missing out!!! It's a breath of fresh air to the tones. I'm curios as to what are maybe "common" or "appropriate" settings for a rock/metal guitar tone. Though I use many cleans as well, the main is Distortion. Do any of you sound engineer based guys have any tips or even suggented settings I can try as far as adjusting the Global EQ to make it sound MoRe like a "real" guitar amp sound??! And note, this for fitting in a live band mix (2x guitars, bass, drums, vocals)

Thanks!

[codamedia]

IMO, I wouldn't use the Global EQ to sculpt tones at all... as once it is set you have to sculpt every tone around it.

I set up all of my tones without engaging the global EQ and with the intent that they can be used "flat" in the FOH and monitor rig. The tech will have the freedom to adjust what is required, but won't have to "fix" any poor choices you may have made. I think of the global EQ as an emergency "last line of defense" against bad rooms, bad techs or bad monitor rigs. On occasion I'll go into a room and all of my patches are thin and bright, or all of them are boomy and lack clarity. It is then that I reach for the global EQ and make a quick adjustment to get through the gig.

That's just how I approach it... not the only way to approach it  :)

[pianoguyy]

If you want it for FOH, let the FOH guy handle it. That is what he gets paid for. 

 

 

But, to answer the question --- 

 

There is no such thing as "common" or "appropriate" settings. You walk into a room and you adjust based on what the room is telling you needs adjusted.

[bjnette]

Generally the Global EQ is to adjust your sound to the Room your gig is in.

A big space will be more bottom end friendly then a small space and the high might looise it's definition.

To use the G EQ for EQing your existing tone as a tool can still be done but as it is global it can also be 

inconvenient to your tweaking of the actual patches.

it effects all your patches of course rhythm and leads or a patch that also doubles as a lead tone.

Revealing hard won Engineering skills wont help your patches sound more like an Amp. LOL  In fact,

ideally, a well recorded guitar wont need much in the mix. 

It is only when you have several that need to be balanced.

You could use it to enhance your overall tones and to cut thru at lower volumes.

In the 80's a narrow 6k boost would give a lead a synthy quality. It works well if you attenuate a high shelf.

Another use in the Studio  is to remove fizz from mike capsules, cab resonances etc. honkiness etc.

[Flipp15]

Okay, well I am aware of the adjusting to room dynamics and dealing w sound guys-letting them "do their job"-- but maybe it's the sound guys that make every show / room have something that just isn't right w the sound and make them thin or too boomy---or maybe it's the patches I have. I can search for days on Google or YouTube, and I have, and THAt is why I am coming to an actual Line6 forum, to get some "free tips" on how to compensate for the issues we all face when playing live, not to mention more pleasurable for the audiences if the guitars don't sound like harsh static. To re phrase , maybe I'm looking for some tips on where to even start Hi and Low cuts and pass filters. A broad idea of where the guitar generally sits would help get me on the right path. Or maybe even more so, StAy on the right path and w some slight tweaking I'll be even more satisfied.

[bjnette]

The problem with an electric guitar is it is a wide broadband instrument. By that is meant it can swamp the tones of other instruments including vocals.

As a general rule rhythm guitar being strummed will require some scooping to let the vocals in. You can compensate the scoop by careful boosting of the lower mids and a bit of high end lift. You will also want to not swamp the bass so attenuate 100hz down with a high pass filter.

Drums being more transient will cut thru and it is only really the bass and kick that have to spread their bottom end. The kick might sit above or below the bass depending on the genre and where on the fretboard the bass is playing.

With a second guitar there is much more work to attain separation and definition. If you play loud and keep turning up to hear yourself you know that one or more instruments are swamping each other. It is important that during rehearsals your band actually do some pre production work creating a balance that is well defined. There is often a sacrifice of how the tone sounds when mono'd. 

The goal is that each instrument can be heard loud and at low volumes.

As for tips and trick, it is a big ask and you would do well to study up for yourself rather then relying on being spoon fed hard won skills without employing the Engineer. Thankless work is no fun, And I have imparted you plenty to get you started.

Plus you have been doing it for  years and already have experience to fall back on. 

 

[pianoguyy]

The other thing to consider is --- 

if you don't like what you sound like (fire the sound guy) and you make adjustments to your sound, the sound guy is going to counter-adjust the final result to make it sound like what he wants and you are right back where you started.