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"Fixing" Tones for the Room


gunpointmetal
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For the FRFR guys, how often are you "fixing" your tones for a room and what methods are you employing? For me, I have the XLR set to be unaffected by the global EQ and the master volume, so my FOH tone and my IEM tone (I run mono live, so I send the same tone from both XLR outputs) and then use the global EQ to just do basic low/high adjustments for my on-stage monitor. This also comes in handy if I have to use a supplied backline, as I can boost some of the highs and low mids I'd lose running a tone with an IR into a guitar cab without changing the FOH. 

Just curious how everyone else handles room adjustments with FRFR because I see a lot of posts in various places about people wanting quick ways to edit patches, but to me it seems like a problem looking for solution if you already have dialed-in tones and just need a touch more of this or that. I can't image a situation where I'd be (or want to be) building a patch up from scratch during a soundcheck or live event.

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6 minutes ago, gunpointmetal said:

I can't image a situation where I'd be (or want to be) building a patch up from scratch during a soundcheck or live event.

 

Unless the goal is to make things orders of magnitude worse...;)

 

Global EQ is the "quick edit" for room acoustics...that's what it's there for.

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Just now, cruisinon2 said:

 

Unless the goal is to make things orders of magnitude worse...;)

 

Global EQ is the "quick edit" for the room you're standing in... that's what it's there for.

I agree, but I see a lot of posts (most recently someone asking how to "quickly" dual-cabs mono) that make it seem like people need an immediate "build-a-patch" solution, so I'm curious if people are actually editing the patches to adjust for live use. the Global EQ method has working just fine for me, and I think I've even gotten better tones out of shared backlines with my powerblock and Helix setup running "full-range" patches adjusted with the EQ than a lot of the guys we've shared stages with using traditional amps.

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Quite honestly I don't think I've ever felt like I needed to correct for the acoustics of a room with my Helix in almost 4 years, but that's because I can't say I've come across a room that was so bad it needed it.  Unless you're willing to go out in the room while the band plays and listen to it, you might be making things worse if you're simply gauging it on what you're hearing on stage.  And the way I look at it, if the acoustics of the room are affecting me, they're affecting all the instruments and that needs to be corrected globally at the mixing board.

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16 minutes ago, DunedinDragon said:

Quite honestly I don't think I've ever felt like I needed to correct for the acoustics of a room with my Helix in almost 4 years, but that's because I can't say I've come across a room that was so bad it needed it.  Unless you're willing to go out in the room while the band plays and listen to it, you might be making things worse if you're simply gauging it on what you're hearing on stage.  And the way I look at it, if the acoustics of the room are affecting me, they're affecting all the instruments and that needs to be corrected globally at the mixing board.

That's why I don't mess with my FOH/IEM feed. I have that dialed in at a good level through equipment that I trust and I think that I' m sending the engineer the best possible version of my tone, that he can adjust at the board if needed. There have definitely been times where due to stage construction or placement, room shape, room construction, sound absorption/lack of where my on-stage monitor sounds extra boomy out in the room, or maybe there's some reflections causing a high frequency to get spiky and I'd like my tone to stay out of the way of FOH for my "room" sound coming off the stage.

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