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Power and FRFR


dacop13
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I've tried - 

 

HR FRFR112 - cheap, OK sounding, but definitely NOT FRFR.

QSC/Yamaha DX - much more flexible and FRFR, much more expensive.

Tube Amp - Limits you to the sound of whatever the speaker and cabinet sound like. Power amp/tube coloration largely dependent on volume.

Studio monitors - the more you pay, the more FRFR they get, but not suitable for use outside a studio environment.

 

So, my answer - Powercab212+. Not perfect either. Maybe someday they'll do an update. Not holding my breath.

The YT comparisons of the other VERY EXPENSIVE guitar specific solutions have not impressed me.

 

No PERFECT solution to this dilemma.

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8 minutes ago, spaceatl said:

I play both guitar and bass. I use an Alto TS212 for guitar and a TS315 for bass. works great for me. Going on 3-4 years now...

 

Yes, forgot to mention - the HR FRFR112 works GREAT for bass! Essentially the same as the TS312, but no preamp for mics.

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13 minutes ago, spaceatl said:

I play both guitar and bass. I use an Alto TS212 for guitar and a TS315 for bass. works great for me. Going on 3-4 years now...

 

It that Alto TS212 very bassy? I would assume you keep the contour off? I have a Headrush FRFR and I heard they are almost the same thing, and they look it from the back panel. 

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JBL LSR305 and JBL LSR308 positioned as near field Studio Monitors with JBL LSR310 Sub. Great price, sound and imaging. 

Yamaha DXR10 FRFR Monitors often positioned as floor wedges for very full sound and capable of very high SPLs. Also, usable vertically or on stands.

Yamaha THR10C for convenient battery powered stereo spkr system. Signal into THR10C's 1/8" Stereo (TRS) AuxIn from Helix's Outs or Helix's Headphone jack. 

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8 hours ago, dacop13 said:

 

It that Alto TS212 very bassy? I would assume you keep the contour off? I have a Headrush FRFR and I heard they are almost the same thing, and they look it from the back panel. 

They are flat with coutour out...coutour is just a loudness switch...It's nice for lower level playback without subs. I have two 212s and a pair of the matching 12" subs. I have used the the two subs stacked in full range mode for bass and they work nicely. I love the simplicity of the design, efficient flat drivers and no fans.

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I go direct in the mixing board and have a QSC K.10 as my dedicated floor monitor.  I've also used the Yamaha DXR12 as my stage monitor from time to time.  I'm very happy with either, but I have to say I prefer the QSC as my monitor as it's seems to be "more in your face" than the DXR which is a bit more musical or tamed.  But I do prefer the DXR for main speakers because of that musicality or tameness for the audience.  For a short period of time I used the ZLX12P and the QSC CP8 as monitors.  Both are very good and well tuned, but not as good as the K.2 or DXR.  Our bass player and acoustic guitar player each have dedicated DXR's as their stage monitors and are quite pleased with them.

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On stage, my method of choice is the effects loop of a Marshall stack.  I set up my sound so that it just works when going into the effects loop -- it's an unbiased sound, just neutral.  I leave all the cab sims on, and just use it for stage volume, since I go straight to the FOH and it works fine for me.  Usually I don't need to do anything in terms of EQ'ing (surprisingly).  I have a global EQ that gets rid of the boomy low-end, and it comes in handy sometimes.  So it's either the Global EQ on or off -- I never had to tweak it....

 

At home, when I build presets, practice, record or mix, I use Yamaha HS5.  I have them on stands on foam platforms.  I use this as my "single source of truth", whenever I need to make any adjustments.  So far, as per the sound guy, my balance has been very good, so the sound guy doesn't need to tweak anything.  He's happy, I'm happy.  

 

I also have a Headrush 108, that I keep in my car.  It's nice and light, plenty loud.  It's very bass-heavy, so I need to turn on the Global EQ that gets rid of the low end.  I just typically put it on the floor.  The only problem with it, is it has a very focused sound that projects straight forward, like a wedge monitor.  So if you are standing in front of it, it's loud, a few steps left/right and you can't hear anything, and the fact that it's very bass heavy.  

 

 

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4 hours ago, theElevators said:

The only problem with it, is it has a very focused sound that projects straight forward, like a wedge monitor.  So if you are standing in front of it, it's loud, a few steps left/right and you can't hear anything...

 

 

This is actually a design aspect of all modern PA type speakers.  In order to conserve energy in order to project evenly across long and wide areas they're designed to limit vertical coverage to about half the area of horizontal coverage when placed in their upright position.  So if it has a horizontal coverage of 180 degrees it will have something like a 90 degree coverage vertically.  So if you lay it on it's side as a monitor your horizontal coverage is limited and your vertical coverage is wide.  That's actually very functional in that in an upright position you're not wasting sound energy getting projected into ceilings or floors. 

We address that in our band by having more floor monitors spaced across the stage, but you could also address it as I used to by placing your monitor in an upright position and leaned back.

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I just monitor my guitar through my monitor mix.... sometimes it's through a wedge and sometimes it's through IEM's.  If we are on wedges and the monitor system is not up to par I carry a dedicated Cerwin Vega CVE 10. I find the Cerwin Vega can cover a stage and/or fill a small room just as well as any 20 - 40 watt amp can. 

 

In my home/project studio I have two sets of studio monitors. This is where I setup my tones.... and when I can get them sounding good on both sets of monitors, the tone translates very well across the majority of FOH/Monitor setups I might come across. 

 

 

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