How do you EQ?

Marshall Law":3gxt7j7q said:
they have been sent, so when you see it in your out box, it's because they haven't read it yet, as soon as they open it, it's gone, then you know they read it, pretty cool huh :D
Click to expand...

:doh: Thanks, for the PM lesson!

Very cool! :yes:
 
MikeT":bk7hcbf2 said:
Are those open back cabs? Also, sounds like you prefer the overdrive from the power amp stage too. Interesting, I'm the opposite (clean power amp stage, and tone from the preamp).
Click to expand...

The Theile's are closed back with a ported front. One cab has a C90 and the other has a EV12L. I am not convinced I am geting much powertube overdrive on the poweramp but I like to run it 11 to 3 oclock with preamp output tamed to keep the volume reasonable.

Mike
 
This is an interesting topic for sure. I used to do a lot of research on any new amp I'd get and try a bunch of setting others would recommend and tweak from there. Since getting my Axe Fx rig together I usually just start with everything at noon and go from there. Once Cliff introduced the passive tone stacks it takes a little more tweaking but I'm happier with the results.
 
Very generally, I start @ noon like most others here. Most times I tend to wind up leaving the treble where it is, cutting bass, boosting mids.

I'll usually high pass guitars around 80-100hz after the recording process a bit.. depends though.

Gotta leave room for Mr. Bass ;)
 
Where the speaker is in the room, direction and where and what else is in that room all effect how I EQ. Often The speaker is not in the best place in the room(stage). I get the gain in the general area where I want it. Starting with the tones all the way down or in the center. I bring up the bass till it looses control then back off. Turn the mids up till they just get in the way, then back a little. Adding just some cut with the treble and presence - balance of these two for the voice I want. Fine tune everything from there.

Moving the speaker around well have a huge effect.
 
digwhisper":zoo9b0uf said:
This is an interesting topic for sure. I used to do a lot of research on any new amp I'd get and try a bunch of setting others would recommend and tweak from there. Since getting my Axe Fx rig together I usually just start with everything at noon and go from there. Once Cliff introduced the passive tone stacks it takes a little more tweaking but I'm happier with the results.
Click to expand...

Good to know. Are you using the passive stack exclusively? Is 12:00 = 0? I've got the Ultra, and still working on the Amp block. The passive vs. active tone stacks made some info in the manual more confusing; e.g., for Bass, Mid, Treble, at 12:00 is this 0.0 dB on active or passive or both? For example, from the manual:

"Brownface - Based on a classic American 40-watt tube amp with built-in vibrato. Great for gutsy blues, this type breaks up nicely, especially when the Master is cranked. The original had no Mid or Presence so set these to ‘0’ for classic tone." When is the Mid at zero, dialed to 12:00 (which reads 5.00 dB using the active tonestack) or dialed full counterclockwise? These readings are different depending on the tonestack choice, as I recall? I did this awhile back...can't remember the details.

I also set the global tone stack param to passive, however it didn't seem to override the Advanced tab setting in the Amp block. Originally, I was attempting to get to the original amp tone from the Amp sim and start from there; passive tone stack makes this easier though the manual seems to assume an active tonestack unless otherwise noted? I wanted to hear the original amp as defined by the factory sim and use this as my starting reference point to dial in the tones. Since posting a similar question on "where's the real zero?" on the Axe-Fx forum, I've assumed the default settings of the Amp block are set close to the original being simulated irrespective of the tonestack setting, and use the default settings as my reference point. :confused:

Finally, are you using FRFRs or guitar amp/cabs?
 
stephen sawall":3gdcqq8w said:
Where the speaker is in the room, direction and where and what else is in that room all effect how I EQ. Often The speaker is not in the best place in the room(stage). I get the gain in the general area where I want it. Starting with the tones all the way down or in the center. I bring up the bass till it looses control then back off. Turn the mids up till they just get in the way, then back a little. Adding just some cut with the treble and presence - balance of these two for the voice I want. Fine tune everything from there.

Moving the speaker around well have a huge effect.
Click to expand...

Agreed. This is a key problem in my home studio - I'm getting massive reflection which causes a tendency to over compensate in the wrong places so I'm looking into absorption options as placement has little effect here. As long as the room is open enough (i.e., minimal reflection) you can dial in tone much easier, then adjust to different locations accordingly.

Interesting that you sometimes start with the tones all the way down as you only have boost from there; on the flip side, I suppose this keeps your tone control settings to their minimum.

A few people haven't mentioned gain/volume either, maybe its just assumed? Dialing in the gain / master is also critical as they effect tone when changed.
 
Most tone controls are passive and do not boost at all. With the other tones down it is easyer to hear when the bass gets out of control. I tend to run it higher than most people. Very heavey bass and mids. I kind of think of the master as "the" bass control and the pre as a bright control. I do not think I have had a amp that if you change the master and or pre the tone controls did not needed to be fine tuned.

https://www.thegearpage.net/board/showth ... p?t=470956

This may help with the room - I am doing this to my cabs. The one I did it to works great for getting the tone very much the same everywhere in the room.
 
Hi everybody
I have a stock ada mp1 and a TC 1128 just after the preamp; after countless attempts i can not find any good eq curve for my tone (i mainly play 80's metal - hair metal).
it is quite frustrating...
can anybody share any good TC 1128 eq curve? i need help.
Thank you
Peter
 
I usually use a Boss GE-7, or Peppers Dirty Tree, or even sometimes a RAT with the Drive almost all the way down and the Level up, as a pre-EQ to treble boost and/or bass cut depending on the rig, and as a general boost.

In the loop, in the studio, I have an old RANE PE17 5-band parametric EQ I love. The latest favorite EQ pedal for portability is a Master Effects EQFH which is a 3-band parametric EQ. I just use them to even everything out and smooth out any spikes. I'll also maybe do a very broad but shallow mid cut just to slick things up a little.
 
Last edited:
Thank you, but i need eq curves for a TC 1128 that i use after a stock ADA MP 1
I do not use pedals anymore, only rack mounted effects.
Thank you
Peter
 
Boss advanced 10 band eq is my secret weapon , I get my amp boosted and is good as can be . Then I use the eq up front to finish it . I have a lot of eqs but this one is the one
 
Thank you, but i need eq curves for a TC 1128 that i use after a stock ADA MP 1
It is the only eq i have and use; no room in my rack for another unit or pedal.
Thank you
Peter
 
Greazygeo said:
On my Wizards....I start with all the tones and presence at noon....it's usually where they stay, but sometimes in a funky room they need adjusted alittle.....usually the mids might bump up alittle and bass go down alittle....

On the Marshall's they really don't do anything other than the bass knob controlling the muddiness....so its mid treb and pres on 10, bass up as much as can go before total mud...usually about two.

If I have to drastically eq something, it's not the right amp for me.
Click to expand...

Same here with my Wizards and all my others except my Mesa MKs.

Right now I'm on a tear with single channel amps. Matchless mostly and a new Mesa California Tweed 4:40.

Greazygeo said:
If I have to drastically eq something, it's not the right amp for me.
Click to expand...

The only exception I ever made to that were my old Mesa MK's. But yes that's one of my baseline rules along with the acid test EQ done with the band, and understanding the amps EQ because they are not all exactly the same depending on make and sometimes model.
 
whoa, timewarp! necro-thread of mine. back in my Axe-Fx Ultra days, trying to figure out how to use it and focusing on EQ :LOL:
 
It completely depends on the amp.

But in general, I gravitate towards either a tiny mid scoop or a tiny mid bump depending on whether it's vox, fender, or marshall based

Bass and treble almost always at noon or 6 o'clock on most amps

What varies wildly is depth, or presence type controls depending on the amp or style of amp. For example, on splawns I almost always run the depth of or nearly off. Some people like the way the low end tracks when the depth is up high but I can't stand it.

For wizards, I almost always run the presence pretty high for dark sounding guitars or downtuned stuff.

If I'm getting gain from a pedal, whether it's a "preamp" style pedal or an overdrive, I tend to run the treble very high and the bass cut a bit, because even when boosting with an 808 the low end can be too flubby for me.
 
I almost always run the bass pretty low - I guess I like my tones fairly bright and cutting. Whenever someone plays through my amp they seem to always turn the bass up from where I had it set and ask me why I don't turn my bass control up more.
 
Other people have more experience here but I’ve been complimented, so here you go.

A good place to start is eq to keep everything separate. Start with using a HPF on everything. Set it about 30-35hz on the bass. About 45hz on drums, and between 80-100hz on guitars. That should separate everything on the low end.

Then on the high end to eliminate fizz, use a LPF set at about 14000khz on your guitar buss. And one set to about 10000khz on your drums to take the edge off the cymbals.

To eq the guitars, cut everything below 100hz completely. Make slight cuts to the 400hz band in the low mid to eliminate boxiness and make room for the bass. Then boost at 1.6k to really accentuate pick attack.

With the bass guitar, do the opposite, boost the low mid at 400hz and make cuts in the upper mid. The guitars and bass will sound weird on their own, but will sit nicely in the mix this way.

Some reverb on the snare will make that mother fucker open right up and really punch through. also don't be afraid of the compression fader either. if used right, it will take flub out of the kick and add punch to the snare.

Good luck man, a lot of this is trial and error with your playing/guitars/bass/drums/software etc
 
You must log in or register to reply here.
Back
Top