How to add definition to lower strings (eq tips?)

  • Hi guys
    I'm always looking for great medium/high gain lead profiles for soloing; I've found great profiles which sound awesome on the high strings, without sounding ear piercing, but often they lack a bit of clarity or definition on the low E or A strings.
    Could somebody give me EQ tips (or recommend Kemper parameters) to add clarity in the lower frequencies, without changing too much the tone I get on the higher strings.
    Thanks
    Matt

  • I would like to know this as well. When I roll off the lows because of the boomies it doesn't sound right.
    I go to the Amp and set the definition up to around 5, but then I lose that old school vibe. Dialing that back increases the lows.
    So then I chase my tail and lower the Bass again... Gotta be a trick to this...

    If you use FRFR the benefit of a merged profile is that the cabinet is totally separated in the profile.


    For my edification only... ;) Kemper/Axe-FX III/ Quad Cortex user

  • Maybe try two EQs one pre and one post stack.


    lower the basses / low mids on the pre one, put them back to taste post stack...


    or try using an overdrive in the stomp section ?


    let us know...

  • From my experience most of the muddiness is in the range between 150 to 300 HZ. I know it's a bit optimistic to expect a rule that would apply to every guitar tone but this generally works for me. To get clarity, for me cutting always does a better job than boosting such as when you use the high and low pass filters. Based on this my suggestion would be to try to use a notch filter between the 150 to 300hz , so it would be a narrow cut preferably. That means the Q- factor would be high (up to 5) to narrow the frequencies and the cut (gain) will be need to be significant, between -5 up to even -12. If that doesn't do the job experiment with cutting using different Q and gain values. You want to take enough but not too much as taking too much can take the whole body of the sound.


    A good way to find where to cut is to set the Q and Gain first and then use the frequency dial to find the best frequency to cut. Sometimes it might be an unexpected frequency and not necessary in the range I suggested so definitely rely on your ears for optimal results. Also remember that rolling the Highs, will also give focus/Clarity and so does low cut. Experiment with High cut as low as 5-6k and again use your ears, because some material might need significant high cut. Low Cut should probably always be on at least 45hz to 50hz regardless of what you hear of don't hear, just in case there's anything there it shouldn't. Try other values for the low cut. Basically you would get more clarity with cutting highs and lows, and some mud frequencies but you have to judicial in the amount of cuts.

  • Thanks a lot for your replies.
    Dean thanks for your detailed explanation, I'll try your suggestions
    Matt


    My pleasure Matt.
    I will also add that if you need to retain the character of the tone, the maximum cut or boost is commonly agreed on to be 3db based unless it's a notch filter, Anything above might be considered drastic, which is not a bad thing, it's just something to keep in mind. Drastic sometime can be very interesting and usually it's arrived at by fixing the cut or boost at some extreme level and varying the frequency then adjusting the cut or boost to a usable or something that sounds good. Doing this with a couple of frequencies and the result might be dramatic change of tone to something that's very good but usually a complete departure from the original tone.

  • +1 to having some sort of before-the-amp EQ. Sometimes I use the Green Scream for this, usually with the tone around -3, but an EQ stomp works as well - cut the lows and mids, turn up the highs a bit, back off the amp's Definition a bit to keep the highs from getting too harsh, and then set the Clarity to 1 or 2 to clean up the lows a little bit.

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    it is the amp section video which explains how to achieve what you're after. besides the definition you have the clarity and pick parameter

    "...why being satisfied with an amp, as great as it can be, while you can have them all?" michael mellner


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  • All good tips & hints..


    I just would like to add some suggestions:


    Guitar players select a lead sound not only for the "sound of it" but most of all because of the "feel".I mean the way this sound enables us to play more legato (less picking,more hammerings/pull offs) or staccato (speed picking) ,with a lot of sustain,bendings etc..


    In my expirience doing only EQs on guitar sounds does alter the characteristics of any lead sound and you soon find yourself in a "loosing control"-situation.The sound gets "better" but does not "feel right" anymore etc..


    I would recommend a mix of as little as possible EQs in ther beginning,"healthy" use of (a) good compressor(s) and...well..yes..if you have it..Melodyne! :huh:


    The compressor should only be used to make the sound "even" and balanced ie volume.Tight,fast runs on the E/A/D strings which sound "boomy" and "muddy" will then be "quieter" in the mix while the high strings appear louder and more clear.And this without to much EQs which will alter sound and "feel".This is not to hard to achieve.Even with a "simple" logic etc compressor.Melodyne can be used to withdraw the "artifacts" of your fingers on the E/A/D strings..which is usefull when you use a heavy distorted & "fizzy" sound with tons of high frequencies.


    There are many ways to achieve a good lead sound but one has to be carefull with the use of EQs.
    What I like to do in most situations is to put first a "simple" EQ in to the chain which will then see the first compressor after it to "even" the dynamics/volume.Then again an EQ for the final little sensitive "tweaking" (remember the aim is to keep the character and feel of your beloved selected lead sound) and in the end some tool like Melodyne to take away the "noise of the fingers/empty strings"..not to mention the automatics of the DAW which enables us to control volume and FX most of all at the starting and ending pioints of each phrase and not only..


    Worked always fine for me.Many guys will do it completely different,just my suggestions. ;)

  • I'm always looking for great medium/high gain lead profiles for soloing; I've found great profiles which sound awesome on the high strings, without sounding ear piercing, but often they lack a bit of clarity or definition on the low E or A strings.


    since I never had an issue with that, I suspect old strings, or maybe suboptimal pickup height setup, or the pickups themselves.


    if you record just the DI signal and play it back, does it already display these symptoms?


    I would like to know this as well. When I roll off the lows because of the boomies it doesn't sound right.


    boomines is often caused by the monitoring situation: room resonances, smaller speakers that can't reproduce the low frequency content well enough, speaker placement (too close to a wall, or even corner - especially rear-ported systems) and placing the speakers directly on a hard surface with any pads.


    hth

  • All good tips & hints..



    In my expirience doing only EQs on guitar sounds does alter the characteristics of any lead sound and you soon find yourself in a "loosing control"-situation.The sound gets "better" but does not "feel right" anymore etc....


    I agree specially post EQ. PRE EQ will retain the natural amp feel and you can do drastic EQ before the amp yet the Amp will retain more of its Character. An example are treble booster pedals, they usually include a High pass up to 1khz ! Which means you're cutting the low below 900-1000HZ, yet they really clean up the old Marshall amps and do wonders as many seventies rock guitarists used them (Blackmore, etc.). Tube Screamer also includes a HI pass (which is a low cut) and many use it for the purpose of getting the rumble and muddiness due to it's L


    Pre EQ is safer against ear fatigue because larger cuts or boosts are generally safe and can't wreck your sound as the post EQ, I personally prefer Pre EQ for the same reason you mentioned.

  • Thanks again everybody for the useful tips !
    I've started experimenting with good results, but I need to spend more time tweaking.
    I usually set the definition pretty high.
    I rarely use EQ (apart from the standard bass mid treble), as I'm not sure what I'm doing (but I guess I need to trust my ears). Using eqs pre or post stack seems to add millions of possibilities, which I find a bit scary (along with the other parameters inside the Kemper)


    After spending a few hours playing this afternoon, I think what bugs me might be the overtones I hear when playing the lower strings with distorted profiles. They seem to be more present through my studio monitors than through my real tube amps)
    I'll keep experimenting
    Thanks chaps

  • String definition starts with he guitar it self .
    Then with the strings it self .
    If there is a problem,no EQ can sort it out .
    Good luck

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  • The idea here is you cut the bass before the overdriving circuit (the amp), so the powerful bass frequencies don't muddy up in distortion. Then, you add bass frequencies AFTER the amp to get the proper overall response. Ideally, this gives you the bass response you want, but without the muddiness.

  • @Dean


    It is again my fault.I did not read the first post of this thread properly and was again a little bit "lost in translation".You are right in everything imo and obviously the "problem" of the OP has more to do with the guitar and playing itself than how to deal with recording miced amps ie his soundneeds.


    Quote

    After spending a few hours playing this afternoon, I think what bugs me might be the overtones I hear when playing the lower strings with distorted profiles. They seem to be more present through my studio monitors than through my real tube amps)I'll keep experimenting


    Dont forget we already have to do with "miced amp/cabinet sounds" so if you select a sound you like the best way for you is to take a rig which in your ears does not need so much tweaking/EQs besides some "refining" the things you like/dislike.


    If this is the case the big question is (as some other guys suggest) if some other factors come to play..whatever these may be(PUs/strings etc).


    One more "little suggestion"..maybe strings like the elixier/nanoweb may help you a little bit;These strings have indeed very "fresh" higher frequencies specially for the E/A/D strings.Things like these can make a huge difference.


  • Funny you mentioned that, I almost returned a brand new set of Yamaha studio speakers due to rattling. In the same week I was working on treating my room with acoustic panels. As soon as I put the bass traps in the corners were the speakers were closely placed, the rattle completely disappeared.