I need to add more treble on every profile when i play with a band

  • I disagree 1000% with you. But I won't debate it with you, coz you're the kind of person that think he is right and it will be an endless debate

    Doesn't everyone think they're right? I mean, you clearly think you're right, hence you voiced your opinion. Doesn't mean you can't have a rational discussion about those differences. But I should thank you since I can do away with my therapist now that I've found someone who can completely diagnose the person I am based upon a forum comment.

  • I read through so many same topics of KPA users who compare their sound from PA to a [put any brand] Head with a Cab.

    In my band setting, i "compete" with a Marshall JCM900 and a Keyboard (i guess you don't care for that brand ;-) ) - i have a graphic EQ on every single profile. With that EQ i cut out lows (usually below 150) and the highs (usually above 5500). For heavier stuff (e.g. with palm muted gain sounds) i can drive up the 80hz/160hz to get some oompf, and adjust the hights (1250/5000) to take off some edges.

    This only works, if i'm happy with the rest of the profile of course.

    I then test the sound over the PA in the band setting to adjust. If i'm completely off, i usually start over.

    For my 2x12 cab, i compared the PA output (which is mainly flat with a low-cut at around 80hz) to the powered monitor output and adjusted the EQ to sound as close as possible to the PA.

    This works really well, and i blow everything out of my way. Here is a link to a soundcheck video. The right guitar (the one next to the keys) is kemper powered and i think it really cuts through nicely: Soundcheck Kemper powered Guitar

    once a purist, then analog pragmatic and finally a digital believer who found out that you can't hear a mosquito fart in a band-context.

  • Thank you so much do you use an external graphic eq or the one inside the Kemper???

  • Doesn't everyone think they're right? I mean, you clearly think you're right, hence you voiced your opinion. Doesn't mean you can't have a rational discussion about those differences. But I should thank you since I can do away with my therapist now that I've found someone who can completely diagnose the person I am based upon a forum comment.

    MementoMori just don't bite pal. I don't know how he gets away with some of the stuff he comes out with.

  • Just a remark. It is funny but all the sounds I create at home are more warm and got more bass. But when I go practice with my bands it is lost in the mix a little so I have to add treble and presence to be heard. Is it the same to you? I mean it is not really a problem for me it is probably normal

    I was just wondering if it was the same for you ???

    If I am dialing in tones in isolation (as in: no drums, bass, keys going. Just my guitar) they usually come out darker and possibly more mid scooped than I would dial those in when I have a "band" running.

    Have you tried to get kind of a backing track (must not be from your band, but this would be ideal) running while you're dialing in your guitar tone at home to see if you end up with a tone that's translates better to when you actually play with your band?

    Some examples:

    • Bass: In solo, I would add a hefty dose of bass and low-mids. In a mix, this would create a muddy and cloudy low end because the bass, the kick and the guitars are all fighting for a place in the same spot and all the oomph is gone. It's hard, I know, but give the bass and kick precedence :-).
    • Low-Mids: In solo, this adds nice body to the guitar tone. In a mix, this could easily lead to some honky/boxy sounding overall sound.
    • Mids: In solo, scooped mids can sound great on high gain guitars. In a mix, your guitars run the risk to disappear almost completely, because the guitar tone lives in the mids.
    • High Mids: In solo, you might want to tame those down because they can sound harsh or even piercing. Or you crank them up to get a nice crunchy attack. In a mix, too less high mids can make your attack disappear, too much can compete with the vocals or can create a ringy kind of annoying tone, especially audible when you're turning up the volume. This area I am finding the most critical to balance right in the mix. The amount of high mids depends highly on the context. I found that the area around 2.5KHz is very crucial and fragile at the same time. This frequency range gives the guitars bite and edge but can sound piercing easily. I usually make a sharp cut here to prevent ringing and give some headroom for further high end boosts (if necessary) without over-boosting this area at the same time.
    • Highs: In Solo, you either want to tame those down to get a warm tone or you want to crank them up to get some nice high end air. In a mix, too much high end can make them fight with the cymbals and create a bit of an undefined mess up there.

    This is not a definitive guide, but hopefully might help a bit.

  • my general thoughts on live guitar.

    I play in a Whitesnake Tribute band. We have 2 guitarists (we share lead parts so neither of us take priority in the mix) and a keyboard player. Our sound is obviously 'hard rock' if you like.

    Guitars and keyboard generally occupy the same frequencies.

    Whatever you do with your own gear is largely irrelevant if you have a bad sound guy. Your amp can sound amazing but when they start fiddling with the EQ on their desk, they are potentially shaping your tone into something that's not 'your' sound. But they must do this to carve out some frequency for the singer. And remember the singer is the most important person who needs to cut through. The crowd needs to hear them.

    I tend to have a tone which is centred around the Mids. Pushing the mids will let you cut through the mix without using excessive volume.

    Don't use too much Bass EQ as your bass player has this covered. Its not like playing at home where you'd probably like a fat tone to cover all bases. Your bass player will cover the low frequencies on their own. No need for too much Bass from the guitar.

    Avoid using too much Treble or Presence. This will make your tone sound thin and scratchy. Yes it'll cut through but it will sound bad in the process. Just use enough top end to add a little zest to your tone. Some rooms or stages might sound generally rumbly or muddy. Just add a little to counter this.

    Don't try and occupy all the 'space' and frequencies on stage. You are a member of a band. Everyone has to try and slot in somewhere.

    Guitar Solo! I use my own solo boost on stage because I don't like to rely on a sound man to judge what I want. This is the only time when I feel I can truly be loud and obnoxious. Again, I push the mids a little more on the solo boost EQ, add a little bass, and take off a little trebble. I want the sound to cut through but sound full and thick. I try and set my solo volume to the volume of the main vocals. That way it should cut through but not be too much.

    All the above is just my opinion.


  • Probably the same thing is happening to you with compression, although it's trickier to notice.

    When you mix a song, usually you boost the high end in your guitar and compress it quite a bit.

    Usually individual tracks in a mix sound quite different than they would if the record was just that instrument.