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EQ Block (Generic Tone Stack)

For graphs on how these controls affect freqeuncy response, see this thread.

  • Bass - range -5 +5 going more or less from -12 to +4 db @ 80 HZ. It is a shelving filter that start works under 800 HZ, and progressively grow until 0 HZ.
  • Middle - range -5 +5 corresponding from to -7 to +5 db. It is a band pass filter on the center frequency like in the figure below. The center Freq seems around 600-800 HZ, it has a very large bandwidth.
  • Treble - range -5 +5 going more or less from -12 to +4 db @ 10 kHZ. It is a shelving filter that start works above 500 HZ, and progressively grow until 20 kHZ when cutting, but the shelf levels off around 2.5 kHZ when boosting.
  • Presence - range -5 +5 equal to -12 +12 dB. It is a shelving filter that raise or lower from -12 to +12 dB like in the figure below. It start works above 500 Hz, and progressively grows until 20 kHZ.

Output-Specific EQ

The Main and Monitor outputs have output-specific EQ's you can use to fine-tune your sound for specific situations. For example, if you want more highs in your monitor to hear yourself in the mix better; or to compensate for a bass-heavy PA system, etc.

They feature the following parameters (for frequency response graphs, see this thread):

  • Bass (centre frequency: 150 Hz)
  • Middle (centre frequency: 600 Hz)
  • Treble (centre frequency: 2400 Hz)
  • Presence (centre frequency: 10000 Hz)

EQ Effects

EQ Presets

Experiment with the EQ presets related to the Studio EQ (not the EQ slot). Push the EQ knob then turn the Browse button, you will see the list.

I’m loving the Studio EQ presets lately! Specifically the Rhythm eq one or whatever it's called. I can literally add this to just about any high gain profile I have, and it will make it even thicker, bigger, and more open sounding. This is my secret to making a dull or ok profile great. I also use inherently dark guitars, which is probably also why it works for me. For the high gain guys that haven't tried it, give it a shot.


Have you got a lead sound going? Try the EQ Cut the Mix preset (post EQ). It makes what it says! No need to pump up volumes. More effective than a booster IMHO!


I picked that one up a few (ok, quite a few) years ago in a mixing session. The engineer worked his magic on a guitar track that really brought it to life, luckily I was taking notes on what he did and with those and the original and processed guitar tracks, I could recreate the effect with the Profiler's EQ.

In retrospect, it's quite simple really - but then, most great sounding 'tricks' are.


"Homemade" Match EQ'ing

Of course a top miking with preamp processing can lead to this point. Another tricky method for poor guys like me is efficient too.

  1. Look for a raw record of your favorite amp on the net (Youtube or some other places);
  2. check the profiles of this amp on the Rigshare repository and load them into your Profiler;
  3. now plug your sound system (or computer) in the return of the effects loop and play the file. I'm using a mini jack cable with an adapter mini jack to jack for the return input;
  4. browse the amp profiles until you find the one which is the closest... try other cabs as well;
  5. then compare and tweak it until you get the same sound (first).

That's all. Believe me it's more efficient than tonematching. Amazing tones ;o)

Backing tracks also here, you can play them directly from the site.

EQ Matching using the Ozone Plugin

The technique of EQ matching is basically the same that is used by the new tone matching function of the Axe-FX II. By using a DAW with a plugin like Ozone you can do the same for your Profiler. It's easy, fun, and very powerful. It also has some educational aspect, as many users who are no mixing engineers or producers are not sure how to EQ their guitar tones to produce a sound that will work nicely in a mix. The truth is that many guitar tones that sound great in a mix are not very pleasing if you play them solo. So getting into signature tones might give you an idea how to come close to a sound that will fit nicely into a song.

What is done here is very simple. Select an original guitar recording you like, where only the guitar is heard. You can use intro parts, or stems from Guitar Hero/Rockband or other multitrack collections. Load that clip in your DAW. Then use your amp profiling setup and record the same clip as good as you can. Then match your recording against the original and apply the resulting EQ curve to your own recording. Your recording should now be almost perfectly close to the original. With the EQ setting that´s enabled on your own recording you now can profiles. That will give you a profile that´s pretty close. The good news is that you easily can get the remaining few percent by just combining rigs with the corresponding EQ curve in the DAW. This is very comfortable in Ozone, since you can store and name as many curves as you want and import them on other DAWs. So if your recording doesn’t fit 100%, just match it with the original and the result is nearly perfect.

Basically it is just the same as if you were profiling normally. The only difference is that you have the DAW with the ozone plugin between your amp mic and the Profiler return. Instead of connecting the mic to the Profiler return you put the mic into an input of your audio interface. So the setup is

 GUITAR -> Profiler -> AMP -> CAB -> MIC -> DAW -> PLUGINS -> Profiler Return.

First step is to choose a reference (guitar only) soundclip that you like and to capture the EQ curve with Ozone. The resulting EQ curve will be the "target". Then record the same riff or lick with your Profiler profiling setup to make it comparable and also capture this. The resulting EQ curve will be the "source" that will be transformed. Now you can simply transform your tone into the target.

Inside your DAW you have an audio track with the matched EQ curve active. You then just need to activate the real time monitoring for that track to hear your profiling signal with the EQ match plugin enabled. Then just take the profile as normal. Don´t worry about the additional latency of your Audio interface, the Profiler will compensate for that.

This video will demonstrate how to use Ozone. The only difference will be that you do not create an IR at the end but take a profile.

A great feature of Ozone is that you can load and save to captured EQ curves so you could use my tonematch sets in your own DAW to test out for yourself.

The resulting profiles will need a little bit of tweaking to make them even closer. The results will be close enough to give you an idea of how the sound will be when recorded. However, if you record the same part again with the profile, the results might not reach a 100% match. What is really cool is that you can now simply use the tone matching on your recording again, and the results be a total match.

You can also use this method to capture your amp in combination with some nice IRs like Redwirez, if you use an IR loader instead of Ozone. Endless possibilities here...

You can find great guitar only tracks in many places, for example: [1] [2] [3]

Especially the guitar tracks from guitar hero/rock band are great because in most cases these are the original stem master tracks...

Q: How can I eq-match an existing profile to an album tone?

A: Will_Chen - Here's how you would do it:

  1. Choose a profile close to the gain of the source;
  2. Record the part with the Profiler but the cab disabled;
  3. Tone match with Ozone and create an IR;
  4. Transform the IR into a Profiler cab with CabMaker;
  5. Load the cab.

Note about tonematching: Every guitar has a very unique eq curve and dynamics due to all kinds of factors. Even the playing style will have an impact on the accuracy of a tone match. After all, I stopped doing tonematches cause i enjoy normal profiles a lot more. Those tonematches might be cool for a cover band, but for my stuff i don´t like those.


Loudness, Fletcher-Munson (Equal-Loudness) Curves & the Like

Human hearing gets more sensitive to mids the more the listening level goes down. If you set a perfect tone at bedroom levels, when you try it on stage (or at rehearsals) most chances are it will be extremely trebly and bassy. [4]

If you need to play at different volumes during the day (daily rehearsals, afternoon living-room practice, late bedroom exercising) and you feel you need different tone settings related to your loudness, remember you can store different settings of the Output section. One for Round Midnight, one for Daytime Rock'N'Roll... and maybe a third one for You make me dizzy Miss Lizzy! :-)