Effect description goes here
- Low Gain
- Low Frequency
- High Gain
- High Frequency
- Mid1 Gain
- Mid1 Frequency
- Mid1 Q
- Mid2 Gain
- Mid2 Frequency
- Mid2 Q
Using this effect after the Stack section can really bring a profile to life. For more, see MeAmBobbo's High-Gain Tone Guide.
Many people say to only cut via EQ, not boost. This advice applies more for analog equipment, or true digital emulations of analog equipment, to maintain the highest Signal-to-Noise Ratio. A "boost" is actually filtering the unboosted frequencies, then amplifying the entire signal.
I don't think the Profiler has this limitation; however, I still like to generally follow that advice. Or if I do use boost in my EQ, I make sure to adjust the Volume parameter to offset the boost. This allows me to toggle the EQ on/off without getting a volume boost, which allows me to better determine if I like what the effect is doing. Boosting volume is often perceived as better tone, when it's clearly just a volume boost. Psychologically, it's a tough battle to win; so I punt and offset any boosts (or just don't use them) to get a good A/B comparison.
Studio EQ is our name for a parametric equalizer (as opposed to the Graphic Equalizer).
Local presets are accessed by turning the browse control when you are viewing a stomp or effect and have the prefix EQ, then the name (for example EQ Cut the Mix).
Our EQs have a Mix control, where you can easily determine the amount, or strength, of eq applied.
the new studio eq presets (cut through mix, rhythm etc) are fantastic. The metal rhythm preset is a great starting point for virtually any high gain profile. This prompted me to start using the studio eq more often and wow, you really can get lost in it! You literally can get any sound you can dream up with this thing added post amp. It works fantastic. There are some cabs for instance, that I really like how upfront and present and mean sounding they are, but maybe have Way too much low end in a certain frequency, making it sound boxy. Add the studio eq, and voila, fixed. I also find that a lot of high gain profiles seem to be a little lacking in that 125 to 150 Hz area. All taken care of with the studio eq. Really adds that thump and chunk that I feel is sometimes missing on certain profiles.
Yes, the Cut the mix does just what it says on the can!
Pre-EQ is using EQ before the stack section to alter the response of a distorted amplifer. This technique can really alter the sound of an amp. For more, see MeAmBobbo's High-Gain Tone Guide.
Putting an Eq before the amp can be very useful when playing with a profile our guitar doesn’t sound good with. Try, first of all, to put a Studio eq in front of the Amp section and move the Low gain - High gain and Volume parameters.
Low Pass/High Pass Filters
Also, see Wah Low Pass and Wah High Pass.
The lowshelf of the Studio EQ is steep, not [gradual]. Same is the bass control in the Output EQs. Other professional EQs set to maximum steepness give you the same result. This is not documented, but you can hear it, when you are familiar with EQs. If you are not familiar, no problem, you will still get the best result. That is the ease that we are trying to accomplish: avoiding dozens of deep parameters that will carry you away from optimal results. If we had a parameter for the slope of the filter, it should be set at maximum position. Turning it down would make it shallower, creating less precise sounds.
It is made and proved for controlling the boominess of an amp sound. You should achieve excellent results, especially with the Studio EQ, were the frequency is adjustable.
The shelving filters gain goes down to -18 dB. If you bring the lowshelf this way down, you have virtually created a lowcut or highpass filter (which is the same as you know). The only difference is that you still have the "cutout" signals sounding at -18 dB, which is very low.
I am sure that you want to attenuate the boomy frequencies, but not totally kill them, so you will probably end up in attenuating them by less than 18 dB.
Lowpass and Highpass filters are used for killing frequency components in the signal that are absolutely not wanted. They can be considered as Shelving filters with gain at minus infinity. If those unwanted signals are low anyway, shelving and cutting filters don't make a big difference.
But Lowpass and Highpass filters are great for artistically modifying a signal, since they work pretty radical.
Our lowpass and highpass in the Wah section are ready made for sci-fi effects. Still they are studio quality filters with an even higher steepness and perfect to shape your signal in a constant fashion. This is why we gave it the names "lowpass" and "highpass" and not some sci-fi names. Set all parameters to zero and use the Manual parameter to tune the cutoff frequency to shape your signal.
Try these settings:
- Low Gain: -12dB;
- Low Freq: 26.6Hz;
- High Gain: -6dB;
- High Freq: 33488.1Hz.
If you want to remove more, try adding these:
- Mid1 Gain: -12;
- Mid1 Freq: 20.6Hz;
- Mid1 Q: 0.982;
- Mid2 Gain: -12dB;
- Mid2 Freq: 17039.5Hz;
- Mid2 Q: 1.196.
Also, if you want to remove the very low end, I recommend placing a EQ or Highpass Filter with Peak 0.0 (!) and Manual at around 0.5 before the amp, so that the profile doesn't have to deal with these frequencies to begin with.
Use the mix parameter to soften these settings if needed.
Q: I’m really missing an expander… Would be really nice to have for when you want to create a more dynamic sound.
A: deny Try the ducking parameters for this. Use the Studio EQ with level +6 and duck -2 (I'm just guessing these values, adjust to taste).