FRFR

BahHumbug

Ok. I can't figure it out. What is FRFR?

Cabicular

Full frequency flat response Like a PA speaker. So instead of hearing a guitar speaker you hear the effect of a miced up guitar speaker or speakers

BahHumbug

Smashing. Thank you

hugbot

BahHumbug said:

Ok. I can't figure it out. What is FRFR?

hugbot

Cabicular said:

I also think it's quite jarring for the audience
People don't tend to go to gigs where the guitarist wheels out an entirely new rig every couple of songs.
Also takes me about a minute to get used to the tone 'under my fingers' I don't want to be doing that all the way through a gig
(Disclaimer : I'm really old fashioned)

Its only really jarring if the sound doesent suit the song. I think changes in dymanics are one of the easiest and most overlooked ways to add excitement in a live sound.

Like, for big powerchord songs the amp sounds huge like a stack, for poppy songs it sounds like an ac30 combo ect. So long as you're not jumping between them for an ugly transition in the middle of a song it should be fine/good.

ICBM

But it's still a massive pain in the bum for the sound engineer, because no matter how well-balanced you think the sounds are on stage, they're almost certainly going to be different in the FOH. So every time you change sounds, the soundman will probably have to re-adjust your EQ and level.

That's one major reason pros who use different sounds use multiple amp rigs, because each can then be mic'ed separately and given its own channel, which then can be left alone. (The same even applies to channel-switching amps - you'll usually see multiple with each preset to one of the channels.)

paulmapp8306

OK - FRFR.

The point of FRFR "on stage" is basically to get your personal monitor mix.  If you have a traditional rig, but you amps are off stage, you dont hear them - you hear your guitar from you monitor.  Thats pretty much the only reason.

If your used to real amps on stage, then your not used to hearing the FRFR sound, so probably wont be happy.

I think FRFR has its place in a studio/recording context (studio monitors/headphones) and on large stages where you dont hear your backline anyway (using in ears on stage monitors to get your mix/sounds).  Any other means - use amp/cab.  

paulmapp8306

monquixote said:

That's fair enough but at that point just use the regular stage monitors or better yet in ears

This is the point - but in honest most regular stage monitors sound sh*t.  The point of buying a really good FRFR solution is you take that and now the sound your getting is going to be good.  Bad on stage sound results in poor performances most of the time.  The other point - is often your sharing stage monitors between 2 or more band members - or if not your sharing the same mix (as desks dont always have enough outs per person).  With a good FRFR solution, you can feed your own signal as well as any mix from the desk - and control how loud your sound is in that mix seperately.

hugbot

Using the venue stage monitors would be nice as then you dont have to even take amplification to the gig but in my experience singers will want to murder you if you fill up their monitor mix with guitar.

ICBM

hugbot said:

Using the venue stage monitors would be nice as then you dont have to even take amplification to the gig but in my experience singers will want to murder you if you fill up their monitor mix with guitar.

Rightly so if it's a shared monitor mix, because it makes the vocal less intelligible so you need more monitor level and hence there's more of a problem with feedback.

Not a problem if you have separate monitor mixes though.

Cabicular

hugbot;1066116" said:

Cabicular said:

I also think it's quite jarring for the audience

People don't tend to go to gigs where the guitarist wheels out an entirely new rig every couple of songs.

Also takes me about a minute to get used to the tone 'under my fingers' I don't want to be doing that all the way through a gig

(Disclaimer : I'm really old fashioned)





Its only really jarring if the sound doesent suit the song. I think changes in dymanics are one of the easiest and most overlooked ways to add excitement in a live sound.

Like, for big powerchord songs the amp sounds huge like a stack, for poppy songs it sounds like an ac30 combo ect. So long as you're not jumping between them for an ugly transition in the middle of a song it should be fine/good.

Changing dynamics can be done without changing the amps though
I get what your saying and I play in a Rock Covers band so realistically I should be changing between a Page amp to a Blackmore Amp to a Van Halen Rig to a Vai rig and so on
I've tried it though and it just sounds weird
I need three basic tones
Clean
Raunchy
Heavy
And that's me covered
If I can chuck in the odd phaser flanger and delay then I'm having a great time but there is very little I can't cover with those three tones
Might be different if I was still doing the wedding circuit (but I suspect not)
As ever just because it works for me doesn't mean it's right ... It's just right for me