![]() ![]() There does seem to be a good reason why the general frequency profile for most amps is a little scooped. Well, as sweet and pure as it sounds at home at low volume (and probably good for recording), at low to moderate stage level it does not work so well. ![]() Staying in the midrange seems like it might be a lot easier to control the general projection of the sound.īut we shall see. Since the directionality of sound varies with frequency, I'm thinking also that the scooped sound is more hard to manage because the highs are very beamy and directional, and the lows are non-directional. I'm trying to do something like that in live performance by reigning in my own frequency extremes to see if that works on stage, and I actually prefer the non-scooped tone, so I'll be pleased if I can get increased clarity and improved tone sound at the same time. I suspect that a lot of the clarity and lack of muddiness in professional recordings comes from the engineer trimming the boundaries of the frequency extensions of the instruments so they don't overlap too much. I'm working on an idea to fill the middle space where there is lots of daylight and encourage the drums and bass to actually come down a bit. worst case being where the drummer and bass player turn up to get above it. ![]() I'm thinking that most of the treble and bass extension with the more scooped sound gets masked by the cymbals and bass in a performance setting. Going flat does lose some gain, but I like that it allows me to turn up the amp and let it breath. ![]()
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