Ignore General Frequency Response...

While the most obvious thing is frequency response, simple things like too much bass, mids, or high-end can easily be filtered out using EQ (and/or some of the Cab DEP's). To some degree, that is important - other than a few general EQ tweaks, you're probably not going to EQ out all the differences between one cab/mic and another. But unless the frequency response you want is extreme and can only get there with a certain cab/mic, such considerations should take a backseat to tonal nuances or deal-breaking imperfections.

Unless Frequencies are Missing

If frequencies are missing, trying to dial them back in will end up amplifying noise, which will kill your tone. If a cab is deficient in some frequencies to the point where they are noticeably absent, it's probably not going to work out. There are some Cab DEP treatments I cover below that may help, but if they do not, swallow any sentiments you have towards that cab/mic and move on - you're going to be happier with another one.

Response or Noise?

It's easy to confuse a strong frequency response with noise at first glance. You can tell the difference by playing different notes and chords up and down the neck and seeing if the tone remains stagnant, always sounding the same. If so, that's noise. If it's just a small frequency range, you may be able to dial it down with a Parametric EQ. That's what I occasionally do for fizzy spots. But before doing that...

Using Res. Level to improve SNR

The cab's Res Level DEP might help reduce the noisyness of the cab. I find at low settings (15-30%) you get the cleanest, most-natural sound, but the tone can be a little rough and/or dark/scooped. As you turn it up, you'll hit the spot where the resonance starts to smooth out roughness and the tone becomes "squishier". From that point on, the resonance tends to amplify certain frequencies and filter out others, and the tone tends to sound a bit more and more washed out, almost like a presence knob for the lower mids. I like to find the sweet spot where the tone starts to get a little squishy, but I generally don't want the resonance to emphasize certain frequencies over others. This spot tends to sound like a nice, thick tone but also clear and relatively noiseless. Going past this point may improve the frequency response for your tastes, but may also introduce more noise and less clarity to the tone. Sometimes that's ok, but most of the time I avoid that.

On the other hand, if a cab is deficient in lower frequencies and not punchy enough, you may be able to balance it out by increasing the Thump or reducing the Res. Level Cab DEP. Keep in mind that reducing Res. Level may make the tone a bit rougher - you may be able to dial this out when dealing with amp/distortion tone, but maybe not. However, as mentioned above, deficient frequencies are often a deal-breaker. Trying to dial them in results in a noisy tone.

Taming the Low End

If a cab simply has too much low-end, you can dial this down using the amp's bass knob, the Thump Cab DEP, the Low Cut Cab DEP, or using an EQ effect. A lot of people have said the Pod HD's cabs are too dark. Not the main ones I use - they aren't dark enough! But in any case, if a cab is too dark, that's easily taken care of with EQ. I don't find I have as much trouble with the low end as I do with mids and treble. The low-end is rarely noisy, and doesn't require the same attention to detail on the Cab DEP's as the mids and highs. Just EQ it out using the 4 controls I mentioned, usually using a combination of them to get the exact frequency response you want.

Tonal Nuances

Similar to amps, the cabs seem to have their own individual nuances that are unique to that model. Spend time with the cabs/mics and try to identify a feel for them that transcends their EQ curve. I wish I could just tell you the nuances of each one, but they're really difficult to describe - it's like trying to explain the difference between the different sounds of vowels. You have to put time in with each one. It's a good idea to try to EQ out the obvious general differences and to adjust the Res. Level DEP before thoroughly listening to the tonal nuances. Otherwise, you might miss them, distracted by annoyances that can be dialed out.

You don't have to experiment for hours with every possible combination - 1 hour with each cab/mic combination would take 128 hours. You should be able to tell which cabs sound in your desired ballpark after trying a couple different mics on them. I'd start with the SM57 on axis and SM57 off axis, as they deliver a relatively clean representation of the cab's sound. Once you've found 3-5 cabs you think sound best, try them using all the mics.

But keep in mind that just because one mic doesn't sound good with one cab doesn't mean it will sound bad with every cab. Some sound a lot different. For instance, I think the 409 Dynamic mic sounds really vintage-y with most cabs, but it sounds really heavy and modern with the XXL cab. It helps not to think of the cab and mic simulation as separate processes - think of each combination as its own unique entity. This is actually probably how the Pod HD technically performs cab + mic simulation - each cab/mic combination loads a distinct IR file.

Dual Cabs

Further below, I recommend running a dual cab setup. The EQ advice contained above and below does not pertain to a dual cab setup, where you are generally picking two cab/mic combinations that complement each other and lead to a fuller response from the get go. Dual cabs are not for the faint of heart, or those wanting to run numerous or expensive effects. If you just want an awesome amp tone and are willing to spend a bit more time on your patches, I recommend you jump right into dual cabs.

Using Cab/Mic Choices for EQ Purposes

As a final note, if you have run out of effects blocks and can't get the EQ you want, you may want to sacrifice the tonal nuances of the cab/mic you've picked and use a cab/mic that gets you that EQ. It's a trade-off you have to make sometimes.

Top of Cabs and Mics

Date: 2016-01-03; view: 992