Ο προβληματισμος μου ειναι ο εξης : εχω το Pod XT Live και οταν γραφω ( κ ακουω ) στο κ απο το PC ( με output settings studio / direct ) μου ολα καλα - εχω super ηχο - εχω την εντυπωση ομως οτι στο στουντιο οταν παμε για προβα χανω κατα πολυ σε ηχο κ προφανως οφειλεται στο γεγονος οτι αφηνω τα ιδια output settings - Η συνδεση που κανω με τον ενισχυτη του στουντιο (εναν marshall 100w) ειναι απλη - απο το POD στο line in του ενυσχητη κ τελος. Καπου εδω λοιπον ερχομαι να ρωτησν ΑΝ κ ΠΟΥ κανω λαθος κ τι ρυθμισεις χρησιμοποιηητε εσεις σε ενα live λογου χαρη..
Αν κατάλαβα καλά η απόκλιση στον ήχο μπορεί να οφείλεται στον εξής λόγο. ¶λλο η απ' ευθείας σύνδεση στο pc και άλλο η σύνδεση του pod σε ενισχυτή. Επίσης και ο χώρος του στουντιο παίζει ρόλο στον ήχο που βγαίνει. Οπότε πρόβλημα δεν παίζει (πρόβλημα μηχανήματος), απλά παίξε με τις ρυθμίσεις.
Επίσης: Έλεγξε την ένταση που βγάζεις με το POD οταν μπαίνουν τα εφφε και οταν είναι bypass, και ρύθμισε το output ώστε να είναι λίγο-πολύ τα ίδια. Αυτό που γράφεις ότι το βάζεις στο line in εννοείς εκεί που βάζεις την κιθάρα κανονικά ή έχει κάποιο line in ο ενισχυτής? (Στο καθαρό κανάλι τη βάζεις να υποθέσω....)
Συγνώμη αν κάποιες συμβουλές είναι πολύ απλοϊκές και αυτονόητες. Δεν γνωριζόμαστε εξάλλου....έτσι δεν είναι? :wink: :wink:
Η διαφορα που εχεις στον ήχο απ'τον ενισχυτη οφειλεται στο οτι εχεις διαφορετικα settings στο equalizer του ενισχυτή.Γι'αυτο οταν βγαζεις τον ήχο κατ'ευθείαν απ'το POD στον υπολογιστη ακουγεται διαφορετικα, δοκιμασε να φτιαξεις τον ήχο του POD όπως το θές να ακουγεται φιλτραρισμένο απ'τον ενισχυτή ή αλλαξε τα settings στα μπάσα, τα middle και τα πριμα του ενισχυτή.Και να έχεις υπ'όψιν οτι σε καθε διαφορετικο τελικο που θα βάζεις θα πρεπει να τον ρυθμίζεις για να σου βγαλει το επιθυμητό αποτέλεσμα. 8) :wink:
thanx guys! Την κιθαρα τη συνδεω φυσικα στο καθαρο καναλι κ χωρις κανενα εφφε η αλλα επιλογη καμπινας επομενως μιλαμε για ενα "αδειο" καναλι! Απο εκει κ περα δε ξερω..κ εγω..τι να πω! Ο ηχος ποθ περνω δεν συγκρινεται σε καμια περιπτωση με αυτο ποθ λαμβανω απο τα ηχεια το υπολογιστη αλλα προφανως θα υπαρχει καποιασ λυση για το καλυτερο δυνατο αποτελεσμα..αν μπορειτε να βιηθησετε λιγο παραπανω καλα θα ειναι!
Όταν το συνδέω με ενισχυτή για Live επιλέγω από το I/O & Dig Select την επιλογή Output Line και ο ήχος είναι ακριβώς ο ίδιος με μιά μικρή απόκλιση όσον αφορά τις ρυθμίσεις στα tone controls του ενισχυτή.Όταν γράφω στο PC επιλέγω Output studio.
Μπορείς να απευθυνθείς και στη Line 6 θα σου απαντήσουν και είναι πολύ εξυπηρετικοί.
Αυτό το άρθρο εξηγεί και δίνει την λύση στο πρόβλημά σου.
Συγνώμη που δεν έχω χρόνο να το μεταφράσω ελπίζω να καταλαβαίνεις Αγγλικά
How To Get Loud:
Have you ever had this happen to you? You've spent the afternoon getting all your sounds perfectly tweaked for tonight's gig, but when you get there and start playing, everything sounds really..... not right? Things sound overly bright, but also a little 'woofy', so you have to fix things on the fly as the night goes along and silently curse your amp. The next day, when you set things back up at home, you go back to re-tweak your sounds, and suddenly they sound okay again. Are you going nuts? Have your ears suddenly lost it? Is there a problem with your amp? Don't worry, they're both fine; you've just been bitten by the Fletcher-Munson curves.
"What's this?", you ask. "I thought Thurman Munson was a catcher for the Yankees, not a pitcher, (although he hit the curve pretty well) and who the heck is this Fletcher guy?" Well, aside from the fact that the baseball trivia part of your brain is functioning just fine, there's a whole other story going on here. Although it may look a little daunting (especially that graph you see looming below), it's really pretty simple, so just bear with us a moment for the inside poop.
Fletcher and Munson were researchers at Bell Laboratories who demonstrated, in 1933, that the human ear (and brain) perceive different frequencies in a shifting manner dependent on level. Their measurements showed that your ear is most sensitive to frequencies in the range of 3-4kHz, and that frequencies above and below those points must be louder, in absolute terms, in order to be perceived as being of equal loudness. They also showed that the amount of increase of loudness in those other frequencies to achieve that perceived equality varies depending on what the overall SPL (Sound Pressure Level), or sound intensity, is in the first place. These discoveries helped kick off a whole new area of study called 'psychoacoustics' and brought you, among other things, that little button on your stereo labeled 'Loudness'. When they mapped our these curves (also known as 'Equal Loudness Contours') they looked something like this:
When you look at these curves, you'll notice that when the 3-4 kHz range is at 0dB (or just barely audible), frequencies at 20Hz (about as low as you can perceive a distinct tone) have to be raised over 60 dB (which is 64 times as loud. Remember that decibels are measured on a logarithmic scale, so this is also 1000 times the power) to be perceived as being the same volume. On the other hand, when the base level for our 'home' frequencies is raised to 80dB, the lowest frequencies only have to be raised 10dB (or be twice as loud) to be perceived as being the same volume.
Now what does this mean to you as a guitarist? Well, as we alluded to above, you'll notice that the curves flatten out substantially as you get louder. This means that the sounds you tweak up in your living room will have the low and high end boosted substantially (the infamous 'smile curve') to make those frequencies sound equally loud to the midrange frequencies to which you're most sensitive. When you take those sounds that you designed at around 60-70 dB (which is your basic living room, not gonna wake the neighbors or overly annoy the family level) and turn them up to the average 90dB+ stage levels, those same high and low frequencies will suddenly seem overly exaggerated making everything sound simultaneously painfully bright, yet woofy (kinda like a bad wine tasting description). Not only that, but those midrange frequencies (where the fundamental information about just which note you're playing live) are being overwhelmed by that, now excessive, high and low frequency information.
So what's a fella to do? Well, if you can manage it without driving everyone crazy, studies have determined that the optimum level for reference mixing (which would apply to sound design as well) is about 85dB. This is loud enough to start flattening out the curve, but not so loud as to seriously hurt yourself (unless you do it for 14 hours straight) Get yourself an inexpensive SPL meter, set it to 'A' weighting (which shoots for the equivalent of the human hearing sensitivity) crank up your amp so you're averaging 85dB, and tweak in your patches. Of course, 85dB is, to put it in easily understandable terms, 'pretty darn loud', so this isn't something you can do a 2 AM when you can't sleep 'cause you're worrying about sounding just right for the next gig. The next best thing is to schedule a rehearsal with the rest of your band where you can crank it up, and make your final tweaks while the rest of the guys are there cracking jokes about obsessive/compulsive guitarists. Your third option, and probably the easiest, is to study the curves above carefully, and remember that if your sound is a little mid-heavy and seems a little bit dull at living room level, it's probably going to be about right when you crank that sucker up live. Here's a potential approach. Next time you're tweaking up a tone or two, make two versions; one that sounds right at living room levels, and one that you think, using the stuff you've learned here, should sound about right at stage levels. When you play live, leave the first one alone, and tweak the second one (if necessary), then go back the next day and compare the two. Pay attention to how they differ from each other. Now try and make a couple more, using the same process. After you've done this a few times, you should be getting a pretty good feel for just what you'll have to do to get 'em right the first time. Presto, you're one step closer to that elusive Ph.D in Tone
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