D. Eq'ing your Patch

When I'm trying to dial in a tone, I start by picking the appropriate cab/mic. If that particular cab has bold EQ problems, I'll start by using a parametric EQ to try to fix it. Once the tone is in the ballpark, I'll try to fine-tune it with the amp's bass/mid/treble/presence controls. If it's still missing that spark, then I'll add another EQ or two to really dial it in, usually a cold or hot djent boost or a small honk cut. Then, if necessary, I'll use a Mid-Focus EQ to mess with the very low and high ends of the spectrum. If I don't need to trim the high-end, I can use the cab DEP low cut to trim the low end instead. I almost always cut a bit from the bottom. High frequency is a mixed bag. Sometimes I'll cut a little, but sometimes I'll boost there. Sometimes I'll boost some presence or even the fizzy range. Finally, I'll determine if there's an ugly-sounding fizzy spot or two that I need to cut using Parametric EQ's.

Again, keep in mind that not every EQ alteration falls neatly into my classification of the frequency spectrum. As I described in the "fizzy spots" section, sometimes you want to dial out a very, very narrow frequency range. Sometimes you want a peak that spans over several sections. When I feel the tone is missing some frequencies or has too many, I'll start with the approach described in the "fizzy spots" section. Once I've found the offensive or missing frequency, I'll start lowering the Q until I feel like I've found the extent of how much I want to boost/cut. Then I adjust the gain to determine how much to boost or cut.

Once you've added at least one parametric EQ in the chain, you can compare using the "lows" and "highs" parameters on this effect versus adjusting the amp model's bass and presence/treble controls without needing to take up another effect block or DSP. If you don't have one, you may want to add one just to use those parameters, if you have the open effect block and the amp model's built-in controls aren't working like you want. They provide a more consistent means of dialing in bass/treble than using the amp model's bass and treble knobs. Or you could use a Studio EQ. One of these effects may be preferable to the amp's built-in controls, depending on the amp.

The reason I prioritize EQ'ing as described above is in case I run out of effects blocks. If you do run out, you have to start making sacrifices. Rather than cut the ultra low-end, maybe I can just turn down the entire bass range. Maybe the fizzy spot isn't "killing" the tone. This varies tone by tone, but in general I find the fizzy spots are the least noticeable, followed by the ultra high and low end. The most noticeable is if the tone is simply out of balance - with too much presence or too much boominess or honk, etc. Also, try to minimize the number of EQ's you use by making smart choices on which one to use - don't use two Parametric EQ's where one Studio EQ works just as well. Don't use two Studio EQ's where one Graphic EQ works just as well. Using less EQ's usually means more work - it's up to you to determine if the results are worth it.

You've probably also noticed that certain cabs and mics have their own effect on the tone's frequency response. If you run out of EQ blocks or just can't get the desired tone, you may want to try switching these as an alternative method to trying to tweak further. I recommend picking cabs and mics that give you the tonal nuances you desire that likely cannot be dialed with EQ controls, then using EQ controls to give them the general frequency response you desire; however, in some cases this is just not practical. You'll have to make trade-offs. See "cab and mic selection" section.

Always compare your tone to a sample target, such as a cd, preferably using the same monitoring device (see "monitors" section). This will really tell you if your tone is lacking something. Then you can experiment boosting or cutting different frequency ranges to see if you can get closer. You'll eventually start to identify how certain frequencies alter the feel of a tone and notice if a tone is missing this or that before even comparing it directly.

And don't fall into the trap of thinking that EQ will get you everywhere. Amp, cab, and mic selection is just as important. I recommend figuring out which of those have the nuances necessary to get the desired tone before trying to EQ the tone. You'll have to use your imagination, as some of the amps, cabs, and mics have frequency responses FAR from your desired tone. With a little experience, you'll be able to determine what can and cannot be dialed in/out.