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7 LEVELING PRESETS
7 LEVELING PRESETS
This section is about balancing levels across Presets, Scenes and Channels. It is NOT about how to correctly set
FM3 input or output levels to prevent clipping (compare “Setting Levels” on p. 5).
Musicians and audio technicians face a universal challenge of getting levels “right.” Legions of techs and
engineers mix bands in real time from the smallest basement jams to the biggest festival stages. The world has
quickly realized that the advanced modeling technology created by Fractal Audio actually makes this job easier.
(Wise front-of-house engineers are some of our biggest fans!) A tube amp often needs to be too loud to be
controllable. Speakers, mics and pedals are quirky and require constant control. In comparison, Amp modeling,
speaker cab simulation, and virtual effects, give us cranked sound at low volume, PLUS precise controls, accurate
meters, and fewer overall compromises. A few simple rules of thumb will put you in total control of your levels.
Control is not everything though: a second challenge remains. Levels must be understood in context. Our hearing,
speakers, and surroundings are all variable. You can learn the basics in this overview, but consider exploring this
subject further to delve deeper into the world of acoustics and audio engineering.
THINGS TO KNOW
Our ears deceive us. A phenomenon known as the “equal-loudness contour” effect (aka
“Fletcher Munsen” effect) results in different perceptions of tonal balance at different
volume levels. At lower volumes, low and high frequencies seem to be relatively quieter.
Learn more about this effect and compare your sound levels at “gig” volumes!
Different speaker systems change our perceptions of relative volume. Set levels on the system you
will perform through, or ideally, use the best and most accurate speakers you can nd. Be prepared
to make adjustments on other systems. (This goes for your tone as well as your level.)
Our surroundings, or the context of playback, also change our perceptions of loudness. Two
guitar sounds may appear to be relatively equal in level when you audition them alone, but may
sound totally different when you are “competing” in a mix against other instruments such as
bass and drums, or when played in a problematic performance space. Adjust in context.
THE RULE OF THUMB
There are a lot of different ways to adjust levels on the FM3. A good rule of thumb is to use
the Level parameter of the Amp block. See “The Method” on the next page for an explanation
of how to work through this process across Presets, Scenes and Channels.
Above all, use common sense. Rely on meters, but don’t set levels solely on how they look. USE YOUR EARS!
EXCEPTIONS TO THE RULE
When the Amp block is placed prior to a “level-dependent” or dynamic effect such as a compressor, gate,
or ducking effect, bend the rule of thumb and adjust the output of the last dynamic block instead.
This is also the case for any nonlinear effects such as drive which may in rare cases (such as Tape
Saturation or Bitcrusher effects) be placed after the amp. Adjust Level for these blocks instead of the amp.
If you have prominent Drive/Saturation in the Preamp simulation of the
Cab block, adjust the Level of the Cab block instead.
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