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7 LEVELING PRESETS
This section is about balancing levels across Presets, Scenes and Channels. It is NOT about how to correctly set
FM9 input or output levels to prevent clipping (compare “Setting Levels” on p. 5).
Musicians and audio technicians face an almost 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. (Front-of-house engineers are some of our biggest fans!) A tube amp often needs to be too loud to be
controllable, and its tone can vary considerably from day to day. 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, precision control, accurate metering, and fewer overall compromises. A few simple rules of
thumb will put you in total control over levels in the modeling world.
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.
LEVELS IN CONTEXT
Our ears deceive us. A phenomenon known as the “equal-loudness contour” effect (aka
“Fletcher Munsen” effect) makes the same tones sound different when they are heard 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 and performance spaces (including whether or not the venue is packed
or empty!) can emphasize and deemphasize different frequencies. This changes our perceptions of
tone and level. Set nal levels on the system you will perform through, or ideally, use the best and
most accurate speakers you can nd—and then be prepared to make adjustments on other systems.
This goes for your tone as well as your level. The global equalizers can be useful for this.
Mix or context also changes 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
“competing” in a mix against other instruments such as bass and drums. Adjust in context.
THE RULE OF THUMB
There are a lot of different ways to adjust levels on the FM9. A good rule of thumb is to use
the Level parameter of the Amp block. See “A Method for Leveling” on the next page for how
to use this in a process for adjusting levels 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 too!
EXCEPTIONS TO THE RULE
If level-dependent blocks follow the amp, be sure to readjust them after changing Amp levels. Alternately, move
level adjustments farther downstream. Here are some common cases to consider:
If you use Drive/Saturation in the Preamp section of the Cab block, adjust the Level of the Cab block instead.
If level-dependent effects such as drive (or other effects containing drive), or dynamics (compressor, gate,
or ducking effects) are used after the amp, make adjustments farther downstream instead of at the amp.
7 LEVELING PRESETS
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