I'm using a Webb 6-14E and just a volume pedal. Since the mid's control is scaled 1 thru 10, it would seem a good idea to start with it set at 5.

I play with the EQ on. I roll most of the bass on and most of the treble off; but the mid-range has always made me unsure of what I'm really doing. There seems to be an almost infinite number of setting combinations with just these three controls.

...appreciative if some of you good players on the Forum will describe your theory on how you get the sound pleasing to you by fine tuning of the controls.

Maybe my mid frequncies burned out in the 60's !

The 3 band EQ is pretty gentle. The midrange control is a real broad band centered around 1.2kHz. You wont hear dramatic effects from that control. So the 3-position switch is your heavy midrange cut selector. The Graphic EQ is also not dramatic and Mr. Webb recommends leaving it off unless you've got a funny sounding instrument that really needs tone balancing. There are a number of Webb users that like the sound of the graphic EQ on.

I've found that #2 with treble back at around 9-10o'clock, midrange at 11o'clock, and bass at 3o'clock sounds real thick and warm. Some people seem to like more midrange so they'll use #3 and the graphic also to tweak. The Webb has lots of possibilites but I'd start with #2 and the graphic off, get a ballpark tone and then see if you need the additional eq circuit.

Step 1: set all bass, mid, treble, presence midway.
Step 2: Play a group of low strings and let ring while....
step 3: rotate bass from full CCW (counterclockwise) to CW and back to CCW
Step 4: listen for the point where the bass control starts to color the sound by either boosting or cutting the bass. Going beyond that point may not have that great effect on the sound. You want to find the point where it starts to change the color. Leave the control at that point.
Step 5: Repeat step 2, 3 & 4 for mid, treble and presence.
Step 6: Repeat step 2, 3 & 4 again for a quick doublecheck of bass, mid, treble, presence because the controls may interact and change the point where one control starts to change the sound.
Step 7: Repeat step 2 thru 6 while playing a group of high strings.

Don't be surprised if some of the controls seem to kick in some other place than midway and that things might not change very much going beyond the point on one side or the other.

This procedure should take no longer than 1 minute. When done you have the amp playing "neutral" so you are listening to how your guitar really sounds and this is the starting point to decide if you need a little more bass or highs or less mids or whatever. This makes tweaking the controls to find the sound you want much easier and faster (might take another minute or two). Also keep in mind that the acoustics in the room you are playing also affects how the amp/speakers will sound so one setting of the controls might work at one place and not when set up the same at another stage.

The rest of the sound is in your heart, mind and fingers.

Bengt Erlandsen

[This message was edited by Bengt Erlandsen on 06 January 2004 at 03:12 PM.]

The band I'm playing with hired Larry Behm's sound man for a gig. Mike Millian.

I asked him what my "EQ" was like to him.

He said I needed to cut my 2k range, as it was "too heavy". I adjusted it accordingly, and it sounded MUCH better, and I was allowed to "get out" at the right volume.

VERY few sound men locally are as good as Larry's, but it's a suggestion if you have one. They can tell a lot.

A lot of it is mike placement, and whether or not you use a PA.

Until recently I had not EVER owned a mike, and was at the mercy of line out, or some "extra mike" that the band had. BOY what a difference with two 57s!.

Just something to think about. It's often more than what YOU are hearing, and hard to find "other ears" that you can trust.