This is what I am trying to achieve. I want the same tone ampless at church on a silent stage to FOH with volunteer sound men that I get at home through my amp. I have been looking at cab sim pedal reviews but am also considering the Tech 21 Q Strip for just what it seems you are describing. What gear are you using to get yours?
The way I have set it up it's actually fairly complicated, partially being due to me as much as possible insisting on making use of gear I already had at my disposal, but doesn't necessarily have to be if you can get the adjustment you need from a single unit that does it all.
Here comes the full explanation of my setup though:
In my setup the line between what is EQ based cab sim and what is just basic EQ'ing of my tone is somewhat blurred beside the basic HPF/LPF, and as I don't own an actual LPF that is constructed from using a 2 band parametric EQ, the 2 bands respectively doing a -18dB cut at 10kHz, with a Q vallue (determining the width and angle of the curve around the center frequency affected) of 1, and a -20dB cut at 20kHz, with a Q value of 0.5, when plotted in in my parametric EQ VST in my DAW together with my other additional EQ settings that gives something similar to what a LPF set at about 2.8kHz (-3dB) with an about -10dB/Oct slope would do, my HPF being the one fixed at 40Hz (-3dB) build in to my Art Tube MP Project Series tube preamp, which I assume works by the standard -12dB/Oct slope.
As I already has my full signal chain typed down, including a more or less thorough description of how I have the individual units dialed in and their function, I will just copy paste it for you, and then you'll have to derive the units directly affecting the EQ of my tone yourself (they will be among the always on units though, marked with red/bold/underlined text).
Here we go, my full signal chain:
(*pedals listed in
[ red/bold/underline text ] are "always on" effects*
)
4 string 28,6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, wired directly to the output jack socket, and strung with gauge .95 - .75 - .55 - .40
D'Addario XL nickle roundwound steel core strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->>
TC Electronic SpectraComp (always on compressor) ->> TC Electronic Sub'N'Up Mini (always on digital polyphonic octaver, used as an 1 octave up effect mixed with clean bass signal, giving an effect similar to that of an 8 string "octave" bass, with pairs of respectively bass and octave strings) ->> Boss LS-2 [A+B Mix <-> Bypass] (always on, parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Orange Juice (always on low gain overdrive, really primarily used to enhance harmonic content, [Tone] set at about 10:30 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +3B pre gain stage, always mixed with the Artec Graphic EQ in parallel effects [Loop B]) ->> Joyo Orange Juice (medium gain clanky grinding overdrive, always used with the other Orange Juice behind it stacked into it, and always mixed with the Behringer BEQ700 in parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> Behringer BEQ700 Bass Graphic Equalizer (always on 7 band graphic equalizer [120Hz (low Q)= ~+2dB ; 400Hz (high Q)=~+2dB ; 800Hz (high Q)=~2dB], always blended with the Orange Juice overdrive in parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 55/45 ratio)
}=>> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] Behringer SF300 Super Fuzz (Boss FZ-2/Univox Super Fuzz clone, octave fuzz, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> Joyo Orange Juice (lower medium gain grindy kind of overdrive, always used stacked into the Metal Zone in front of it, and always mixed with the Rat distortion in parallel effects [Loop B]) ->> Boss MT-2 Metal Zone (distortion, used with a relatively low gain setting, and always used with the Orange Juice behind it stacked into it, and always used mixed with the Rat distortion in parallel effects [Loop B]) ->> Behringer VP1 Vintage Phaser (EHX Small Stone clone, used in the high feedback and deep sweep mode, always used boosted by the Hotone Trem in front of it, and almost always used mixed with flanger in parallel effects [Loop B]) ->> Hotone Trem (Tremolo with rate and depth at 0, always used to boost either the Behringer phaser placed behind it and make it a bit brighter, since it's a few dB above unity gain when engaged and got a tone control) ->> [Loop A Return] ->||<- [Loop B Send] ->> Mosky Black Rat (RAT clone, in original classic RAT [Vintage] mode, quite raunchy, fuzz-esque, high gain distortion, always used mixed with the Metal Zone distortion in parallel effects [Loop A]) ->> Monarch MFL-22 (flanger, most often used mixed with phaser in parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio)
}=>> Zoom G1Xon (Used for an always on 2 band parametric equalizer [Freq=63Hz Q=4 Boost=+1dB ; [I]Freq=200 Q=2 Boost=+1dB],
and additionally used for 3 patches (all including the EQ at the end of the chain), which respectively are as follows: Tremolo+VintageCE (Boss CE-1 emulation), chorus patch :-: Plate Reverb+HD Hall Reverb+Tape Delay, prominent reverb patch :-: Plate Reverb+HD Hall Reverb+Tape Delay, extremely thick lush reverb patch, used as a reverb pad effect with volume swells) [/I]
->> NUX Tape Core Deluxe (Roland Space Echo tape delay emulation) ->> Zoom MS-70CDR (always on 2 band parametric EQ [Freq=400Hz Q=2 Boost=+1dB ; [I]Freq=1kHz Q=4 Boost=+1dB], subtle spring reverb, and faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=10kHz Q=1 Cut=-18dB ; [I]Freq=20kHz Q=0.5 Cut=-20dB], plus a lush Church Reverb model with a line selector behind, making it switchable on/off)[/I][/I]
->> Band rehearsal/jamming/gigging // ->> Home practice / Home recordings :
->> EHX Black Finger (always on tube driven optical compressor, dialed in to a quite subtle compression, primarily functioning as a tube preamp stage) ->> Art Tube MP Project Series (tube preamp, with HPF at 40Hz) // ->> Band rehearsal/jamming/gigging ->> [Effects Return] (poweramp input) of Peavey Solo Special 112 (160W, solid state guitar combo, with the build in 4 Ohm 12" speaker unit disconnected and instead hooked up to a The Box PA 502 PA speaker) ->> The Box PA 502 (full range PA speaker with 1x 15" + 1.7" high frequency tweeter horn) // ->> Home practice / Home recordings ->> Behringer Eurorack UB1202 (mixer)
->> [ ->> Sennheiser HD 380 Pro (headphones) ]/[ ->> Behringer Tube Ultragain MIC100 (tube preamp) ->> M-Audio Fast Track (sound interface) ->> Reaper (DAW) ]
Here is what kind of EQ curve the EQ'ing done in my setup approximately results in, plotted in in the parametric EQ VST of my DAW, though mind since there is no exact gain readings and that I don't have the exact Q values either, neither for the individual frequency bands of the Behringer BEQ700 or the "Voice" control on the Orange Juice, and that those two pedals further more are blended about equally, at an about a 50/50 ratio, via the Boss LS-2, some of it is qualified guesswork :
(the numbers on the far left side of the image being dB readings)
Also note that the actual direct EQ settings of the various units in my setup, which is what the picture above displays are not the only aspects actually affecting the tone of my signal, for one the customized tonerpint I have loaded in the SpectraComp compressor at the start of my signal chain does boost the bass/lower mids and upper mids/treble a bit, and the fact that I have the pickup in my bass wired directly to the output jack socket will make it's raw signal contain more treble frequency content than usual is the case as well.
Point being in the end you'll have to find out what works for your specific bass and according to your specific personal preferences in any case, but a HPF set at around 40Hz or so (for a 4 string bass, slightly lower for a 5 or 6 string with a low B), and a LPF set somewhere between around 2.8kHz or so and around 3.6kHz or so, will be a good bet a something that would be a good starting point for dialing in an EQ based cab sim.
What I personally would chose over the Tech 21 QStrip for this, as a single device to do it all, if I were you, would be the
Source Audio EQ2, as it will be capable of much more precise and specific, thorough and in depth customization.
