GADonis
Beautifully Broken
I have a friend who uses a FlyRig2. Sounds really good. If I remember correctly, and I rarely do, he ran it direct to the PA and also into a small combo amp which he used for his monitor. Really small stage bar gigs.
Thoughts on how rig and location effects how you like components
I have a friend who uses a FlyRig2. Sounds really good. If I remember correctly, and I rarely do, he ran it direct to the PA and also into a small combo amp which he used for his monitor. Really small stage bar gigs.
jak3af3r
Jake
The bass player also plays guitar in another group and he was telling me he was at a gig and before he even had his amp plugged in to power the sound guy was already telling him it was too loud. He decided to experiment and take a physically smaller but same wattage amp the next go around and said it was fine.
I play casinos a lot where the "suits" get mad if they can't hear a phone conversation in the music venue and got blamed for being too loud when it was the singer's guitar.
I have to wonder sometimes if it's a power trip kind of thing.
Funny how all this stuff works.
I know DG asks for a backline AC30 over seas, he also uses some pedals.
If I was running through the pedal 100% full time (Nobles ODR 1 or lightspeed) that could EQ to work and ride volume control.
As I said, Neck with no pedals was killer, bridge just a little too bright and teleish. Middle tones were good, tapped neck was great.
Balancing was fine.
Right gear for the application, Using that amp, in that situation again, I might chose the CU22 instead, or one of my P90 guitars
But have had some hand issues rear their ugly head again last few weeks and DGT neck was the least painful to play.
I know DG asks for a backline AC30 over seas, he also uses some pedals.
If I was running through the pedal 100% full time (Nobles ODR 1 or lightspeed) that could EQ to work and ride volume control.
As I said, Neck with no pedals was killer, bridge just a little too bright and teleish. Middle tones were good, tapped neck was great.
Balancing was fine.
Right gear for the application, Using that amp, in that situation again, I might chose the CU22 instead, or one of my P90 guitars
But have had some hand issues rear their ugly head again last few weeks and DGT neck was the least painful to play.
Screamingdaisy
(O)))m
I’m of the opinion that PA systems killed rock and roll.
Think about it... the better (read: louder and more ear piercing) PAs got, the less people wanted to go see live music.
WHAT? CONCERTS IN THE LATE 70S/EARLY 80S TOOK 2 DAYS FOR THE EAR RINGING TO SUBSIDE...AND I WAS IN MY TEENS.
We couldn’t wait for the next one to come to town.
Screamingdaisy
(O)))m
I’m thinking more along the lines of smaller venues.... bars, pubs, small clubs, etc.
To be more specific, Peavey PAs killed the bar scene. Bad mixes and blown subs will turn a crowd off faster than anything. But then again, I played this one bar that had a long stage but not too deep, and our sound would completely drop off at the 40’ mark in front. We’d max out the PA with only vox and kick in it and the rest of us had to keep up on our own. The Boogie rig could take a head off if the crowd got up too close, but no one complained. I used one of the 2x12s, too. Think I have a photo somewhere. Using the same rig at half of the venues would result in us getting kicked out, but others, it really did the job. We were flippin’ loud!
dmatthews
Dave's not here
Laying down...To be more specific, Peavey PAs killed the bar scene. Bad mixes and blown subs will turn a crowd off faster than anything. But then again, I played this one bar that had a long stage but not too deep, and our sound would completely drop off at the 40’ mark in front. We’d max out the PA with only vox and kick in it and the rest of us had to keep up on our own. The Boogie rig could take a head off if the crowd got up too close, but no one complained. I used one of the 2x12s, too. Think I have a photo somewhere. Using the same rig at half of the venues would result in us getting kicked out, but others, it really did the job. We were flippin’ loud!
On the job?
Some great licks?
I completely agree. Back in the day, you’d go to a local show, and the vocals were the only things coming through the PA. You could have fun, dance, talk in the back of the room, etc., even if the amps were pretty loud. Not now.
Now, PAs are cranked to pain levels, and most venue mixers are clueless. My wife, who happily went to my band shows back in the day, absolutely refuses to go anywhere there’s live music, except when it’s a big show with a major act she likes, or my son’s band.
At one venue I my son’s band played (we went to the show), the venue went around in the audience with earplugs on a tray. Yes, they’d rather hand out earplugs than tell the sound guy it’s too loud. Stupid.
I simply don’t understand that logic. Especially with real talent controlling quality gear.
jak3af3r
Jake
Maybe they're trying to cause physical responses in the body from high SPLs and turning down would ruin the "experience."
GADonis
Beautifully Broken
Many, many, many years ago I read a review for a Boston concert. I believe it was the Third Stage tour. I didn't go because I was in kind of an anti-Boston phase at the time. Anyway, the reviewer commented that the sound was excellent (wouldn't expect much less from Tom Scholz) but he hated that it wasn't ear blasting loud. I remember thinking, "people just don't get it." Sounding good should be the main objective. It seems that the current fad is for "too loud" and too much floppy low end. Especially the kick drum. Even at "big artist" shows it seems that the kick drum is drowning out the bass player more often than not. But what do I know, my ears are still ringing from Deep Purple's Perfect Strangers concert. Thank you Jon Lord for the tinnitus.
sergiodeblanc
New Member
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The last concert I went to (back in August) was at this place called Thalia Hall for this band Tuxedo ( probably my favorite new-ish band).
I don’t know if it’s because it’s a tri-level place, with a boozy punch bar in the basement, and a restaurant on the first floor that’s all owned by the same people but... the show really wasn’t all that loud. We could stand in the back of this mid-sized hall and communicate without shouting. It was kinda nice.
However, I gotta admit something was missing from the experience, and the sound wasn’t all that good.
On one hand, it was nice to not leave the place with bleeding ears, but on the other... it was awfully polite feeling. If it were at the similar sized Metro venue (where everything is too loud) it may have been a more visceral experience. I mean, it’s a “dance” band, and feeling the sound pressure rattle your internal organs is kind of part of the fun.
I don’t know if it’s because it’s a tri-level place, with a boozy punch bar in the basement, and a restaurant on the first floor that’s all owned by the same people but... the show really wasn’t all that loud. We could stand in the back of this mid-sized hall and communicate without shouting. It was kinda nice.
However, I gotta admit something was missing from the experience, and the sound wasn’t all that good.
On one hand, it was nice to not leave the place with bleeding ears, but on the other... it was awfully polite feeling. If it were at the similar sized Metro venue (where everything is too loud) it may have been a more visceral experience. I mean, it’s a “dance” band, and feeling the sound pressure rattle your internal organs is kind of part of the fun.
Still makes zero sense.
And my son’s band does a fantastic job with their dynamics. Oh well, doesn’t matter. It was still a great show. Just not bright people in charge of the venue.
Everyone’s got a different opinion on this stuff. I’m an audio professional, and I hate crap mixes and making up for that with volume.
It’s interesting, on one of the Mars tours my son was in a band that opened the show, at a venue in Detroit where the “regular” mixer is one of the all time worst sound mixers I’ve ever had the displeasure to hear. All bass. One note. Nothing else comes through. This is the way he mixes every show (I’ve been to plenty of them).
And the regular mixer mixed the opening act.
When Jamie’s band came on, the tour mixer Mars brought took over; he was doing Jamie a favor since it was Jamie’s home town; normally he only mixed the 30 STM guys.
The mix was fantastic. The venue sounded wonderful. I was thrilled. 30 Seconds to Mars sounded great, too.
Both mixers were loud, but one was talented, and everything sounded like a record, i guess I’d call it room filling, not painful, and the usual guy was not, and everything sounded bad, only louder.
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Screamingdaisy
(O)))m
That reasoning reminds me of when they banned smoking in bars. Everyone thought business would suffer because everyone who went to bars liked to smoke.
Then, when they finally banned smoking all the people who hated the smoke started to come out again and business went up, and all the people who said they wouldn’t go to bars if they couldn’t smoke anymore kept going anyway because they found getting smashed in smoke free venues gave them less of a hangover.
Herr Squid
I was severely impressed
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I wouldn't be in a big hurry to blame Peavey. I think sometime in the early 90's, the supply of loud rock music outstripped the demand.
Rock musicians (myself included) wanna be loud and do their thing and have all the attention paid to them. You know what that is? That's a concert.
A lot of actual people (myself included) when they go out to be with other actual people like to talk to said people, and loud music is a serious impediment to that. I'm a grouchy b!?tch when the music is too loud in those situations,
Concerts should be concerts, and a bar/lounge/restaurant that's not a concert venue should let people hear each other. Mixing those things is bad business for everybody involved.
Rock musicians (myself included) wanna be loud and do their thing and have all the attention paid to them. You know what that is? That's a concert.
A lot of actual people (myself included) when they go out to be with other actual people like to talk to said people, and loud music is a serious impediment to that. I'm a grouchy b!?tch when the music is too loud in those situations,
Concerts should be concerts, and a bar/lounge/restaurant that's not a concert venue should let people hear each other. Mixing those things is bad business for everybody involved.
That’s an important separation...background entertainment vs. concert. We rarely played at a club/bar where we were the background entertainment. We were the front and center reason people came to that venue and we were expected to take control of the room. People could talk at the break. No one talks while they're dancing or screaming lyrics back at the band anyway. A wedding is a different deal. We approached every gig with that issue in mind.
My critique of Peavey is just me having (at one time) the ear of Les and the desire for experience immersion of Sergio. With the right PA, and the right talent to mix and control the system, you don’t need to be impaling ear drums to succeed. With Peavey, you got the added bonus of this midrange-centric ear vomit and an entirely missing focused bass and low-mid frequencies. We were missing the proper amount of clean power and the talent to control it. Uuuuugggghhh! Now I’m all pi$$ed off thinking about it again!
jak3af3r
Jake
I guess I forgot to use the sarcasm font in a reference to some information I had been taught in some audio classes on college. Here's a link.
https://www.audioholics.com/room-acoustics/bass-the-physical-sensation-of-sound
I doubt the venue pushes this level but I could see some place trying to be "hip" and advertising some sort of physical benefit or "experience" like I said earlier due to the loudness.
sergiodeblanc
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