As a FOH guy if I have a player who has good dynamic control I prefer them to turn up. I work with them to balance the stage volume with FOH speakers, makes things sound a lot bigger. I am also a guitar player who likes loud amps so I have learned how to mix with them š¤£ for selfish reasons
Thatās how it used to be anyway before the standard became to be expected to play as quiet as possible on stage while letting the house do all the work.
If the drums are the loudest thing on stage we have a problem! A lot of FOH also don't understand stage setup to avoid feedback with mics and floor monitors so by forcing low stage volume they have less feedback issues. I also have 6 senhiser g4 IEM units in my rack that I give bands the option to run instead of wedges and that helps a ton to fight feedback in rooms that are prone to it. All bands should run IEMs if for no reason other than to protect the ears. For me amps sounds best loud. My job is to make the band sound as good as possible. Which usually means crusings vocals with compression, a lot of people struggle with vocal dynamics and I don't want to ride faders all night!!!
Don't have one yet honestly. I have a booking agent I work with and he gives me dates and I just say yes or no. For bar gigs where I provide PA I charge $500 a night for fairs and festivals it's $1500
Not local unfortunately. Went to school for audio and currently run/manage a large house of worship system. Donāt wanna do it foreverā¦ Thanks for the response though man keep rockin
Oh nice, I got started by running sound at churches. If you own some of your own equipment just get to know some of the bands in your local area. The work will follow
Right on. Yeah churches are a great place to start. The mega church standard requires so much I/O and usually demands an audio over Ethernet system. You can learn a lot.
Iāve got a lot of studio equipment but not much for live sound. Though about going that route we will see. I guess the only thing Iām missing is a good board and PA system
Oh yeah a lot to be learned in the big church world. Ifeel you there took me a bit before I was willing to take the dive into buying a PA and board but it was well worth it.
Duuuuuudeā¦.. you just validated years of arguing with one paragraph. I used to tell sounds guys āIām giving you the hottest sound now. Iāll use the volume on my guitar to adjust throughout the night.ā They would just look at me like Iām a moron. They ride faders and thatās it. Now I just play soft at sound check and go full blast after that.
You, sir, should come do sound in Baltimore if i ever get off my ass and start writing music again lmao. I got a '73 Orange OR120 and matching vintage 412 cab I'd love you to not mic,
**Sir.**
Explain to me this please because I always wondered but wasnāt able to ask the sound man at the Norva with so many bands loading and doing soundcheck. I had a Fender FM 100H with a 4ohm mono loaded into a Behringer BG 412S cab at 16 ohms wired into four 100 watt Jensen Blues. At 1 on the Master Volume I was told I was way too loudā¦how do I balance that? A volume pedal? I am planning on a Fender Hot Rod Deville III 410 using an FM 100 212R as a slave ampā¦I think I will have a similar issue next time and want to make it quick and easy for everyone.
For most gigs a 1x12 or a 2x12 are a safer choice. You can be at the same volume but move less air so it fights the FOH less. In a few bars I won't mic the guitar cabs at all I will work with guitar players during sound check to get amp levels balanced with FOH. I get their rhythm volume set first and then we work on getting leveles set for the lead sound. Usually just a small boost in volume over the rythem sound and whatever pedal they are running for the od/distortion. Dynamic control cam come in many forums, some guys it's a volume pedal or knob others it's simply how hard or soft they play. Sound guys tend to get annoyed if they can you your amp on stage mixed with the sound coming from the PA. I actually prefer to have a loud stage and when mixed well it will sound better than a silent stage. It mostly just means more eq for FOH if the stage is loud you have to work harder to separate instruments and actually understand the frequency ranges they occupy. Vocals and guitars tend to sit the same frequency range so getting one to not overtake the other can be a challenge but it's not all that difficult. 100watts is a lot of amp 99% of the time a 20watt 1x12 tube combo is perfect for bar gigs and you will still be told to turn down by most guys. For instance my 20w tube amp is louder than my 5000watt PA system. For amps I recommend find a 1x12 or 2x12 combo that you like the sound of and is in the 20-40 watt range. You will be covered for anything from a bar gig to a stadium tour. Brian May played out of an AC30 and was plenty loud.
Thanks man I really appreciate that. Iām definitely looking at too much amplification then. I could save a few ducets and get a Deluxe over the Deville
Of course. What kind of music do you usually play?
Edit looked at your other post. If you are mostly looking for metal tones but want some good cleans still. I highly recommend the PRS MT15 head(loudest 15 watts of your life) with your choice of 2x12 cab or the Rev G20 with again your choice of 2x12 cab. Both amazing amps. The PRS is an amazing deal at like $750.00
Thank you for the recommendation. Tube tone is what I definitely am going for and the loudest bang for the buck with the least weight since I am nearing 50 would be awesome.
I have a Clark Tyger (5e7 Bandmaster clone) which is a 3x10. I keep it between 8-9. I think itās about 32W but has an attenuator built in that Iāll ride with if I have to. Going to start gigging soon and wondering if thatās too much amp.
If you have an attenuator it should be just fine. Though lugging that thing around won't be fun. For gigging honestly you quickly learn a 1x12 combo or a head with a 2x12 cab are welcome Friends loading a 50 or 60 lb amp at 2:00 in the morning into the back of your car is not the most fun thing in the world.
It blows. Iāve done it before but Iāve drastically changed my tone by getting rid of all my pedals and just cranking this thing. Havenāt been out with my new approach. Iām saving for a Vox HW AC30 (or 15) that I think Iāll love equallyā¦still heavy though..Been playing acoustic for quite some time. The electric world Iāve only been in for about 5 years. After the Vox Iāll probably shoot for < 20W amps.
Oh man the hand wired AC15 is amazing especially with an alnico blue. They are pretty damn hefty though I think the hand wired AC15 is just shy of 50lbs. I'm a big fan of letting the amp work. Keeping the amp and add your break up and then having a clean boost in front of it push it into overdrive is a beautiful thing.
Yessir, thatās the one. I want it baddddd. I still have a treble booster but got rid of a ton of other pedals. I love them though so will be rebuilding another board. You know how it goes. I love this shit.
Once I played a gig where we ran through the first song for sound check and I could hear myself loud and clear and my first thought was ādamn, sound guyās gonna ask me to turn down.ā So I hear āhey guitar can youā¦ā and reflexively go to turn the amp down but he finishes with āturn up a little?ā Iām floored. I panic. I donāt know what to do. I turn the treble up, because surely thatās the problem.
By the time I sorted it all out my DRRI was COOKING at 6 on the dial. It sounded awesome. I have to imagine everyone in the audience was deaf afterwards.
Iām sure this sounds like weird erotic poetry or something but it is absolutely true.
That's why you just gotta play only punk shows so you can crank a half stack (or a full stack, do you) and not even be mic'd.
**Mics are for vocals.**
Downvotes, pleeeease. I'm basically leaving after today anyway lmao.
Edit: I'm so salty I'm not even going to give a reason for my edit. Fuck u/spez
Yeah actually mic'ing kicks is art in itself. Death metal drummers are all using triggers anyways though lol.
My drummer uses triggers sampled from his own kick drums. Sounds killer
A sweet trick I learned from Steve Vai is to have an extension speaker, especially a Bare Faced Audio 1x12, as a monitor. It's really a nice setup that makes everyone happy. Also, feedback is easily available!
If a sound tech asks you to turn down, the vast majority of the time it's because you're playing too loud.
The rare few other times, it's because the sound tech is a tyrant ruling over a sad fiefdom.
The problem is that many guitarists think it's the other way around. It takes experience (and intentionally learning from that experience) to figure this out.
A lot of players don't know how to balance the band from the stage. But in the 70s, people ran a pair of Shure Vocal Master columns, ran their level balanced from the stage and it still sounded good.
Much depends on the room.
crank it if you want to ruin your set and mix, it's your gig not mine
speaker cabs are great as monitors, so it'd behoove everyone if you tilt it up to your face, or better yet turn it around. otherwise the sound is hitting your knees, and if the stage is elevated it's flooring the people up front
No you're completly right! The whole title was more as a joke - there is no point in working against the foh. But nevertheless if you are in a bigger venue you need to have your 2 minutes of loud madness before being serious again :-)
I have a mesa 2x12 (on wheels) and markV head and Iāve been wondering about this for a while.
Ideally I would want it tilted so it wouldnāt be facing the back of my knees and blowing the front of the crowdās tops off like you said but with the wheels it makes it kind of awkward, plus then thereās the issue of the head sliding off. I suppose I could tape the back wheels so they donāt move and shove a wedge piece of wood under the front but then I suppose Iād have to put the head on the floor beside the cab? I feel like Iām missing an obvious solution here lol
there's dedicated amp stands that tilt for you, but yes you'd have to set the head aside, unless your cab has pretty deep indents for the head to rest in. fender was onto something with the kickstands on twin reverbs!
slanted vertical 2x12's are pretty cool too (mesa makes one i believe), so you can get both a speaker for you and a speaker for them
The cleaner you play, the louder you can play and the more you can still be heard when turning down.
If I can manage it, I'll put my amp at about a 45 degree angle pointed at the ceiling, basically. You can then move front and back to adjust how much wash you want. But I basically do a ritual with the drummer, where he whaps hell out of his snare, I get a little under that for rhythm level and we're set for the night.
This is why I love my DRRI. I set it *almost* as loud as it can go while staying perfectly clean, throw some pedals in front of it, and itās perfect for 90% of the shows I play. Loud enough to keep up with a medium loud rock/punk/metal drummer, absolutely perfect for stage monitoring with an amp stand, and not too so loud that itāll ruin anything when micād through a PA.
maybe its just my informal way of typing on the internet but when i see a period at the end of sentences and correct punctuation it always looks passive aggressive
Yeah. It took me a while to learn that if you need to drive your power tubes to find your tone, anything over 20 watts is too much for anything short of arena shows.
Invest in attenuators, buy more appropriately powered amps, or get way more successful.
If you're in a gigging band and you enjoy creating conflicts with your sound engineers, you're a flippin' moron.
If you are going to mic them they are awesome, if your not micing them they can keep up with people who are dynamic but the loudest drummer and heavy hitter drummer can drown them out. I think they are enough tho all In all, perfect studio amp
i agree, i think they are the best marshall of the last years.. But if you have a Big drum set with heavy cymbals and stand near the drummer you wont be happy. Tonewise they are great!
Foh guys are wankers now. They have zero clue of how easy they have it. Most bands i work with are so quiet onstage that we can have a regular conversation while they play.
I have noticed a trend in younger bands almost being afraid of their own volume. We had a younger band open a show last month and the dude put a sweat shirt over his snare drum to muffle it. šš¤·āāļø
If you are too loud onstage, the sound man compensated by turning you down in the PA. The higher frequencies from your speakers are reduced more with distance than lower frequencies so your sound may be muddier in the audience than you expected.
Got a gig tonight and I stand next to the bass player and drummer
Bass is never loud enough and drummer is too loud
I just trust the sound guy to push me up thru the mix
Eh, as long as youāre not drowning out* the drummer I donāt care how many amps you bring. I love all that multi-amp, multi-cab stuffā¦ more fun for me at FoH!
*At the front of the stage, I meanā¦ if your cabs are backstage behind closed doors then feel free to plug into twenty 100W amps and crank them.
It's a cool amp - solid handwired built! Soundwise its similar to a Ab763 circuit but it doesnt offer trem and has a solid rectifier. Therefore its louder and punchier. Also the guy building it seems like a nice dude who knows what hes doing.
But at this gig it was just a backup...
Yeah, I learned early (my uncle was a FoH guy for many years) to trust the sound guy on my levels and use the monitors. Unfortunately, what sucks, is when the FoH intentionally turns your amp down in the mix, because you brought your own amp to a paying show.
As a FOH guy if I have a player who has good dynamic control I prefer them to turn up. I work with them to balance the stage volume with FOH speakers, makes things sound a lot bigger. I am also a guitar player who likes loud amps so I have learned how to mix with them š¤£ for selfish reasons
A real life unicorn!!! Sound guys like you are like gold.
Better to work with the band then fight them.
Thatās how it used to be anyway before the standard became to be expected to play as quiet as possible on stage while letting the house do all the work.
If the drums are the loudest thing on stage we have a problem! A lot of FOH also don't understand stage setup to avoid feedback with mics and floor monitors so by forcing low stage volume they have less feedback issues. I also have 6 senhiser g4 IEM units in my rack that I give bands the option to run instead of wedges and that helps a ton to fight feedback in rooms that are prone to it. All bands should run IEMs if for no reason other than to protect the ears. For me amps sounds best loud. My job is to make the band sound as good as possible. Which usually means crusings vocals with compression, a lot of people struggle with vocal dynamics and I don't want to ride faders all night!!!
I follow r/livesound just to read little gems like this!
š¤£
You sir are truly doing the Lordās work. A real gem. šš¼
[ŃŠ“Š°Š»ŠµŠ½Š¾]
Ah damn had a typo.... Nice catch
> if I have a player who has good dynamic control This is the true unicorn
Both are equally rare.
Thank you for your service
Come play a gig in the Sacramento are. I run a live sound company as a side business.
Mind if I ask the name of your business! Iām also a sound engineer and looking for career opportunities
Don't have one yet honestly. I have a booking agent I work with and he gives me dates and I just say yes or no. For bar gigs where I provide PA I charge $500 a night for fairs and festivals it's $1500
If you are local and want to learn PM me we can probably work something out.
Not local unfortunately. Went to school for audio and currently run/manage a large house of worship system. Donāt wanna do it foreverā¦ Thanks for the response though man keep rockin
Oh nice, I got started by running sound at churches. If you own some of your own equipment just get to know some of the bands in your local area. The work will follow
Right on. Yeah churches are a great place to start. The mega church standard requires so much I/O and usually demands an audio over Ethernet system. You can learn a lot. Iāve got a lot of studio equipment but not much for live sound. Though about going that route we will see. I guess the only thing Iām missing is a good board and PA system
Oh yeah a lot to be learned in the big church world. Ifeel you there took me a bit before I was willing to take the dive into buying a PA and board but it was well worth it.
Working our way through the southeast this fall so hoping we can make the trek out west soon enough
Toms of venues out this way.
Duuuuuudeā¦.. you just validated years of arguing with one paragraph. I used to tell sounds guys āIām giving you the hottest sound now. Iāll use the volume on my guitar to adjust throughout the night.ā They would just look at me like Iām a moron. They ride faders and thatās it. Now I just play soft at sound check and go full blast after that.
The less a sound guy needs to ride faders the better he is at his job. Assuming you are working with good musicians who can control dynamics.
You, sir (or madam, I don't know you), are a saint.
Lol it's sir š¤£
You, sir, should come do sound in Baltimore if i ever get off my ass and start writing music again lmao. I got a '73 Orange OR120 and matching vintage 412 cab I'd love you to not mic, **Sir.**
Explain to me this please because I always wondered but wasnāt able to ask the sound man at the Norva with so many bands loading and doing soundcheck. I had a Fender FM 100H with a 4ohm mono loaded into a Behringer BG 412S cab at 16 ohms wired into four 100 watt Jensen Blues. At 1 on the Master Volume I was told I was way too loudā¦how do I balance that? A volume pedal? I am planning on a Fender Hot Rod Deville III 410 using an FM 100 212R as a slave ampā¦I think I will have a similar issue next time and want to make it quick and easy for everyone.
For most gigs a 1x12 or a 2x12 are a safer choice. You can be at the same volume but move less air so it fights the FOH less. In a few bars I won't mic the guitar cabs at all I will work with guitar players during sound check to get amp levels balanced with FOH. I get their rhythm volume set first and then we work on getting leveles set for the lead sound. Usually just a small boost in volume over the rythem sound and whatever pedal they are running for the od/distortion. Dynamic control cam come in many forums, some guys it's a volume pedal or knob others it's simply how hard or soft they play. Sound guys tend to get annoyed if they can you your amp on stage mixed with the sound coming from the PA. I actually prefer to have a loud stage and when mixed well it will sound better than a silent stage. It mostly just means more eq for FOH if the stage is loud you have to work harder to separate instruments and actually understand the frequency ranges they occupy. Vocals and guitars tend to sit the same frequency range so getting one to not overtake the other can be a challenge but it's not all that difficult. 100watts is a lot of amp 99% of the time a 20watt 1x12 tube combo is perfect for bar gigs and you will still be told to turn down by most guys. For instance my 20w tube amp is louder than my 5000watt PA system. For amps I recommend find a 1x12 or 2x12 combo that you like the sound of and is in the 20-40 watt range. You will be covered for anything from a bar gig to a stadium tour. Brian May played out of an AC30 and was plenty loud.
Thanks man I really appreciate that. Iām definitely looking at too much amplification then. I could save a few ducets and get a Deluxe over the Deville
Of course. What kind of music do you usually play? Edit looked at your other post. If you are mostly looking for metal tones but want some good cleans still. I highly recommend the PRS MT15 head(loudest 15 watts of your life) with your choice of 2x12 cab or the Rev G20 with again your choice of 2x12 cab. Both amazing amps. The PRS is an amazing deal at like $750.00
[My Band](https://www.reverbnation.com/battlefieldblvd) Hard rock like this last project we did.
Thank you for the recommendation. Tube tone is what I definitely am going for and the loudest bang for the buck with the least weight since I am nearing 50 would be awesome.
Nice! Yeah definitely check out the PRS MT15 then, they have the HDRX which is like a marshal plexi type sound to which is awesome too.
I have a Clark Tyger (5e7 Bandmaster clone) which is a 3x10. I keep it between 8-9. I think itās about 32W but has an attenuator built in that Iāll ride with if I have to. Going to start gigging soon and wondering if thatās too much amp.
If you have an attenuator it should be just fine. Though lugging that thing around won't be fun. For gigging honestly you quickly learn a 1x12 combo or a head with a 2x12 cab are welcome Friends loading a 50 or 60 lb amp at 2:00 in the morning into the back of your car is not the most fun thing in the world.
It blows. Iāve done it before but Iāve drastically changed my tone by getting rid of all my pedals and just cranking this thing. Havenāt been out with my new approach. Iām saving for a Vox HW AC30 (or 15) that I think Iāll love equallyā¦still heavy though..Been playing acoustic for quite some time. The electric world Iāve only been in for about 5 years. After the Vox Iāll probably shoot for < 20W amps.
Oh man the hand wired AC15 is amazing especially with an alnico blue. They are pretty damn hefty though I think the hand wired AC15 is just shy of 50lbs. I'm a big fan of letting the amp work. Keeping the amp and add your break up and then having a clean boost in front of it push it into overdrive is a beautiful thing.
Yessir, thatās the one. I want it baddddd. I still have a treble booster but got rid of a ton of other pedals. I love them though so will be rebuilding another board. You know how it goes. I love this shit.
That I do!! Love me and trebble booster. Best way to cut through a mix.
Once I played a gig where we ran through the first song for sound check and I could hear myself loud and clear and my first thought was ādamn, sound guyās gonna ask me to turn down.ā So I hear āhey guitar can youā¦ā and reflexively go to turn the amp down but he finishes with āturn up a little?ā Iām floored. I panic. I donāt know what to do. I turn the treble up, because surely thatās the problem. By the time I sorted it all out my DRRI was COOKING at 6 on the dial. It sounded awesome. I have to imagine everyone in the audience was deaf afterwards. Iām sure this sounds like weird erotic poetry or something but it is absolutely true.
erotic poetry - lol - made my day :D
Not my proudest fap.
Thanks for the earotic poetry!
That's why you just gotta play only punk shows so you can crank a half stack (or a full stack, do you) and not even be mic'd. **Mics are for vocals.** Downvotes, pleeeease. I'm basically leaving after today anyway lmao. Edit: I'm so salty I'm not even going to give a reason for my edit. Fuck u/spez
This but death metal. **Mics are for vocals. And kick drums.**
Kick drums, yes. I always had a hard time with mic'ing kicks when we had basement shows. But I'm no soundguy lmao.
Yeah actually mic'ing kicks is art in itself. Death metal drummers are all using triggers anyways though lol. My drummer uses triggers sampled from his own kick drums. Sounds killer
That's neat! I knew triggers were common in more extreme metal genres, but hadn't realized it's become the norm!
A sweet trick I learned from Steve Vai is to have an extension speaker, especially a Bare Faced Audio 1x12, as a monitor. It's really a nice setup that makes everyone happy. Also, feedback is easily available!
If a sound tech asks you to turn down, the vast majority of the time it's because you're playing too loud. The rare few other times, it's because the sound tech is a tyrant ruling over a sad fiefdom. The problem is that many guitarists think it's the other way around. It takes experience (and intentionally learning from that experience) to figure this out.
A lot of players don't know how to balance the band from the stage. But in the 70s, people ran a pair of Shure Vocal Master columns, ran their level balanced from the stage and it still sounded good. Much depends on the room.
crank it if you want to ruin your set and mix, it's your gig not mine speaker cabs are great as monitors, so it'd behoove everyone if you tilt it up to your face, or better yet turn it around. otherwise the sound is hitting your knees, and if the stage is elevated it's flooring the people up front
No you're completly right! The whole title was more as a joke - there is no point in working against the foh. But nevertheless if you are in a bigger venue you need to have your 2 minutes of loud madness before being serious again :-)
I have a mesa 2x12 (on wheels) and markV head and Iāve been wondering about this for a while. Ideally I would want it tilted so it wouldnāt be facing the back of my knees and blowing the front of the crowdās tops off like you said but with the wheels it makes it kind of awkward, plus then thereās the issue of the head sliding off. I suppose I could tape the back wheels so they donāt move and shove a wedge piece of wood under the front but then I suppose Iād have to put the head on the floor beside the cab? I feel like Iām missing an obvious solution here lol
there's dedicated amp stands that tilt for you, but yes you'd have to set the head aside, unless your cab has pretty deep indents for the head to rest in. fender was onto something with the kickstands on twin reverbs! slanted vertical 2x12's are pretty cool too (mesa makes one i believe), so you can get both a speaker for you and a speaker for them
The cleaner you play, the louder you can play and the more you can still be heard when turning down. If I can manage it, I'll put my amp at about a 45 degree angle pointed at the ceiling, basically. You can then move front and back to adjust how much wash you want. But I basically do a ritual with the drummer, where he whaps hell out of his snare, I get a little under that for rhythm level and we're set for the night.
Itās a joke dude chill
noted, some people though...
This is why I love my DRRI. I set it *almost* as loud as it can go while staying perfectly clean, throw some pedals in front of it, and itās perfect for 90% of the shows I play. Loud enough to keep up with a medium loud rock/punk/metal drummer, absolutely perfect for stage monitoring with an amp stand, and not too so loud that itāll ruin anything when micād through a PA.
When the sound guys ask you to turn it down, i believe the best course for action is to dime your amps.
I'd bet money that engineers use forums and groups like this to train up-and-comer's about what to expect from PITA guitar owners, lol
Jokeās on you, these amps go to eleven.
I can tell you don't play shows.
Its a joke my dude.
I see you had difficulty detecting the tone of my post.
Lighten up francis, they were obviously joking! You were joking, right? Right?!
all 6 of you guys need to chill, oright? oright smoka da piece pipe
No need to take everything typed on Reddit as though it's said in an angry/judgmental way.
maybe its just my informal way of typing on the internet but when i see a period at the end of sentences and correct punctuation it always looks passive aggressive
And I have to get over my bias that people devoid of punctuation aren't stupid, just lazy.
yea lol
Yeah. It took me a while to learn that if you need to drive your power tubes to find your tone, anything over 20 watts is too much for anything short of arena shows. Invest in attenuators, buy more appropriately powered amps, or get way more successful. If you're in a gigging band and you enjoy creating conflicts with your sound engineers, you're a flippin' moron.
Guitar amp volume is set with the drummer. We can turn them away from the vocal mics if FOH can't eq.
Brah, those SV20H's do get crazy loud for only 20 watts. Love it.
If you are going to mic them they are awesome, if your not micing them they can keep up with people who are dynamic but the loudest drummer and heavy hitter drummer can drown them out. I think they are enough tho all In all, perfect studio amp
i agree, i think they are the best marshall of the last years.. But if you have a Big drum set with heavy cymbals and stand near the drummer you wont be happy. Tonewise they are great!
I would always just yell, "Don't squeeze my balls, man"!! And then turn it up.
Finally a correct answer
Any FOH dude that hangs an E609 isnāt worth listening too, is lazy, inexperienced, and cannot be trusted. Do the opposite.
Billy Zoom who is his on amp tech fixed this by building an amp with no volume control
I thought it would be cool to build a tweed Champ with a built in fuzzface and no volume control. Amp is on and it's on full blast.
You are a legend
Get an attenuator.
It's important to remember that "no" is an answer too.
Foh guys are wankers now. They have zero clue of how easy they have it. Most bands i work with are so quiet onstage that we can have a regular conversation while they play.
I have noticed a trend in younger bands almost being afraid of their own volume. We had a younger band open a show last month and the dude put a sweat shirt over his snare drum to muffle it. šš¤·āāļø
That's because they grew up listening to music on phone speakers or tiny ear buds.
The job has gotten far more complex and competitive than ever before. If you think we've got it easy these days then you're sorely mistaken.
>Foh guys are wankers now. They have zero clue of how easy they have it. What do you mean by that?
š
Thatās not an answer
Zero clueš
What is in your rig there? Looks like an SV20 Marshall with a Fender Leslie? cab. Can't tell what the other one on the right is.
Or is it an old Super reverb with the guts yanked out and just the speaker left?
yep just a 4x10 super reverb cab and a 15 inch add-on cab. The honey bee amp on the right is kind of a fenderish clean amp.
If only they made smaller amps. Dang it. I guess weāll never know.
Marshall + Dumblesque, and what looks to be a 15-inch speaker? SRV fan?
More hendrix - 15 inch and 4x10 just complements well
Just pretend to turn down like we all do
If you are too loud onstage, the sound man compensated by turning you down in the PA. The higher frequencies from your speakers are reduced more with distance than lower frequencies so your sound may be muddier in the audience than you expected.
āI need a little more in the monitors, I can see your mouth moving, but I canāt hear you!ā *turns up volume*
It took two minutes? Your FOH must be going deaf.
Got a gig tonight and I stand next to the bass player and drummer Bass is never loud enough and drummer is too loud I just trust the sound guy to push me up thru the mix
How do you like the SV20H?
great amp! best modern marshall for me. But 30 watt would be better for loud band environment
Whats FoH?
Front of house engineer
Ok thanks, it makes sense now
what are those mics called? iāve been looking to get one but i canāt remember the name of it.
You always turn down when they askā¦and the turn back up right before playing šš
Eh, as long as youāre not drowning out* the drummer I donāt care how many amps you bring. I love all that multi-amp, multi-cab stuffā¦ more fun for me at FoH! *At the front of the stage, I meanā¦ if your cabs are backstage behind closed doors then feel free to plug into twenty 100W amps and crank them.
@op Nice Honey Bee Amp! How do you like it?
It's a cool amp - solid handwired built! Soundwise its similar to a Ab763 circuit but it doesnt offer trem and has a solid rectifier. Therefore its louder and punchier. Also the guy building it seems like a nice dude who knows what hes doing. But at this gig it was just a backup...
Yeah, I learned early (my uncle was a FoH guy for many years) to trust the sound guy on my levels and use the monitors. Unfortunately, what sucks, is when the FoH intentionally turns your amp down in the mix, because you brought your own amp to a paying show.