Is it impossible to play a gig without sound check?

[derrico1]

IME, blending backline is easier when you only have the vocals in the PA, because you're not guessing what's happening with instrument levels and eq in the FOH.

Plenty of old school club and bar bands did this by knowing how to build arrangements and slot tones, trusting each other to support the vocals, and simply listening to one another.

[Brad Johnson]

Originally Posted by tekdiver500ft

Except that all you know is stage volume and sound. Almost invariably, it sounds completely different in FOH (generally -not always- in a bad way).

I haven't found that to be true on small rooms. And vocals were the only thing in FOH.

[Brad Johnson]

Originally Posted by bluewine

That's usually the case.

However, me personally. I've never heard a bar band that had a good sound without using a full pa.

Blue

Seen it a ton of times.

[JumboJack]

Originally Posted by bluewine

That's usually the case.

However, me personally. I've never heard a bar band that had a good sound without using a full pa.

Blue

Originally Posted by Brad Johnson

Seen it a ton of times.

Same here. Think about it. What would do a better job of making your bass heard? A good bass amp or a small PA?

[bluewine]

Originally Posted by JumboJack

Same here. Think about it. What would do a better job of making your bass heard? A good bass amp or a small PA?

I'm really not sure, I can't remember the last time I played without my rig going through a pa. We use a pa for the band even when where playing tiny bars.

I'm not saying you can't get a good sound without pa support, I don't have any experience with playing through an amp only.

Blue

[the yeti]

^you've been at this for 40 years and don't have any experience running amp only?

surely you mean "recent" experience?

[bluewine]

Originally Posted by the yeti

^you've been at this for 40 years and don't have any experience running amp only?

surely you mean "recent" experience?

Back in the 70s, definitely. But, I remember being jealous of bands that were running through PAs back then.

Exactly, I meant recent experience.

Blue

[Brad Johnson]

Originally Posted by bluewine

Back in the 70s, definitely. But, I remember being jealous of bands that were running through PAs back then.

Exactly, I meant recent experience.

Blue

Back then more gear usually meant "better" to most people. Now it means more %#$@ to load in/out.

[Benton]

You need to know your gear and use your ears.

[bluewine]

This might be overkill but me and our sound guy have been talking about running 2 signals from my rig. The XRL direct to the board post eq and getting one of those kick drum mics and mic the cabs.

I am not sure what value thus would add if any?

Blue

[Stumbo]

Originally Posted by bluewine

This might be overkill but me and our sound guy have been talking about running 2 signals from my rig. The XRL direct to the board post eq and getting one of those kick drum mics and mic the cabs.

I am not sure what value thus would add if any?

Blue

To be able to blend the two different tones,

[JumboJack]

There are better choices for a cab mic than a bass drum mike.

[bluewine]

Originally Posted by JumboJack

There are better choices for a cab mic than a bass drum mike.

I'm sure there are, there are some AKGs and Shure mics that are specific to bass guitar frequencies.

Blue

[derrico1]

Bit of a derail:

There are many ways to mix DI and bass cab mic, but when blending *for live use* in general I prefer the DI to supply the low-end clarity and the cab mic to supply character.

When blended, the DI will own the low frequencies (the mic cab will generally be high-passed), while in the mids DI and mic blend to taste.

In this case, you typically don't want a D-112 or similar (that is, a mid-scooped dynamic kick mic). Otherwise, you'll be fighting the mic to trim away the lows and to give you the most of whatever mids it has. Better to use a relatively even mic for the bass cab.

For example, if either is available, I'll always take an MD 421 or EV RE20 for this use; however, I'd also take a humble SM57 over a D112 if I'm blending w/ DI.

[bluewine]

Originally Posted by derrico1

Bit of a derail:

There are many ways to mix DI and bass cab mic, but when blending *for live use* in general I prefer the DI to supply the low-end clarity and the cab mic to supply character.

When blended, the DI will own the low frequencies (the mic cab will generally be high-passed), while in the mids DI and mic blend to taste.

In this case, you typically don't want a D-112 or similar (that is, a mid-scooped dynamic kick mic). Otherwise, you'll be fighting the mic to trim away the lows and to give you the most of whatever mids it has. Better to use a relatively even mic for the bass cab.

For example, if either is available, I'll always take an MD 421 or EV RE20 for this use; however, I'd also take a humble SM57 over a D112 if I'm blending w/ DI.

Thanks,

I have a couple of 57s and a EV RE20.

Blue

[kcole4001]

Originally Posted by derrico1

Bit of a derail:

....
In this case, you typically don't want a D-112 or similar (that is, a mid-scooped dynamic kick mic). Otherwise, you'll be fighting the mic to trim away the lows and to give you the most of whatever mids it has. Better to use a relatively even mic for the bass cab.

.....

Absolutely!
Tried this once and it was too much work for almost no benefit.
Possibility of feedback = high, added clarity of sound/tone = next to nothing.

[Fishheadjoe]

To the Op.. we never do a sound check outside of a 10 second "A" cord and me standing out front, listening for balance and volume.
We use the p/a only for vox and some kick to add presence... although we have been known to put a bit of guitar in it, to add presence in awkward shaped clubs.
My amp carries all the bass for the band.
Fishheadjoe