- Feb 12, 2006
- 60,949
- 5
- 220,576
- Disclosures
- Development Engineer-Mesa Boogie, Development Engineer-Genzler (pedals), Product Support-Genz Benz
First of all, for occasional use and especially as a backup, when using an active bass, the Whirlwind may be the IDEAL alternative to nothing at all. By the time you realize you need a backup, it's probably not the time to be splitting hairs between DI's. In fact, splitting hairs is not what live audio is about.
At the level, and the kinds of acts I work with, it's expected that sound check goes smoothly and efficiently. It also means focusing on the overall sound of the band, not focusing on any one item unless it's the focus of the band. Often, I spend less than 5 minutes on drums, mostly a line check and to set gates as needed and to be sure there's no rattles. If the bass sounds good in 15 seconds, why shouldn't I move on. I generally spend no more time on guitars than I do on bass, or keys etc.
[old guy's story] Was handling FOH duties for the "featured act stage" at one of the largest traditional (mostly) jazz festival in the country. About 10 years ago, one of our Genz Benz endorsers ("Igor" Glenn) who is also a long time friend of Jeff's and lives in the Scottsdale area was performing at the festival as he does most years, really good guy and has a nice tight trio. Calling him traditional jazz is coloring way outside the lines as there's a lot of western swing and folk jazz along with the modern country flavored "big band" mixed in. His sets are always totally full (in a 1000 seat room). I head up to the stage to help set up and he takes me aside and hands me a secret revised stage plot that nobody, especially the festival organizers, knows about. There's a couple extra guitar inputs, banjo mic and a couple more vocal mics. I ask him what's up and what should I expect as I want to be prepared, he says I'm always prepared and don't worry, go with the flow and mix approriately. He also says that if I don't know anything about what happens, I'm sure not to get in trouble... this part catches my attention but I roll with it.
He and his band do about 20 minutes, it's a vocal heavy show so much of my attention is on the vocals and especially the bass as that's the lead instrument (yeah, this does happen sometimes), then he tells a short story about the late 1960's and early 1970's, and the music scene that was happening around the folk movement. He then brings his guests and former bandmates on stage, I have a good rough monitor mix already set, and they launch into a 20 minutes of music with the entire house on their feet. It was a revival of the old touring group "The New Christie Minstrels", who had been off the road for years (by that time). As I grew up mixing many of these sorts of tours in the late 70's through the 90's, I dropped right into folk rock mode within seconds, vocal blend first, guitars (three I recall) next forming the music bed, then the banjo with both melody and rhythem, bass supporting the bed (bass had previously been the lead). I spent no time worrying about drums because there were none. Easy peasy.
What a great band, great show, great experience. Igor was right, he had confidence that I would be able to prioritize parts on the fly and get it sorted out both efficiently and effectively. I had confidence that his experience with me mixing FOH for his band all those times allowed him to accurately judge my ability to support his "surprise" and deliver the goods switching styles on the fly. I knew that he wasn't the type to set people up to fail, nor throw those same people under the bus. I remember exactly the DI being used for the bass, only because it was one of mine (on his amp) AND that it didn't matter one bit in the big scheme of things. Not a single audience member left disappointed (or impressed) by the bass DI. They did leave talking about the wild and crazy time everybody had at that show, and while there were a few festival "administrators" that had their feathers ruffled, they knew better than to say anything about it. Band was all great guys, 100% pro from start to finish. There were some TV guys there to watch the show and I believe they took this concept and made a live for TV (PBS?) event later on (not at our venue). [/old guy's story]
At the level, and the kinds of acts I work with, it's expected that sound check goes smoothly and efficiently. It also means focusing on the overall sound of the band, not focusing on any one item unless it's the focus of the band. Often, I spend less than 5 minutes on drums, mostly a line check and to set gates as needed and to be sure there's no rattles. If the bass sounds good in 15 seconds, why shouldn't I move on. I generally spend no more time on guitars than I do on bass, or keys etc.
[old guy's story] Was handling FOH duties for the "featured act stage" at one of the largest traditional (mostly) jazz festival in the country. About 10 years ago, one of our Genz Benz endorsers ("Igor" Glenn) who is also a long time friend of Jeff's and lives in the Scottsdale area was performing at the festival as he does most years, really good guy and has a nice tight trio. Calling him traditional jazz is coloring way outside the lines as there's a lot of western swing and folk jazz along with the modern country flavored "big band" mixed in. His sets are always totally full (in a 1000 seat room). I head up to the stage to help set up and he takes me aside and hands me a secret revised stage plot that nobody, especially the festival organizers, knows about. There's a couple extra guitar inputs, banjo mic and a couple more vocal mics. I ask him what's up and what should I expect as I want to be prepared, he says I'm always prepared and don't worry, go with the flow and mix approriately. He also says that if I don't know anything about what happens, I'm sure not to get in trouble... this part catches my attention but I roll with it.
He and his band do about 20 minutes, it's a vocal heavy show so much of my attention is on the vocals and especially the bass as that's the lead instrument (yeah, this does happen sometimes), then he tells a short story about the late 1960's and early 1970's, and the music scene that was happening around the folk movement. He then brings his guests and former bandmates on stage, I have a good rough monitor mix already set, and they launch into a 20 minutes of music with the entire house on their feet. It was a revival of the old touring group "The New Christie Minstrels", who had been off the road for years (by that time). As I grew up mixing many of these sorts of tours in the late 70's through the 90's, I dropped right into folk rock mode within seconds, vocal blend first, guitars (three I recall) next forming the music bed, then the banjo with both melody and rhythem, bass supporting the bed (bass had previously been the lead). I spent no time worrying about drums because there were none. Easy peasy.
What a great band, great show, great experience. Igor was right, he had confidence that I would be able to prioritize parts on the fly and get it sorted out both efficiently and effectively. I had confidence that his experience with me mixing FOH for his band all those times allowed him to accurately judge my ability to support his "surprise" and deliver the goods switching styles on the fly. I knew that he wasn't the type to set people up to fail, nor throw those same people under the bus. I remember exactly the DI being used for the bass, only because it was one of mine (on his amp) AND that it didn't matter one bit in the big scheme of things. Not a single audience member left disappointed (or impressed) by the bass DI. They did leave talking about the wild and crazy time everybody had at that show, and while there were a few festival "administrators" that had their feathers ruffled, they knew better than to say anything about it. Band was all great guys, 100% pro from start to finish. There were some TV guys there to watch the show and I believe they took this concept and made a live for TV (PBS?) event later on (not at our venue). [/old guy's story]
Last edited:
