Backline Rigs

[Jugghaid]

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I'd go back to this in a hardbeat if I had the gigs.

I still gig this for outdoor gigs

 

[bucephylus]

I still gig this for outdoor gigs


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+1

My NV610T would be the very last cab I would sell. Likewise, a set of Mesa 112 /115 Subway cabs. The rest is TBD.

 

[Thunderthumbs73]

In a separate thread, @agedhorse caused me to recheck my claim that the preamp driven K.2 was only effective from the DI jack. I was incorrect on that point. The K.2’s take the unbalanced TS output from the preamp with essentially equivalent performance. So, my notion of needing two preamps is likewise disproven.

But, I will point out that the balanced line output would flow to the lowest impedance preferentially, IF two parallel circuits were engaged. That’s just physics. Thankfully, that situation need not happen, in general.

All of these considerations folks have discussed in this thread have caused me to speculate that most likely a mix of K.2 cabs with a preamp pedal board could get a LOT of gigs done. For example, two K12.2’s ought to make a fairly formidable backline rig, IF a backline rig is called for. A single K12.2 or even a K10.2 make a very decent monitor wedge.

Not sure I’m ready to jump this direction just yet; but, it is tempting.

Very interesting conversation. Thanks.

 

[Jens Telemark]

Increasingly, the Sound Engineers at my gigs do NOT want high volume coming from the backline.

They never did.

 

[Johnny Crab]

Last(and current) "real backline" is a rack with SansAmp RBI > dbx 166xL(speaker protection) > QSC 2402 amp.
Speakers are ACME B2's as-needed. Yes, purchased gear is kept and we own a van(if needed). Band went through a period with "one guy too loud" on my right so I got a small mixer and IEM's(Mipro digital stereo) and used a comp/limiter in the chain to protect my hearing from any FOH oops. Mixer has Left & Right FOH signal, one open stage mic signal, Helix bass signal, and my vocal mic(split to PA and to my mixer). Worked/works great.

Currently we work with one sound company so my Helix, basses, wireless, vocal mic is what I bring to gigs. Monitors are RCF's with the 15's & mid/highs, FOH is RCF(15's or 18's subs). Monitor mix is from sound engr and set during brief soundcheck(a flash drive has our normal mix set in it). No complaints. Drummer's RCF has my bass signal in it run pretty hot so I hear bass from his monitor also. No issues.

PS: We did an "opener" gig for a well-known artist. Bassist said I could use his backline(SansAmp pedal>QSC amp> SVT 8x10). I ran Helix into his SansAmp, revised my EQ in front of it(he had a huge mid-boost to fit his band's mix), sounded like 1970's and 1980 again when I ran SVT with 2 cabs. Lovely.

 

[j3ffr0]

I feel like all a player can do is be ready for whatever the gig calls for. For me, owning a something not too crazy big or powerful that can do a little backline duty depending on the gig is part of it. Some talk about the quiet stage as if it's a utopia for both the audience and okay enough for the band, but that's not always or even often the case in local level situations from what I've experienced.

I regularly mix for a band who uses a hybrid setup. One of the guitar players and the bass player have amps. In that particular situation, everything gets mixed around the lead guitar player's stage volume level. He usually all the way down in FOH unless he's doing a solo. It's not at all ideal from a sound guy perspective, but it is what works for that particular band. I consistently get complements on the sound. A sound engineers just has to be flexible enough and skilled enough to figure out what a particular band/situation needs and do that. It is definitely all a compromise when done any version of right.

Been a player in some as well as observed other situations, where the quiet stage was too quite... lol... the monitor mixes were wonky or completely off etc... players had a hard time, hearing each other on stage.... Too much low end out in the house, and the vocals were hard to hear. A lot can depend upon the sound guy. A great sound guy might be able to do more with a quiet stage to make it sound like a record. But a mediocre sound guy can do a lot more damage with a quiet stage as well to make it all sound like arse.

So I wouldn't go selling all my amps just because quiet stage is in fashion at a couple of local joints -- it can all change pretty quickly.

 

[coyote1]

I’ve been playing a few gigs recently, and therefore doing reconnaissance at venues. I’m finding that too frequently, the SUBWOOFER is now the star of the show. I suppose this is coming from DJ land, where DJs crank up those subs to shake the foundation. Note this is not a “sound guy” issue, as many of these scenarios have the band controlling their own sound from the stage.

The venue I scoped out this week featured a very good band in a municipal park. Talented singers and musicians. The mix was good at first. But they kept adjusting it, and within an hour the (un-mic’ed) kick drum was no longer audible at all. The singers were getting lost in the sauce. I know bass drives the music, but balance remains key.

 

[Kaa]

I still gig this for outdoor gigs


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The gear in this pic alone probably equals my car in value, lol. Color me envious.