Something to consider: having a band member run the sound from the room - not the stage. The Association did this for years and anyone who saw them in the 60s-70s can tell you how clean and balanced their sound always was.
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do your own sound or use sound man??
- Thread starter safeshow
- Start date
I always prefer a sound man. Your stage volume should be just loud enough so you and the members of the band can hear each other. Anything more than that and you will almost always sound like crap. Watch some of Clapton's videos. Everyone is using combos. A soundman can mix the entire band, raise guitar solos and other dynamics when appropriate. In my opinion, the people who are against using soundmen are not serious about sounding good and are just trying to make an extra couple of bucks per night.
One of the musician played his instrument at the FOH position ?
I wonder how he dealt with the delay .....
A good soundman has can make you sound great, a bad soundman can make you sound like crap. The last group I played with monthly at a small jazz/blues club we ran from on stage. We started all running direct excecpt the piano. However the gutairist would turn up as the night went on and the piano played would play harder. By the end of the night the drummer and I couldn't hear ourselves. So I started bringing my combo and the drummer went accoustic with his kit. Go figure, people said we were too loud after that. So onstage mixing can work, but your bandmates must be able to have self control and stick with the orignal soundcheck levels. Otherwise you're better off have a soundman.
One of the musician played his instrument at the FOH position ?
I wonder how he dealt with the delay .....
That was my fist thought though I once saw a local band where the foh engineer had a keyboard and played an occasional part but?
I run sound for the band. I use a wireless system so I get the chance to go out to the crowd and check how it's sounding. This allows me to make the necessary changes during the show. Because every room is different, it always presents challenges.
Depends on the venue and band.
My wedding band had it's own big rig and sound man., who was fantastic, but the venues were nearly always suited.
A lot of the venues my original band play have their own rigs and sound men, normally they do an ok job but every so often they just lose everything (sound wise).
So I think it's better to have your own guy, just have a smaller rig for small gigs. (I have my own small rig as well.)
My wedding band had it's own big rig and sound man., who was fantastic, but the venues were nearly always suited.
A lot of the venues my original band play have their own rigs and sound men, normally they do an ok job but every so often they just lose everything (sound wise).
So I think it's better to have your own guy, just have a smaller rig for small gigs. (I have my own small rig as well.)
I own the sound systems and, at small to medium venues we run sound from the stage (I used to do it, but our lead singer is a professional sound man). Outdoors and large venues, we bring in a sound man to run it.
I own the soundman for my band. It cost me a sister, but owning your own soundman really is preferable to taking what you get.
He does an incredible job, and he's johnny on the spot with the screwdriver or duct tape when things are falling apart onstage.
He does an incredible job, and he's johnny on the spot with the screwdriver or duct tape when things are falling apart onstage.
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We run our own sound/PA for about 3 out of 5 gigs per week. It depends on your budget, the type of venues you play, and if the band or member of the band is willing to buy, haul, and operate a PA system. We are fortunate because our singer purchased a killer PA, hauls it, and has great ears. I always arrive early to help him unload and set up the PA; it is the least other members can do to show their appreciation.
- Dec 28, 2010
- 357
- 3
- Disclosures
- Art of Noise Audio, fEARful builder
I've done sound professionally for bands and have done it for my own band while on stage and had sound men. I much prefer having a soundman. There is just too much to think about, especially when dealing with feedback issues.
I've heard so many bands in bars trying to do it themselves and 9/10 they sound bad. Only the truly pro bands sound decent, but they obviously have taken the time and money to get good equipment set up right.
When I have a band completely miced up, I'll have everyone turn down on stage so I can have full control over their levels. I'll bring solos up, change eq, change vocal levels depending who is singing lead and who back up, adjust levels for multiuse mic (like the singer playing a horn, etc.). I can't imagine trying to do that while trying to remember the chords to the next chorus at the same time.
I liked the idea of paying a sound man to set the levels and then take off. I need to find me some gigs like that
Robby
I've heard so many bands in bars trying to do it themselves and 9/10 they sound bad. Only the truly pro bands sound decent, but they obviously have taken the time and money to get good equipment set up right.
When I have a band completely miced up, I'll have everyone turn down on stage so I can have full control over their levels. I'll bring solos up, change eq, change vocal levels depending who is singing lead and who back up, adjust levels for multiuse mic (like the singer playing a horn, etc.). I can't imagine trying to do that while trying to remember the chords to the next chorus at the same time.
I liked the idea of paying a sound man to set the levels and then take off. I need to find me some gigs like that
Robby
A great sound man is a plus. An idiot for a sound man is a whole nother story. 
Most of the time these days we take two or four Yamaha SM12V monitor cabs. They will fit on a stand or in the floor. They are light and easy. We also use a Yamaha EMX512SC, 1,000 watts and 22 pounds. If I'm really feeling like sounding good I bring my Communitys.
We only run Vocals to the PA.
Now if we do something bigger we have a pile of big heavy gear but only if we have to. People do not expect Bands to be as loud as they used to.
Most of the time these days we take two or four Yamaha SM12V monitor cabs. They will fit on a stand or in the floor. They are light and easy. We also use a Yamaha EMX512SC, 1,000 watts and 22 pounds. If I'm really feeling like sounding good I bring my Communitys.
We only run Vocals to the PA.
Now if we do something bigger we have a pile of big heavy gear but only if we have to. People do not expect Bands to be as loud as they used to.
First impressions are everything to a person in life. How you personally look, how you interact with people, how you sound, how your band looks and sounds. Most people do not get second chances at making a good 1st impression. But that 1st impression is likely to open up or pigeon hole everything you do.
My feelings are this: If this is a really important gig and it could lead to many other and more potentially lucrative gigs, I want to walk in looking and sounding like the second coming of (insert your fav artist here or yourself if you so choose)! Walking into a gig with speaker on a stick tells me, the gig isn't that critical to me, we can run sound from the stage, stick some dinero in the 'ol wallet and mosey on down the road. If I think a good reference from "Club Wango Tango" is going to get that gig I've been trying to get into at "Summerfesto", then maybe I should spend money to make money. Use the gig pay for quality production. Keep in mind there are a ton of out of work sound and light guys/companies right now that will cut good deals just to bring in some revenue while waiting for their next drywall job. I personally always want to look and sound my best which does require production. Altho if I just have an op for easy money, I'll do a speaker on a stick gig.
Now, that said, on to the dudes who want to bring in a vintage 80's PA with four subs per side and eight top boxes with eight wedges and a 40 channel FOH console and sixty four par 64's with a follow spot and a half dozen foggers: Get a grip. That is so stupid to haul all that crap into Guido's Tavern to play for a max crowd of 75-100 people. 1st off, Guido is scared sh*tless that "you-a gonn-a knock-a sometin-a off-a da walls." So if Guido has a so-so night but he's waiting until 5am to get your butts out of his club so he can lock up, go home, and be back at the bar at 9am? Get serious, you won't be back at Guido's! Your 1st impression was your last one here.
Take only in what you need, no matter what the idiot guitar player in your band says. I'm assuming because that's always been the bonehead I've worked with that insists on the "full show, it's already in the truck". Whether you are loud or not, you are perceived as being loud. Sure it is a stereotype to you, because you've mastered this taking 4 hours to set-up and 5 hours to tear down method of looking huge and sounding quiet. Even though you are the one in a million, the rest of the world don't work quite like that. Save your backs and your relationship with the talent buyer, leave the "full show" in the truck until you are playing a place that warrants the gear. A buddy of mine that runs FOH (on a laptop) for a major Country/Americana artist with a boat load of Top 40 hits, is running a single 15" D&B sub with three dual 8" two-ways in an array on pole mounts on the subs for audiences of up to 1,200 people and had gain to spare. It can be done with small gear. Just use big ears!
This may not get you more work, but it won't stop you from going back to play a club because you chased their regulars out with the threat of ridiculous volume. Outside of your buddy Leo who wants to hear "Slayer Man!", 98% of the audience want to be able to shoot the breeze while you are playing, pick up chicks or dudes, and have fun dancing to songs you don't want to be playing. They really don't go to see you at all. If they dig you, it was because you made a great 1st impression.
And nothing at all ruins a great gig like spending hours afterwards being a roadie, or watching half the band sit and drink while you are loading the truck.....already got the t-shirt...
My feelings are this: If this is a really important gig and it could lead to many other and more potentially lucrative gigs, I want to walk in looking and sounding like the second coming of (insert your fav artist here or yourself if you so choose)! Walking into a gig with speaker on a stick tells me, the gig isn't that critical to me, we can run sound from the stage, stick some dinero in the 'ol wallet and mosey on down the road. If I think a good reference from "Club Wango Tango" is going to get that gig I've been trying to get into at "Summerfesto", then maybe I should spend money to make money. Use the gig pay for quality production. Keep in mind there are a ton of out of work sound and light guys/companies right now that will cut good deals just to bring in some revenue while waiting for their next drywall job. I personally always want to look and sound my best which does require production. Altho if I just have an op for easy money, I'll do a speaker on a stick gig.
Now, that said, on to the dudes who want to bring in a vintage 80's PA with four subs per side and eight top boxes with eight wedges and a 40 channel FOH console and sixty four par 64's with a follow spot and a half dozen foggers: Get a grip. That is so stupid to haul all that crap into Guido's Tavern to play for a max crowd of 75-100 people. 1st off, Guido is scared sh*tless that "you-a gonn-a knock-a sometin-a off-a da walls." So if Guido has a so-so night but he's waiting until 5am to get your butts out of his club so he can lock up, go home, and be back at the bar at 9am? Get serious, you won't be back at Guido's! Your 1st impression was your last one here.
Take only in what you need, no matter what the idiot guitar player in your band says. I'm assuming because that's always been the bonehead I've worked with that insists on the "full show, it's already in the truck". Whether you are loud or not, you are perceived as being loud. Sure it is a stereotype to you, because you've mastered this taking 4 hours to set-up and 5 hours to tear down method of looking huge and sounding quiet. Even though you are the one in a million, the rest of the world don't work quite like that. Save your backs and your relationship with the talent buyer, leave the "full show" in the truck until you are playing a place that warrants the gear. A buddy of mine that runs FOH (on a laptop) for a major Country/Americana artist with a boat load of Top 40 hits, is running a single 15" D&B sub with three dual 8" two-ways in an array on pole mounts on the subs for audiences of up to 1,200 people and had gain to spare. It can be done with small gear. Just use big ears!
This may not get you more work, but it won't stop you from going back to play a club because you chased their regulars out with the threat of ridiculous volume. Outside of your buddy Leo who wants to hear "Slayer Man!", 98% of the audience want to be able to shoot the breeze while you are playing, pick up chicks or dudes, and have fun dancing to songs you don't want to be playing. They really don't go to see you at all. If they dig you, it was because you made a great 1st impression.
And nothing at all ruins a great gig like spending hours afterwards being a roadie, or watching half the band sit and drink while you are loading the truck.....already got the t-shirt...
I always ask the soundman to let my eq flat on the PA , I do my own sound with my fingers, my amp , or my onboard preamp when I use the active bass. Generally I like to have a solid 65 hz(on the amp) , and then I cut highs (3/4) and the mids (1/4) . This way I don't eat the keyboard's low mids .
