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If there is PA support, why have such a large rig on stage?
- Thread starter glocke1
- Start date
I would use my large rig if.....I had roadies but only cause it looks cool.
I also play my own version of a Ampeg fliptop and cover many Rod Stewart tunes...I think they sound as good as a fridge amp and don't see any need to play anything else regardless of style...I can always turn down the gain.
I use to play with an Emmy award ( 2 winners-22 nominations) winning sound engineer who plays drums. On our first gig together as I just finished setting up my concert rig at an outdoor concert (see my avatar), he went " That's got to be the heaviest DI I've ever seen." Point taken. After we did a gig or two together, he said he was really digging my sound.
I get the minimal amount of gear concept and frankly, I'm happy for those that have found away not to haul a ridiculous amount of gear to find something that works for them. Personally, over hundreds of gigs over the last decade with FOH support, I have yet to get as good a of stage sound/presence out a stage monitor or IEMs than my rig.
Is it overkill? Maybe so, but I don't have my gear cranked to the point just short of failure. It's just enough for me to hear my bass the way I want it, clear and clean. I'll even venture a guess, for those of you who's are not using IEM and relying on wedge monitors, you're probably creating more on stage energy than I am to hear yourself, especially if you have a loud drummer. JMO.
It's perfectly possible to have stage presence without an amp, or even light on your face. I think an amp just gets in the way visually. The fact that I'm only in the PA (no amp on stage) also means the FOH person has complete freedom to do whatever is necessary to make me sound good, without any stage wash competing with the mains. It's also clearer in my ears without an amp. Yes, there is a learning curve, but ampless is the way to go for most gigs.
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For NYE, I played on a stage that's usually ampless — exclusively IEM/FOH.
Because it was a "special" event, I asked beforehand, and was allowed to bring my MESA WD-800 along with a Subway 2x15 and 1x15 cab. I worked with the sound guys during the rehearsal to make sure I wasn't making their job impossible, and kept the volume low enough on stage where they could still add bass to the overall mix and had control, yet the band was able to experience the benefit of some added stage presence and girth.
The lead electric guitarist, who plays the same stage regularly, remarked that the presence of the bass had enough of a positive effect in what he experienced that it changed the way he played. He didn't feel like he needed to chug/compensate/cover the lower frequencies as much as usual; instead, he was able to texture more in the sweet spots of where electric guitar fits into the mix. That wasn't due to any virtuosic performance on my part…just that the bass sounded and fit in like the bass should.
That was cool feedback…it's not just about the visual, or something that can be necessarily duplicated by cranking up an individual instrument level in the IEM mix. Although I fully admit I love to look at gear on stage, it's more important that it sounds good. For me, a little extra schlepping of gear is totally worth the end result, even if it's a moderate enhancement that perhaps only the bass player and other musicians would be likely to notice.
Because it was a "special" event, I asked beforehand, and was allowed to bring my MESA WD-800 along with a Subway 2x15 and 1x15 cab. I worked with the sound guys during the rehearsal to make sure I wasn't making their job impossible, and kept the volume low enough on stage where they could still add bass to the overall mix and had control, yet the band was able to experience the benefit of some added stage presence and girth.
The lead electric guitarist, who plays the same stage regularly, remarked that the presence of the bass had enough of a positive effect in what he experienced that it changed the way he played. He didn't feel like he needed to chug/compensate/cover the lower frequencies as much as usual; instead, he was able to texture more in the sweet spots of where electric guitar fits into the mix. That wasn't due to any virtuosic performance on my part…just that the bass sounded and fit in like the bass should.
That was cool feedback…it's not just about the visual, or something that can be necessarily duplicated by cranking up an individual instrument level in the IEM mix. Although I fully admit I love to look at gear on stage, it's more important that it sounds good. For me, a little extra schlepping of gear is totally worth the end result, even if it's a moderate enhancement that perhaps only the bass player and other musicians would be likely to notice.
I work in many different scenarios with many different engineers.
If there's a drummer, I'm bringing an amp that'll match the sonic impact of an acoustic kit. It ain't just about volume, either. It's about feel and acoustic energy, and being able to lock in and create some magic.
Not taking an amp to a gig is like heading out to the pool and hoping to borrow some trunks when you get there. Does the sound guy really want you blasting through their expensive wedges? You better bet that the singers are getting priority at soundcheck, too.
Then there is gigging with IEMs, which is like skinny-dipping...you better hope everyone is into it too or you're going to challenge at least a couple of people. Our singers got screwed with their IEM on Saturday, the engineer was hopeless. Stuff that.
If you do one gig and have the same deal everytime, that's cool. I used IEM for years on a big show with a semi truck of line array and a stage engineer. That was fine.
Most club gigs and such though you have to be prepared to pull your own weight sonically.
If there's a drummer, I'm bringing an amp that'll match the sonic impact of an acoustic kit. It ain't just about volume, either. It's about feel and acoustic energy, and being able to lock in and create some magic.
Not taking an amp to a gig is like heading out to the pool and hoping to borrow some trunks when you get there. Does the sound guy really want you blasting through their expensive wedges? You better bet that the singers are getting priority at soundcheck, too.
Then there is gigging with IEMs, which is like skinny-dipping...you better hope everyone is into it too or you're going to challenge at least a couple of people. Our singers got screwed with their IEM on Saturday, the engineer was hopeless. Stuff that.
If you do one gig and have the same deal everytime, that's cool. I used IEM for years on a big show with a semi truck of line array and a stage engineer. That was fine.
Most club gigs and such though you have to be prepared to pull your own weight sonically.
The drummer needs to feel the bass, 'cause god knows that is what he is clocking off of..
Amps on stage help paint a picture for the audience it's part of or not part of the production .
If it's rock 'n roll, I don't want a sterile stage. I wanna see hardware / backline, flashing lights, logo badges, multiple cables for enhanced trip hazards, etc.
Riis
Riis
JeezyMcNuggles
Inactive
- Feb 23, 2018
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Exactamundo. We play some theatre gigs and they're pretty fussy about no stage wash from amps onstage. So were 100% IEM. But, since we are a 60s tribute act we're working on some lightweight fake cabs and heads to give us a more authentic look.
Flash from the past. Standing in front of two Sunn 2000s cabs. Pants flapping vision vibrating.
You forgot bass geeks. They not only notice, they endlessly analyze every aspect of the equipment and how the player uses it, along with a critique of the bass players choice of everything from their cables to the clothes they are wearing, and how all that "fits" the band, the material, the venue, and their personal preferences if they were in the performers place.
Little wonder folks call us bass geeks.
+1
I don't get the Richard Craniums that disparage anyone that likes a big rig. When I had roadies I used an SVT and fridge. Quite nice on a big stage.
devnulljp
Supporting Member
Played in a band that you needed volume on stage. The drummer smashed his drums, the guitarist turned to 10, what was a poor bass player boy to do?? Now I own too much equipment, so 2022 is the year to discharge some of it, but back in the day...oh boy.
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