Malicious Sabotoge

[Rick in Dixie]

I recently played at an event with several other groups where it was since less to set up several different PA systems since we were going to be playing 2 rounds each. Unfortunately the group that owns the system has controlling rights. After each group done their sound checks the system was to be set for the first group and so on, instead, all the levels were pulled down flat and everything else scrambled, so through about the first 3 numbers of each groups set, time was spent trying to set levels as they performed. Now when the time for the owner of the system hit the stage, everything was superb. This happens a lot in the Gospel Music Industry, so I was just curious if it did in other genres of music as well. I know it's best to always use your own system, but it's not always a choice.

 

[Thor]

Had it happen on the 8th. Original and cover band show.
Sound check was perfunctory, the sound guy used our set
to get the next band's sound dialed in. By the end of the night
he got it pretty good. Rock genre btw.

I think we did ok, with no help from him. There were 2 well
controlled tube guitar amps and a house SVT on stage, so
we did a little stage volume dialing. Once the monitors were
tweaked we were good.

OTOH the band after us was all hissy after they heard us play.
But we had a very good guitar sub and the frontman
is superb. Guess we damaged their fragile egos a bit.

 

[Stinsok]

It happens even with regional and national bands.

 

[b_carville]

Used to happen to my band a lot when we were opening for National acts.Especially when the PA supplied was supplied or paid for by the headline act.

Usually a case of them only letting us use so much power even though they made it look like everything was kicking.We usually brought our own soundman but they would set the limiters,etc & only give you half the power.

I've seen it a lot at big shows,too. Can't have the opener sound as good as the headliner!

 

[MatticusMania]

I'd sock someone sqaure in the face for pulling a jerk move like that!

 

[JimmyM]

I'd sock someone sqaure in the face for pulling a jerk move like that!

Fortunately, it never works. You get a good band up there, and it transcends a bad mix. I've blown plenty of "headliners" off the stage regardless of the mix.

 

[IvanMike]

sometimes a friendly aside chat with the promoter or owner of the venue will clear that problem up next time. they're paying for the best, and if the soundman is intentionaly screwing with the sound that screws the promoter.

 

[Rick in Dixie]

sometimes a friendly aside chat with the promoter or owner of the venue will clear that problem up next time. they're paying for the best, and if the soundman is intentionaly screwing with the sound that screws the promoter.

I agree........... I just met the best sound man I've worked with so far. We were in Concert with 4 other Pro Gospel Groups last night, and the sound man for the Harvesters Quartet out of North Carolina used a note book to write down the level setting for each group, and as each group came to the stage the the system was ready to go. There was very little adjustments done after we started, of course we were in an Acoustically perfect Auditorium.

 

[KPAX]

"Since less" ?
Was this text transcribed from audio by a machine?

I recently played at an event with several other groups where it was since less to set up several different PA systems since we were going to be playing 2 rounds each. Unfortunately the group that owns the system has controlling rights. After each group done their sound checks the system was to be set for the first group and so on, instead, all the levels were pulled down flat and everything else scrambled, so through about the first 3 numbers of each groups set, time was spent trying to set levels as they performed. Now when the time for the owner of the system hit the stage, everything was superb. This happens a lot in the Gospel Music Industry, so I was just curious if it did in other genres of music as well. I know it's best to always use your own system, but it's not always a choice.

 

[Rick in Dixie]

Senseless !!!!!! sorry man, I'm a musician, not an English Major. I'm sure you knew what I was trying to say.

 

[kalle74]

I think it´s rather normal procedure for multi-band gigs. The headliner is expected to be the loudest (hence dB-limits for supporting acts) and best sounding (usually due o their own dedicated engineer, who knows the band, their sound and material well, and has done many gigs with them).

Support act dB´s are limited for audience protection (if it were 100dB+ for the whole evening, everybody´s hearing would be damaged) and "dramaturgy" (the headliner is THE HIGH POINT for the evening).

I´ve experienced following (as a FOH engineer):

-The headliner refused to share input channels (them taking up 28 channels of the 33 available, and the band I was doing required 17 minimum...). Later, with pressure from house engineer, they let me use some of their channels, provided I didn´t touch their settings...

-The aforementioned band, a trio, had scattered their backline on the very big stage, and thus we had difficulties loading our stuff in. We asked if we could slightly move one of the keyboards to ease our set-up. The answer was: "ummm... no."...

-The headliner taking over 3,5 hours to complete their soundcheck (11 input channels, and using 13 of the available 16 compressor channels!), thus cutting our setup and soundcheck time into a comfy 25 min... They also reserved half of the effects processors for "their use only". BTW, on this night, the headliner was so loud that most of the audience walked out of the hall. Nobody´s ears could take it.

-Many cases of dBSPL limits over 10dB less than the headliner. As many cases of lighting restrictions ("no strobes, no blinders, no moving heads" etc...

Nowadays, the band does more headlining than support gigs, so I´m happier...