EBS_freak

Depends upon your kit as to whether the sound is awful. If you took away the visuals and titles of this video and you had just the audio... I would say it would have most people fooled. If it doesn't, I would wager, that this is hundreds of times better sounding than the woeful micing jobs that I've heard on the circuit. Of course, this sound can be had at low volumes too. There's a lot of snobbery about digital stuff - whether it be modellers or electric kit... but those were the ideas of 20 years ago. Don't get me wrong, I like analogue kits, especially nicely miced and processed - as long as the room is big enough to take them of course. Oh... and lets not forget that electric kits don't tend to look very "rock n roll"... but thats why you get a set of Jobecky shells.

Oh the phase, the phase! And to think some guys on here are anal about their speaker placement.

"Please dont check my Internet history" that was it, wasn't it?

For 24 years I've been living next door to Alice. Even if you don't write profanity into a song, some other fker will.

Foldback

Depends on the kit and the amp - this isn't necessarily true for all.

That's it, dynamics are officially dead.

Tiny kits, miced up. Let the PA do the work. But drummers generally see their kits as an extension of their lower regions.

That's the dinosaurs for you.

The only time you'd use subs on stage is behind the drummer usually on a large stage in a large venue to enable the drummer to have some feel. Mostly this has been negated by using just some side fills and a buttkicker. What I read from the OP does make me question what the "band leader" knows about setting up PA. The function scene is all about low, or no, stage volume. Running a setup like this just makes zero sense. I can't see any advantage in setting up like this.

Glad to be of service! It can be a time consuming process but it will fix the majority of your balance and sitting in the mix straight off.

As BigRedX states, it's the EQ on the PA that compensates for the room. Or the output of the modeller if you are running a FRFR cab. If you have your modeller set up you'll never have to touch the patches... ever.

But all that means is that they have 10 years of setting things up in a less than ideal manner. Low frequencies on stage leaking into the open mics, phasing isssues etc...

Its because they are all made to order. They work... and made well - but you could fashion your own up from bits down Wickes and some gaffa is you are that way inclined.

They work - there's only one problem. They look SHHHHHH1T! Guess it depends on your venue you - wedding photos immediately look rubbish if they are in shot.

Kemper user here - and I'm very pleased with it... - like with all multiamp type things, it's always a challenge to get a consistent sounding rig, especially when using lots of patches and effects. How do you get it right? well..... that's what rehearsals and lots of gigs are for... However, there are a few things to watch out for and may help you. EQ - for example cutting your mids is going to make you sound weaker in the mix. People also have a habit of whacking up the bass control... that bass control is generally not your friend if you want deep punchy bass... you'll soon end up with a load of mush, especially in a band situation. This leads on to... Compression - (especially multiband), can help you cut through and sit better in the mix than without Volume - getting your patch level consistent is imperative. You can check this by playing a loop back through your settings into a DAW and watch the meters. (Of course, the above two still need to be taken into account - just cos they meter the same doesn't meant they are the same!) Here's the secret... record your band with a multitrack capable desk. Playback the set with your dry bass sound going through your modeller. Then, you can tweak your setting on your modeller to your hearts content until it sits right with the rest of the band.

Subwoofer behind you on stage...in a pub? Sack the PA man.

And it's an excellent thing to have if the monitoring is amazing.

If it's anything as good as the Woojer, it's awesome. We been talking all that shaker sort of stuff over in the IEM thread.

Jim Cairnes bass down in Devon. Wow... that's quite far down south for a Jim bass.

I had a bass built by Bernie Goodfellow with the primary spec that it had to be light - it certainly meets that spec and balances perfectly. Sound wise, it's certainly in the more versatile camp when it comes to bass tones. If you want something a bit different then you could do a far worse!

Ooh - I like that feedback control.

Rock n Roll killer

"Nice to hear a guitarist at a sensible volume... they have got it just right - running it hard enough so they can get 'their' tone from the valves"

Solid drummer.