EBS_freak

Even worse then! (I think the joke went over your head)

That is indeed a lucky thing. Wonder what you'd think if you suddenly had to start sharing your typical stages with DT or Joe Bonamassa though? (Would there be enough room for your rotisserie?)

Well, if she's not going to make use of it, seems a shame for it to go to waste.

DRs - since trying my first set, I've now found my home brand. Never felt compelled to move since.

Winding up mandolin players. Or harmonica players. The latter - any space in the music, off they go. Cretins.

Lol. Anyway, forget what Geddy sounds like. I only went to see the chicken.

Just thought of another if you aren't into IEMs. Give the guitarist so much monitor it literally kills them. Then when they say turn it down, say you can't... because then it doesn't right... and you need it loud so your bass tone sounds right. Works with IEMs - turn the monitoring feed up so loud they are scared to touch the strings.

Totally - although you sometimes get moments of enlightenment. I have two ways of dealing with your issue... - 1. Get everybody bar the guitarist on IEMs and have a talk back mic. Tell jokes all night. Get the band to laugh. Nobody likes not being in on the jokes. 2. Get a gig whilst the guitarist is on holiday and get in a dep. Get everybody to comment how much better the band sounded for not having a guitarist playing like every gig was a stadium. Two things will either happen 1. the guitarist learns or 2. throws a hissy fit and leaves the band. Either way, problem solved.

That's probably more a slur on the sound engineer (who may have been "told" what the bass should sound like if they want to keep their job) or theres a real stinky poo show signal coming down the DI (or out of the rotisserie)

There's no educating stupid.

Maybe overdoing it on the chicken seasoning.

In agreement there.

Thats because they were only there to see you.

7 - Dayum. Look at the latency on that thing!

As Homer would say... "Dough!"* *yes, I know it's not that spelling.... but that's the joke.

Ah so that's how he gets such a warm tone.

Lol. He loves it doesn't he?

Nope. Just something that didn't look like the logo of every unsigned metal band out there.

The logo.

There's so many cooler props than an amp that you could have on stage. Oh... and washing machines have been done.

Logo!

Try a Woojer sitting on your hips.

I'd love to see some adverts from some of the big amp companies showing complete nobodies. I think it would be a great marketing move. "This is Dave, he's just like you. Down the dog and duck. He doesn't play Wembley. He's playing through a sensible, appropriate setup - and sounds great because of it." - And Dave didn't go with whoever would give him some gear for free or a big discount.

The feel is an interesting point. Is there actually much air movement that you can feel when you are standing next to a bass rig? I have read time and time again how people talk about "trouser flapping" - go up to your rig and see where you have to stand and how loud you have to play to get so much as a twitch. The feel, for many I guess, is what the front of house is doing - or the feel of your ears getting hit with high SPL. Nothing beats going home with tinnitus and hearing damage eh? PS check out a Woojer or Backbeat for body worn haptic feedback.

I'd taken a step back but I'll bite. Here's some view points to consider. Plenty of people go to a gig, or festivals to "see" bands, yet still have obstructed view of the stage due to people's heads... or in some cases, end up watching the show via big screens alongside the stage. Would make for a pretty poor experience if the sound was pants too. For a lot of artists, it's all about seeing the spectacle of the show but it's a given that the sound has to be good also. You may recall the media couldn't wait to rip into the Spice Girls when there were complaints about the audio. Seeing the show was not enough. And you could argue that the audience were a home crowd and not exactly your audiophile audience. Plenty of people have been to gigs where the sound as been horrible... and it's always the sound mans fault for doing a stinky poo house mix. In reality, the sound guy is an important member of the band - even if they aren't on stage. They can make or break your sound. If somebody wants to come on stage and run an amp so loud to get "their sound" and feel good, so be it. After all, they are the talent. However, ultimately - and this is the science here, you are going to get bleed into other microphones and the mix will suffer. How much depends on how much of those little nuances that impact the mix sum. So yeah, there's so much you can get from baffles, correct mic choice and placement, monitor wedge volume etc... I get that you won't get a CD mix in a gig situation - but as an audience member you do want to be able to hear things clearly - and you don't want to have that lone guitar cab overpowering the front of house speakers. Or perhaps you do. You'd hope that an artist would want to sound the best that they could out front, even if it means compromising what you want on stage - after all, it's the audience that are paying your keep. In reality, it's about the right rig for the right gig. If you are playing a small gig, you have to compromise with the backline you are using to work with the sound guy to make you sound the best out front. If people don't want to sound the best out front, why are they even bothering? It's a certain arrogance of artists that has always been entertained for so long.