EBS_freak

Alternatively, have the amp(s) on the side of the stage, pointing towards the ears of the guitarist(s). Mic up the amps and let the PA push the sound out front. Being off axis with any vocal mics means you'll get less bleed through those too. Better dispersion through the front of house meaning it's going to sound better for the audience too. Or even better, go full Springsteen and have your amps facing towards the sky. Mic for monitors and front of house. Look. Plays massive stages - and still understands the importance of preventing bleed into the mic. Good on ya Bruce. (also note the combos pointing across the stage) And wider shot for other amps -

Exactly like when a baby cries 😛

That's down to the quality of the samples. The inbuilt sample set of a hardware unit is much smaller than say, something like Addictive Drums, Steven Slate Drums, EZDrummer etc... Their sample library is massive and contains all the nuances that are otherwise uncaptured using the built in sample set natively found on electric drum kits. Stick something like the Zep kit through a decent PA and it'll be pinning you* to the back wall no problem. * It won't, just like your trousers won't flap when you stand in front of your bass amp - but you get my drift.

I think you would be hard to find a kit from the name manufacturers that doesn't support multiple velocities!

Drummers. Rule 1. Right kit. Having a big kit is generally loud and sounds flabby and uncontrolled. Get a smaller, quieter acoustic kit. Its not only quieter, it makes things sound tighter. Get darker sounding cymbals. They tend to be less shrill and quieter. On a small stage, or troublesome room, the sound from acoustic kits fly off everywhere, bouncing into open mics. In which case, get a decent electric kit. Most drummers moan about electric kits. Most drummers moan that they can't hit drums hard if they are told to quieten down. An electric kit gets around this. An electric kit going into a laptop and triggering a decent set of samples will sound infinitely better than an acoustic kit... or the stock sounds from an electric kit. HOWEVER, nothing beats the feel of a genuine hihat. Simple. Run an electric kit and mic up a separate hihat. (Even better, it frees up another trigger channel for other sounds). And the next thing - mic up the kit appropriately. A small kit miced up properly and subjected to some processing will sound better than a big kit. It's easier to make a small kit sound fat through a PA, than to try and calm an overly live large kit.

re: Hotel California. Given the singing going on, I think if I was the drummer, Id be losing the will to live also.

/thread.

Theres a lot of truth in that. I went to see Rudimental at Winter Gardens. The sprung dancefloor and all the sub bass made it quite the experience - certainly something your average person couldn't recreate at home.

For future reference - choose the one with the empty diary (but I guess that’s pretty much everybody at the moment)

Pyschoacoustics and bone conduction/transition of frequencies through the body.

Indeed - I made a similar comment earlier about "trouser flapping". In order for your trousers to give the quiver that people talk about, it's gonna be jumbo jet taking off kinda volumes.

Mic them up. Process it on your desk. Drum heaven. Even better if they are small shells. Tight, great sounding drums without all the flab and overtones (and unwanted cross drum resonance)

Oh man, dont say that. He'll think he's missed out 😛

Ha! I shouldn't worry too much. It wasn't funny anyway.

The latter... well, yeah... unless you were on axis to their amps.

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.