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Sound Reinforcement - Forums for Live Sound Professionals - Your Displayed Name Must Be Your Real Full Name To Post In The Live Sound Forums => The Basement => Topic started by: g'bye, Dick Rees on September 10, 2017, 08:07:33 PM
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Photo of the settings on a DeVille for the last act of the day. Great left-handed guitarist on a Gibson thin hollow body, not sure of the model. Is thete a sunburst 335? E906 on the amp. Stage level was cool, so much so that the keys player 14' away needed guitar in his monitor.
Sometimes you win.
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e906?
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No man, it's a 960, it's like 54 more than the 906.
;<)
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Is there such a thing? I like the 906. I guess id like the e960 54 better.
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A guitarist I frequently mix is incredibly low in volume and everyone else onstage is always needing him in the monitors. If you could get the drummer to layoff the cymbals as he hits them the top of every measure it be very stable stage level.
Dick is that your Monster Cable?
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A guitarist I frequently mix is incredibly low in volume and everyone else onstage is always needing him in the monitors. If you could get the drummer to layoff the cymbals as he hits them the top of every measure it be very stable stage level.
Dick is that your Monster Cable?
That's a GUITAR cable. I only have audio and power cabling. I don't stock guitar parts...
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Photo of the settings on a DeVille for the last act of the day. Great left-handed guitarisy on a Gibson thin hollow body, not sure of the model. E906 on the amp. Stage level was cool, so much so that the keys player 14' away needed guitar in his monitor.
Sometimes you win.
YES!! Presence control...OFF...as it should be. It should be relabeled..."Worthless Fizziness."
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That's a GUITAR cable. I only have audio and power cabling. I don't stock guitar parts...
Didn't know if you strung the 906 through the handle. Didn't think you were a "Monster" kinda guy.
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Sorry that all got stuck in the quote.
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But what about his tone? Wasn't it awful because of the low volume??? (end sarcasm)
There's nothing better than working with a band where the guitarist and drummer both "get it" - that the amp doesn't need to be set to 11, and that the snare doesn't need to be cracked at 120dB with every hit.
It's so wonderful when the stage volume is appropriate for the venue/genre.
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But what about his tone? Wasn't it awful because of the low volume??? (end sarcasm)
There's nothing better than working with a band where the guitarist and drummer both "get it" - that the amp doesn't need to be set to 11, and that the snare doesn't need to be cracked at 120dB with every hit.
It's so wonderful when the stage volume is appropriate for the venue/genre.
Indeed! In my several years touring with Tanya Tucker, the lead guitar tone delivered from Roger Eaton's 15W boutique amps was never anything short of spectacular. And he was standing 15 feet from Jack Gavin, the undisputed loudest (arguably awesomest) drummer out of Nashville. Those guys understood dynamics and sound reinforcement. And everyone in the room was in a happy place.
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The Fender Hot Rod series have cost constrained output transformers and sound terrible turned up. Particularly the Deluxe. The Deville get's pretty loud before this happens and when you push them too hard, they turn into this Tube Screamer kind of middiness, which some folks actually like. At reasonable volumes they can sound great though if the musician has hands.
As for the Monster Cable? ::) Overpriced, microphonic junk. Especially into a high impedance tube amp. Slap one on a stage and it's almost as loud as the guitar.
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Most Fender tube amps, including the Deville, barely produce any volume at "2" and start to "grind" at about 4-5. I would imagine this player has a good clean boost between the guitar and amp pushing the pre amp, but not too hard. The result is a good full clean sound with some fullness to it.
This player is only using the clean channel of the amp, obviously cares about the levels, and has set the tone controls on the Deville where it will sound very much like a Princeton Reverb and at the same output levels. Good on him, and an example of what I preach constantly.
Exceptions may be the Princeton clones I build that can be turned up to "8" in most cases without distortion (trade secrets here). Maybe Steve Hurt will chime in about the Princeton clone I built for him.
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Yes, Bob, he did have a "drive" pedal. I didn't get a picture of it, just a non-discript gray box labeled over-drive IIRC.
Is this a 335?
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There are more boutique drive pedals out there than kick microphones. And they're getting to the point where the amp doesn't need to be cooking to sound natural.
Nondescript might be a Wampler. But everybody and their cousin are playing with part substitutions in a Tube Screamer and putting them out on the internet.