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[Paul Dershem]

If only there were a way to evaporate the sea of suspicion and distrust that so often separates performers and soundmen...

With drummers all you have to do get them to play the whole kit after you've checked each individual drum.  When they've got all four limbs flailing they can't seem to remember that they were holding back and they'll give you their realistic dynamics.

"Musicians" like this who try to sandbag you during sound check think you're stupid and that this will trick you into giving them more level.  At this point it's war.  You just have to be on top of your social skills and psychological game to win with these types, without pissing anyone off.

[Rob Gow]

With drummers all you have to do get them to play the whole kit after you've checked each individual drum.  When they've got all four limbs flailing they can't seem to remember that they were holding back and they'll give you their realistic dynamics.

"Musicians" like this who try to sandbag you during sound check think you're stupid and that this will trick you into giving them more level.  At this point it's war.  You just have to be on top of your social skills and psychological game to win with these types, without pissing anyone off.

True. I usually do the kick, then snare, then alternate between kick and snare. Then we do the toms. After that, I get them to do a full beat, including Tom fills, to balance out the kit.

 I usually don't have much trouble with sandbagging. A lot of the time, a gig will include a local band as an opener. I'm on great terms with all the local bands, soundchecks go well, and they trust my ear for the FOH sound. When the other bands hear the rig in action, they usually realize they are in good hands.

If only there were a way to evaporate the sea of suspicion and distrust that so often separates performers and soundmen...

I've played in bands since I was 14, I've kept a few pics and videos of my old coverband, when I had big 80's hair. I also have an extensive guitar collection, which I show the guitarists. It kinda helps break down the "us and them" mentality, and shows that I know what they want on stage, because I've been there. I love a good mix, I know that the drums need the thump, I guess it helps up my band cred.
 
I am usually able to get the band to have a reasonable stage volume, and give them plenty of vocals and whatever they want in the monitors. Each wedge gets 200W and it's been enough so far. The bands are happy with the stage sound and I'm able to have a great mix out front, but it all comes from having enough rig for the gig.

[Tim Padrick]

....but it all comes from having enough rig for the gig.

Unfortunately, all too often, having enough rig for the gig is too much for the room and the audience.

[Tim McCulloch]

....but it all comes from having enough rig for the gig.

Unfortunately, all too often, having enough rig for the gig is too much for the room and the audience.

And that fault lies solely on stage, with the performers.  If one needs mondo PA to keep up with the SVT and Marshall full stack shoe-horned onto the tiny corner stage at Joe's Watering Hole and Taxidermy, there's something wrong with the player's concept of 'entertainment', at least as it pertains to playing the room, not the ego.

[Dave Barnett]

Unfortunately, all too often, having enough rig for the gig is too much for the room and the audience.


And that fault lies solely on stage, with the performers.  If one needs mondo PA to keep up with the SVT and Marshall full stack shoe-horned onto the tiny corner stage at Joe's Watering Hole and Taxidermy, there's something wrong with the player's concept of 'entertainment', at least as it pertains to playing the room, not the ego.

That's the promoter's call, not ours.

[Tim McCulloch]

Unfortunately, all too often, having enough rig for the gig is too much for the room and the audience.


And that fault lies solely on stage, with the performers.  If one needs mondo PA to keep up with the SVT and Marshall full stack shoe-horned onto the tiny corner stage at Joe's Watering Hole and Taxidermy, there's something wrong with the player's concept of 'entertainment', at least as it pertains to playing the room, not the ego.

That's the promoter's call, not ours.

And you'll note that I didn't take a position as the 'sound guy' on it.

Have fun, good luck.

Tim Mc

[Paul Dershem]

I've been playing bass in bands since '68, and routinely run into noobie players usually haven't figured out the difference between making themselves sound good at home, and making an entire band sound good in public. To make matters worse, far too few band members (I didn't call 'em musicians for a reason) educate themselves about sound reinforcement; most don't know that it's at least as important to rehearse good sound as it is to rehearse songs. Pro musicians understand what it means to play the song and not the instrument; they also know that without good sound, the music fails.

....but it all comes from having enough rig for the gig.

Unfortunately, all too often, having enough rig for the gig is too much for the room and the audience.

And that fault lies solely on stage, with the performers.  If one needs mondo PA to keep up with the SVT and Marshall full stack shoe-horned onto the tiny corner stage at Joe's Watering Hole and Taxidermy, there's something wrong with the player's concept of 'entertainment', at least as it pertains to playing the room, not the ego.

[ProSoundWeb Community]