Posts by chu

    Singers seem to complain about a bad mix more than others. This is often for good reason and I can relate since I sing as well. Nothing worse than having to sing without proper input to stay on pitch. Being forced to over sing is a horrible situation and can lead to physical issues. My first attempt to cure this situation is to 'force' the stage volume down. Most times, the other band members won't comply. Not much to do in that case.

    My standard answer for the prima donna singer that complains for no good reason is "I'll add volume if you add more talent"

    Singer here too and i agree entirely, stage volume is a killer. I also find that my voice confuses my perception of my volume. I will often consider that i can barely hear myself yet if i capture the audio either from the desk or via a decent in room mic setup, i realise that i'm really loud. But as soon as i sing, it seems to disappear.

    Weird but that's why I now use IEMs and have my own XR18 mixer in my rack behind my Kemper. My very own monitor mix, at every venue we play, without any drama from the sound guy!

    I transitioned from playing live to FOH around 1994. I've been doing av installations here and there since 1995. It was a rude awakening for myself to switch sides, I found out I was the jerk that no sound guy likes to deal with, and I've had that paid back to me a hundred fold lol! I learned that trick pretty early on Ruefus, I always label a spare channel or two to adjust when audience members decide to be helpful, works about 99% of the time.

    I've at best been the sound guy when no one else turned up, I know what i'm doing but i'm not a pro, or anywhere near close.

    I've never done so and not experienced a primadonna musician that wants this and that, complaining that they can't hear themselves or someone else. If i get on stage to hear what they mean, I can always hear what they can't.

    At the same time, some guys will make the most basic request and maybe another later in the show, play their arses off with a smile on their face.

    I fully understand the desire to have a great mix but some act as if it's a make or break issue.

    A little more detail might help.

    You have an unpowered Kemper. You mention using a 4x12 and running straight to the desk. How do you primarily dial in your tones? Do you do so with the cab or through the PA?

    I had a really hard time getting the main outputs to sound close to the sound I got through a cabinet until I found a profile with a very similar cab sound and locked it across all my profiles. This massively limits the variety of tones I could have but achieved much better consistency.

    Agreed. I saw a show a few months back where the "engineer" was leaning back drinking a beer nodding his head like "all good" but the sound was atrocious. Kick drum was non existent and vocals were buried. You have to really understand and be able to diagnose low freq's to get good live sound. Ar bar level, many sound guys are the buddy that tags along and might as well be doing something worthwhile. Most aren't properly trained and the ones that are are working for a living and I can't afford.

    We played a gig last month for the bass player's birthday. We used my PA and lighting. One of things about the guys in the band is that they are super easy to please pros. Set the monitors and forget.

    The second band were great, a folky, party band with bass, banjo, washboard, drummer that just had a snare and a guitar.

    They were nice guys and knew beforehand that they were using my PA and that I'm not a professional sound engineer. Still, it was never good enough for them. They bemoaned the lack of DI box for their piezo outputs, wanted constant adjustments to the monitors and stressed about the FOH mix. Every time I stepped on stage, I noted that the monitor mixes were rather good. You could hear everything clearly, except the guitarists hollowbody piezo guitar that submitted to feedback at the slightest provocation. Further, I rarely got asked straight forward requests instead I got 'Can you fix my mic, it's loud enough but I'm really having to lean into it'. I queried if they wanted me to reduce the compression but they didn't understand the concept and so I never got to the bottom of the problem. They also complained about the mic I put on the snare being not high quality enough.

    All this whilst tiny children danced with elderly grannies, none of whom would notice if I turned the snare completely off, let alone used a better mic.

    They were paid and chose not to bring their own mics, DI boxes, preamps or monitoring solutions. The crowd loved them, they knew I was also there to enjoy the party and still they grumbled about things.

    Sadly, this experience is really common for me. I've been the emergency sound guy when no one else was around and had drummers demanding all sorts of EQing on their snare, more snare in the monitors, singers complaining about absolutely everything and so on.

    On the other hand, ive had immensely brilliant musicians make the smallest request and then say 'Good enough for me, cheers'.

    My personal rig is designed to take the soundman out of my monitoring so no matter what the PA setup, i tell the sound guy that I'm taking a split from the mic and that I need nothing else. The monitor can be turned off if they want.

    Aiming this at those ive personal experience with and not you, the entitlement of musicians never fails to annoy me. If your instrument needs a preamp or DI, bring one. If your monitoring needs are challenging, build a suitable rig to accommodate or bring your own monitor engineer.

    So whilst i agree there are some terrible sound engineers out there, there are more prima donna musicians that don't take responsibility for their experience.

    Man, that sucks. I hope you get better.

    I read a fair few examples of carpal tunnel injuries but I've avoided it luckily. I have sprained fingers and suffered some pretty significant cuts and crush injuries. I'm fortunate as I'm only an amateur and if I can't play, I don't.

    However, mid pandemic, I developed diplacusis following a series of ear infections. This essentially makes each ear hear a note as different pitches. It manifested mostly in the upper midrange, so bass was unaffected, as was high end. Most male vocals were ok within a certain range, but female vocals and distorted guitars were completely atonal and unbearable. It was as if there was a ring modulation effect in place, even when the spoken voice got even remotely raised.

    My GP could offer no advice other than it might improve a little, a lot or not at all. I ended up avoiding music and listening only to podcasts for 3 months until the symptoms improved. Unfortunately another ear infection came, bringing my diplacusis back with anger......

    I'm incredibly lucky, it did improve much more quickly but it hasn't fully gone away. My left ear is now intolerant of high volumes. I saw Devin Townsend a few months back and both he and Vola would have been unlistenable if I hadn't have taken ear plugs. The same for a gig I went to a few weeks ago.

    I'm just a hobbiest, I don't need to earn a living from music but it's been a passion for so long. However, I had grown used to the idea that my life might not feature it much anymore. It was surprisingly easier to take than I thought as I still had the rest of my health and other things to enjoy.

    But don't give up hope. Hope is not lost. Take your time, look after yourself and don't rush the healing.

    A good few updates ago, it was announced that the display on the Profiler and Remotes changed slower than the actual sound. This was a deliberate process designed to prioritise the functionality over visibility.

    Not to say that it hasn't suddenly gotten worse but to explain that the displays have always intentionally been sluggish.

    So you really need to check how quickly the profile changes sonically, not the display.

    It all changed for me when I had to become the singer too. Suddenly, all I needed was to be able to hear my guitar just enough.

    When I was a teenager, I was that guy that always got told I played too loud but I didn't care, I was having a great time. I must have been unbearable.

    Now I make sure whatever cab or speaker I'm using is positioned to reach my ears, not my legs. I keep the tone consistent and just loud enough to hear what I'm doing. I don't do anything much with EQ but my profiles are tried and tested live but somehow still sound good at home.

    Now I get asked by others in the band and sound guys to turn up (if I'm using a cab, admittedly I mostly use IEMs).

    My sound also got much better in 2017 when the second guitarist quit. He was another one of those crank it, point the cab at me and stand somewhere else guys. He even admitted that if i played lead, he would boost his sound to fill in the void....... So many decent guitarists out there but which have no concept of good band manners.

    I recall some people (right or wrong) running 2 batteries with their EMGs. Can't remember what it was supposed to do.

    I thought since EMGs are low impedance they would drive longer runs better. (like a mic cable vs. guitar cable)If not, that's another reason for me not to like them. Something about them always struck me as flat and inorganic. Just my opinion.

    Each to their own, of course.

    But phrases such as 'inorganic' tend to be banded around a little as if it's a trait of EMGs. Many of the best basses I've played have had EMGs. My favourite Strat sounds came from an EMG loaded Strat. The 81? The ones I've played have always been in guitars that didn't interest me before I even picked them up so I was destined to be non-plussed but I can't say as they were a problem (a LTD and an Epiphone before you ask - both aimed at the metal side of things).

    Don't know what to tell you. Tested with 3 different guitars. Probably just because the cable of 10 meters was 8 euro's and is just horrible quality.

    8 euros for 10m? Yeah, it's garbage. I am SO not a cable snob but it simply can't be made with decent parts or made well.

    I have indeed. Mine lives in a 10U rack case, with a behringer x18r, IEM transmitter, patchbay, Famc Liquid Tracks unit and psu strip. The Kemper is cable tied by the strap buttons onto a shelf. During transit I do have a piece of foam that wedges between the top of the toaster and the Liquid Tracks. It doesn't move.

    In a drawer below, I have an iPad, Boss SY200 and Line6 wireless receiver.

    It weighs a huge amount but is so quick to set up.

    I spent a lot of time chasing tones when I first got mine, Marshall this, Diesel that, Friedman something or other. I tried most of the big profile producers and got really close until I stumbled across a Splawn Hot Rod profile on RigManager. A quick tweak and it was everything I was looking for and covered so much ground for me.

    I settled predominantly on a Friedman BE100 for clean, Splawn for crunch and the same profile with added mids and volume for lead. I played the hell out of that until I found a Mesa profile and then it was that final 2% I wanted.

    I would never have thought that my favourite tone would come from a Mesa and my cleans from a BE100 but it made me stop listening with my eyes. I don't need a profile of my dream amp, I just want to be able to make my Kemper sound like the tone in my head.

    I don't like making drastic tonal changes with my band so i stick to variants of the same crunch profile across the whole set. My saved tones work well live to FOH, headphones at home and in recordings. I tend to reduce the gain and effect a little when recording but otherwise they work brilliantly.

    FWIW, when I first spent time with my Kemper, i chose a number or profiles and immediately set to using them at rehearsals. Having levelled them all for my needs, with the loudest I use falling just short of clipping the output, I ALWAYs find professional and RigManager content to be significantly quieter.

    There might already be untapped headroom in the profiles which hold back the full output.