VREEEEVROOOOOW wrote:We played a show at this venue. They asked for a technical rider. So I gave my usual request—JC-120 or Twin Reverb. Got a Twin Reverb, and was pretty happy. Showed up for soundcheck. Did a soundcheck. Sounded fucking great. We looked at each other like "fuck yeah!", and were about to head backstage, when the sound guy came up and was like "THAT WAS WAY TOO LOUD". Turns out I got a Twin Reverb, but could only use it if I had the volume at 1. Yes, 1. Not "practically 1", or something else for the sake of embellishing the story, but literally *1*. Let me tell you, Twin Reverb at 1, does not sound great. And it does not feed back a whole lot, to put it mildly. In the end I got an Orange Tiny Terror, which sounded absolutely awful with my pedalboard which is designed for a JC-120 level of headroom. There was virtually no difference between distortion on and distortion off, let alone between all the different distortions I have.
#giggingInNorway
You get a twin if you ask for it atleast. here all venues only supply the worst marshalls or like a bugera shitmachine.
That's why you soundcheck at 1 then play uninterrupted at gigging volumes
imagine finding out your son is your daughter & she's into noise music
I get that different scenes work a bit differently, but what sort of shows are these where you aren't bringing your own amps? I've had venues try to talk me out of using one or more of my amps, but there was always an expectation that I'd show up with everything I needed to get the sound I wanted. Is that just American privilege? DIY punk protocol? Some combination thereof?
dubkitty wrote:so you didn't want people to hear the singer?
The "singer" was usually me, and yeah, not really. (:
Former Bands: Lazy Gaga, Kadis-kot, Pyramids, In First Person, the Holy Fucking Spirit, Take Down Your Art, A Petal Fallen
I guess it is a cultural thing. Here techs wanna use the same stuff the entire gig as much as possible. I've also been to several venues where the drums have been screened off...
imagine finding out your son is your daughter & she's into noise music
I think, going full-on amateur psychologist on a cultural level, that live music just isn't particularly highly valued as an experience here (Swe) any more. For any band on less than a decent touring level live music is just not worth it, and this is reflected in how many gigs there are, how easy they are to get, and how you are treated as a band at these gigs.
So the whole idea that a band could have their own ideas about how they want to sound is completely irrelevant - you just gotta get the bands in and out again and keep the punters in the bar.
Gone Fission wrote: ↑Thu Oct 24, 2024 2:21 pm
That’s quarter-assed at best.
goroth wrote:I think, going full-on amateur psychologist on a cultural level, that live music just isn't particularly highly valued as an experience here (Swe) any more. For any band on less than a decent touring level live music is just not worth it, and this is reflected in how many gigs there are, how easy they are to get, and how you are treated as a band at these gigs.
So the whole idea that a band could have their own ideas about how they want to sound is completely irrelevant - you just gotta get the bands in and out again and keep the punters in the bar.
I don't think it is a cultural thing. What you are saying is a lot of the US, I've heard from more than one person that in the area I live [Puget Sound/"Seattle"] is one of the better places with more venues that elsewhere... and yet it has been fizzling down for years.. even the cover bands are all about gone [about 2017 they were all on a super fast decline] and because there are SOOOO many bands here you were super lucky to get a real gig every couple of months...
The only time I've had to use a house amp was when a big club was doing one of the dumb-ass showcase things where you get 20 bands to all play 3 songs.. those got really popular around 2004 and really helped... dive away a good percentage of the audiences...
Benn Roe wrote:I get that different scenes work a bit differently, but what sort of shows are these where you aren't bringing your own amps? I've had venues try to talk me out of using one or more of my amps, but there was always an expectation that I'd show up with everything I needed to get the sound I wanted. Is that just American privilege? DIY punk protocol? Some combination thereof?
A lot of it might have to do with the means/space of a given city. Years ago when I lived in Houston, where space is plentiful, clubs are large, parking is available, and everyone drives. EVERYONE brought their own gear to play a show always and I never played a single place that had any amount of backline. Nowadays I live in NYC where space and driving is limited, and backlines are the norm. Almost every place has drums and a bass amp at a minimum, and often guitar amps are available as well. You can opt to bring your own gear as you like, but there might not be much room to stash it while you're not playing.
Benn Roe wrote:I get that different scenes work a bit differently, but what sort of shows are these where you aren't bringing your own amps? I've had venues try to talk me out of using one or more of my amps, but there was always an expectation that I'd show up with everything I needed to get the sound I wanted. Is that just American privilege? DIY punk protocol? Some combination thereof?
A lot of it might have to do with the means/space of a given city. Years ago when I lived in Houston, where space is plentiful, clubs are large, parking is available, and everyone drives. EVERYONE brought their own gear to play a show always and I never played a single place that had any amount of backline. Nowadays I live in NYC where space and driving is limited, and backlines are the norm. Almost every place has drums and a bass amp at a minimum, and often guitar amps are available as well. You can opt to bring your own gear as you like, but there might not be much room to stash it while you're not playing.
Not really. I find that bigger more equipped venues have been more keen on using their house stuff
imagine finding out your son is your daughter & she's into noise music
Sure... but I've run into the same amount that don't know what they are doing or have a set way they do things no matter if it actually works, or sounds good.. like the guy that ran the sound at Louie Gs that would only mic the tweeter on you bass cab... and if you moved it he'd turn your mic off and only use direct.. and THAT is why I'm that asshole that will bring a 400 watt tube amp to a coffee shop.. you pull that shit and I'll just turn my amp up so I don't have to go through your fucking PA :surprise:
I think the reason tweeters are in bass cabs originated as some cobbled together solution to get the cab sound louder at not-optimal wattages. It's kinda like a bright cap. They really suck. Mid-drivers in bass cabs tho
imagine finding out your son is your daughter & she's into noise music
a Fendet bright switch can be very handy if you want to play country-esque stuff on a humbucker guitar, and would probably go well with electric 12-string.
In girum imus nocte et consumimur igni
FIFTY YEARS OF SCARING THE CHILDREN 1970-2020--and i'm not done yet
