6 Jul
2005
6 Jul
'05
10:07 a.m.
Frank smith wrote:
One thing I had trouble learning as a guitarist
with a stack is that sounds projects and Marshals and such develop sound
quite a few feet in front
of the player. So you think it's not that loud but the poor people
watching you get haircuts!!
Yeah, and a 100 watt head needs to be turned up quite a bit to drive two
4x12 cabinets... for smaller venues, using just a single 4x12 is going
to be adequate (usually at about 4 or 5 you will get that classic
Marshall crunch). A smaller combo (50 watts) starts really crunching
around 2 or 3... unless you have a dual-channel lead models like the
JCM800 or higher, and you can have a nice clean sound at a good volume
also. Of course, this is for the tube amps... the solid state
*shudder* Marshalls don't require to be turned up as much before they
start crunching.
-- Brett
Cheers
Bob
tim hall wrote:
--
-- Brett
-----------
Programmer by day, Guitarist by Night
http://www.chapelperilous.net
http://www.alhazred.com
http://www.revelmoon.com
Last Wednesday 06 July 2005 00:57, Brett McCoy
was like:
And I will also contend that if the guitarist
using a 100 watt Marshall
is more powerful than the PA, he's got no business playing a full stack
onstage. For most gigs I've found a 50 watt combo (also Marshall) to be
more than adequate...
It's not that simple.
1) Marshalls don't turn down that well, even if you have one of those
half-power switches on the back you can still saturate small venues
without really trying. And some people can only afford one amp. If
you're the engineer you're going to have to deal with whatever random
equipment combination they throw at you.
2) Everybody does it. This phenomenon is not isolated to lead
guitarists. For some reason, what is obvious to anyone standing in the
hall is not obvious when you're holding a plugged in instrument. In
many venues, the right volume for the mix is too quiet for the player.
Finding players who don't sneak up their on-stage sound while the
engineer isn't looking is a rare treat.
Good monitoring can help ~(again, you need everything going through
the desk to achieve this)
3) The drummer always plays the gig at twice the velocity and volume
of the soundcheck.
4) Of course it'll sound completely different once you've got an
audience in there. ;p (seriously though, a good audience runs at
around 100dB)
cheers,
tim hall
http://glastonburymusic.org.uk