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On the performance thing. There are a number of things that will affect how we feel. Personally I play better if I'm happy with the circumstances or really pissed off.
I can play if the circumstances are not ideal but why should I?
We are using the house Fender HRD. Well you might be but I'm using my Matchless.
Bandcamp
Spotify, Apple et al
PA guys love it, it mics up beautifully because it's always well tuned due to its single tension rod system, and there are no resonant heads, shells or rattly bits.
It means that in very quiet unmiced gigs like this one we can totally relax when we play, without that horrible tentative feeling of trying to rein it in.
There are a few clips there. Now for my tastes, the bass was a bit boomy. But that could be where the guy filming was stood in the room. If he was in a low frequency peak, then he'd be experiencing a bass lift. But aside from that, it's pretty clear. You can hear everything. Drums are not taking everyone's faces off, and the guitars aren't dominating. That's how it should be. Balanced.
I took this on stage just as we finished. Can't wait to do it again in 2022
Eqd Speaker Cranker clone
Monte Allums TR-2 Plus mod kit
Trading feedback: http://www.thefretboard.co.uk/discussion/60602/
Live music is not meant to be a CD.
You may think "hey, this sounds LOVELY up here on stage" ... but out front all they can hear as an overloud stack, a hint of crash and feck all else?
I'd rather it sounded good for the people who've paid to see me.
I get the "not a CD" thing ... that's fine, I don't want to see albums reproduced exactly with the same sounds, solos, everything ... I want to see a live performance. But ... I wanna hear it properly too.
I've already posted evidence that we sound good out front. So I don't know why you'd aim that at me either.
A lot of dicussions on here deal with extemes, too loud or silent, too many pedals or none at all, valve or digital.
The trick is to find that balance where everyone can hear each other, not overpower the FOH but have enough energy to give a good performance. Logistics can dictate how the sound is achieved, a wedding band frequenting venues not designed or positioned for live sound have limiters. Even a modest festival like the one I played (ok it was a lorry in a pub car park) allow one to crank the amp (Vox type 30w nmv on 6aimed at angle to avoid the audience).
The trick is to know your venues and avoid the mismatched, unlike my old band Slacker that got accidentally booked to do alternative noise rock TM to a bunch of very upset OAPs. Happy times.
I know you can get a good sound out front, of course you can, in the right venue with the right know how. And I know you have the latter in spades. The idea that’s the only way (which was the implication of the part you quoted) that baffles me. And I still believe that, if the venue requires it for the best audience experience a band should adjust its preference accordingly. I strongly believe, and I’m sure you do too, that gigs are for the audience … not the band.