David Roach
Well-Known Member
- Messages
- 787
- Location
- London
Given the level at which you play a punter like me would assume that the audiotechnical elements of your performance would be of the highest standard: decent sound engineers, decent foldback, beef sandwiches and a bottle of IPA in the dressing room etc. @David Roach
I'm interested to know what are the real-life demands that you face when you are making musical magic on stage?
Actually, PAs are almost always somewhat lacking, especially in.......no, I'm not going to say which countries in case I get myself into trouble....but duff cables, bad set-up, incompetent crews can be found as often as the wonderful and competent ones. And however good a sound engineer is, he or she can't make a silk purse out of a sow's ear. But yes we do get beef sarnies and IPA (or as near as the continentals can get to it).
The main issue is that in a Band of unequal instruments, one ends up having to amplify (in terms of both monitors and PA) to balance with the loudest instrument and when you've got a very powerful trumpet and trombone, the differential to a 'cello is enormous, so monitoring becomes a nightmare with the quieter instruments upping their monitors to compensate; the outcome of this is a horrible racket on-stage.. I generally have none of anyone but the piano in my monitor, but I sit in front of the Bass Guitar and once the Band really gets going the sound pressure from behind me is quite intense. This can make me 'over-blow'. A short facing not only helps to minimise the deleterious effects of blowing too hard, but also to make a very tired embouchure less of an influence on pitch and tone. No amount of experience can really properly alleviate this issue.