I ran monitors at a blues festival in Pomeroy, OH this weekend and....

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jcharmon824

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I've been running monitors for the Big Bend Blues Bash in Pomeroy, OH on and off for years now. The last band on Friday night, The Band Feel, from St. Louis, was self-contained so I just sat back at monitor world and watched the music.

The guitarist, Tyler Armstrong, played a bunch of Gibsons through some sort of 4x12 Marshall and what looked like and old Vox AC30. The Marshall gave him some problems during sound check earlier in the day but the actual show appeared to go smoothly. The guitar tech would bring another guitar on stage, and the guitarist would do this smooth song-and-dance routine switching them out. I thought his tone was awesome, until the tech brought a beat up Telecaster on stage.

Since his amps were pointed upstage, I walked out of monitor world to stand (not quite) in direct fire of the amps that were cranked. I was floored by how good it sounded and just stood there while he played. It was stripped of it's finish and the pickguard appeared to be long gone where you could see the diagonal wire route. "That's pretty cool," I thought to myself. "Looks like my goldfoil partscaster."

The song ended, the tech brought up another Gibson, and I went back to monitor world. Half an hour later when the show ended for the night, I was chatting with one of the event organizers and mentioned how I liked the Tele the most. The tech (I didn't catch his name, but he was a sweetheart) overheard as he was packing up and handed it to me. He said it was in open E so I started to plunk around on Jonell Mosser's, "Good Thing," which is in E open with slide (check that song out on YouTube, it's pretty cool). The neck felt great, almost like the one on my beloved Brad Paisley, except the finish was worn off the back and not tru-oiled like mine. It was raw wood, which felt great. It appeared to have either 8s or 9s. I use 10s and 10-52s when I can find them. They were really slinky to me so I didn't find them appealing. But it was cool to hold this guy's guitar.

As I was plunking around on it and chatting with their tech, he casually mentioned, "By the way, that's a 1953."


(Video not from the festival but the same guitar)
 
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CharlieHunterFan

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I've been running monitors for the Big Bend Blues Bash in Pomeroy, OH on and off for years now. The last band on Friday night, The Band Feel, from St. Louis, was self-contained so I just sat back at monitor world and watched the music.

The guitarist, Tyler Armstrong, played a bunch of Gibsons through some sort of 4x12 Marshall and what looked like and old Vox AC30. The Marshall gave him some problems during sound check earlier in the day but the actual show appeared to go smoothly. The guitar tech would bring another guitar on stage, and the guitarist would do this smooth song-and-dance routine switching them out. I thought his tone was awesome, until the tech brought a beat up Telecaster on stage.

Since his amps were pointed upstage, I walked out of monitor world to stand (not quite) in direct fire of the amps that were cranked. I was floored by how good it sounded and just stood there while he played. It was stripped of it's finish and the pickguard appeared to be long gone where you could see the diagonal wire route. "That's pretty cool," I thought to myself. "Looks like my goldfoil partscaster."

The song ended, the tech brought up another Gibson, and I went back to monitor world. Half an hour later when the show ended for the night, I was chatting with one of the event organizers and mentioned how I liked the Tele the most. The tech (I didn't catch his name, but he was a sweetheart) overheard as he was packing up and handed it to me. He said it was in open E so I started to plunk around on Jonell Mosser's, "Good Thing," which is in E open with slide (check that song out on YouTube, it's pretty cool). The neck felt great, almost like the one on my beloved Brad Paisley, except the finish was worn off the back and not tru-oiled like mine. It was raw wood, which felt great. It appeared to have either 8s or 9s. I use 10s and 10-52s when I can find them. They were really slinky to me so I didn't find them appealing. But it was cool to hold this guy's guitar.

As I was plunking around on it and chatting with their tech, he casually mentioned, "By the way, that's a 1953."


(Video not from the festival but the same guitar)

Hey I was at that festival! Thanks for running sound!

My favorite music was the High Jivers’ guitarist and the vocalist for the Big Badness.

Do you run the sound every year?
 

Mike Eskimo

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Cool.

Those young dudes are going to be awash in old guitars in 10 years or so.

For every guy like that ? there’s 350 who don’t care about music at all , much less old school rock ‘n’ roll/blues, much less buying an old Guitar when they could have a new Guitar , much less growing their hair that long etc…
 

jcharmon824

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Hey I was at that festival! Thanks for running sound!

My favorite music was the High Jivers’ guitarist and the vocalist for the Big Badness.

Do you run the sound every year?
I was just doing monitors and running line check. You probably saw me up there with the ipad. I've done it the last three years, and a couple times before the big C. Philip Sayce headlined the past two years.

I was so excited the Hi-Jivers were playing. Austin John is in my top 5 guitarists. The whole band was great to work with. Super nice folks. His wife had quite a set of pipes on her. Austin was playing through an early Fender Reverb unit into what looked like a like a late 50s Fender Pro with the 15" speaker, but it could also be the 57 Pro reissue, but I'm not sure.
 
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sadfield

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It's customary at this point for someone to point out......but he could have been using a squier affinity through a zoom g3 and no one in the audience would have noticed......🤣

Joking aside, it is always impressive to see a collection of guitars work effortlessly through the same rig. I don't know whether vintage instruments were all voiced to work through a limited selection of amps, or just good selection on his part. Super cool that these things aren't just collectors pieces.
 

CharlieHunterFan

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I was just doing monitors and running line check. You probably saw me up there with the ipad. I've done it the last three years, and a couple times before the big C. Philip Sayce headlined the past two years.

I was so excited the Hi-Jivers were playing. Austin John is in my top 5 guitarists. The whole band was great to work with. Super nice folks. His wife had quite a set of pipes on her. Austin was playing through an early Fender Reverb unit into what looked like a like a late 50s Fender Pro with the 15" speaker, but it could also be the 57 Pro reissue, but I'm not sure.
Yes! Austin’s guitar tone was great. Such a tasteful player
 

Guerilla Electro

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Don't take this the wrong way , I know you 're not responsible for this , but this sounds like trash ! I can't hear what the guitarist is playing at all !!
I tried listening on my studio monitors , just like most shows these days the sound is horrible : the drums are probably too loud ,
I can barely hear the guitar , it's just a mess of kick drum , crash cymbal and sub bass rumble .
 

jcharmon824

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Don't take this the wrong way , I know you 're not responsible for this , but this sounds like trash ! I can't hear what the guitarist is playing at all !!
I tried listening on my studio monitors , just like most shows these days the sound is horrible : the drums are probably too loud ,
I can barely hear the guitar , it's just a mess of kick drum , crash cymbal and sub bass rumble .
It was more to show what it looked like more than anything.
 

2HBStrat

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I've been running monitors for the Big Bend Blues Bash in Pomeroy, OH on and off for years now. The last band on Friday night, The Band Feel, from St. Louis, was self-contained so I just sat back at monitor world and watched the music.

The guitarist, Tyler Armstrong, played a bunch of Gibsons through some sort of 4x12 Marshall and what looked like and old Vox AC30. The Marshall gave him some problems during sound check earlier in the day but the actual show appeared to go smoothly. The guitar tech would bring another guitar on stage, and the guitarist would do this smooth song-and-dance routine switching them out. I thought his tone was awesome, until the tech brought a beat up Telecaster on stage.

Since his amps were pointed upstage, I walked out of monitor world to stand (not quite) in direct fire of the amps that were cranked. I was floored by how good it sounded and just stood there while he played. It was stripped of it's finish and the pickguard appeared to be long gone where you could see the diagonal wire route. "That's pretty cool," I thought to myself. "Looks like my goldfoil partscaster."

The song ended, the tech brought up another Gibson, and I went back to monitor world. Half an hour later when the show ended for the night, I was chatting with one of the event organizers and mentioned how I liked the Tele the most. The tech (I didn't catch his name, but he was a sweetheart) overheard as he was packing up and handed it to me. He said it was in open E so I started to plunk around on Jonell Mosser's, "Good Thing," which is in E open with slide (check that song out on YouTube, it's pretty cool). The neck felt great, almost like the one on my beloved Brad Paisley, except the finish was worn off the back and not tru-oiled like mine. It was raw wood, which felt great. It appeared to have either 8s or 9s. I use 10s and 10-52s when I can find them. They were really slinky to me so I didn't find them appealing. But it was cool to hold this guy's guitar.

As I was plunking around on it and chatting with their tech, he casually mentioned, "By the way, that's a 1953."


(Video not from the festival but the same guitar)

Will watch later. My cousin plays in the St. Louis area so he might know these guys.
 

Flyboy

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I've been running monitors for the Big Bend Blues Bash in Pomeroy, OH on and off for years now. The last band on Friday night, The Band Feel, from St. Louis, was self-contained so I just sat back at monitor world and watched the music.

The guitarist, Tyler Armstrong, played a bunch of Gibsons through some sort of 4x12 Marshall and what looked like and old Vox AC30. The Marshall gave him some problems during sound check earlier in the day but the actual show appeared to go smoothly. The guitar tech would bring another guitar on stage, and the guitarist would do this smooth song-and-dance routine switching them out. I thought his tone was awesome, until the tech brought a beat up Telecaster on stage.

Since his amps were pointed upstage, I walked out of monitor world to stand (not quite) in direct fire of the amps that were cranked. I was floored by how good it sounded and just stood there while he played. It was stripped of it's finish and the pickguard appeared to be long gone where you could see the diagonal wire route. "That's pretty cool," I thought to myself. "Looks like my goldfoil partscaster."

The song ended, the tech brought up another Gibson, and I went back to monitor world. Half an hour later when the show ended for the night, I was chatting with one of the event organizers and mentioned how I liked the Tele the most. The tech (I didn't catch his name, but he was a sweetheart) overheard as he was packing up and handed it to me. He said it was in open E so I started to plunk around on Jonell Mosser's, "Good Thing," which is in E open with slide (check that song out on YouTube, it's pretty cool). The neck felt great, almost like the one on my beloved Brad Paisley, except the finish was worn off the back and not tru-oiled like mine. It was raw wood, which felt great. It appeared to have either 8s or 9s. I use 10s and 10-52s when I can find them. They were really slinky to me so I didn't find them appealing. But it was cool to hold this guy's guitar.

As I was plunking around on it and chatting with their tech, he casually mentioned, "By the way, that's a 1953."


(Video not from the festival but the same guitar)

Some bands pack cabs backstage, to crank the amps, then rely on a monitor feed to hear the grunt.
 
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