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Discussion in 'Bad Dog Cafe' started by sir humphrey, Feb 22, 2014.
I play a silverface Super with a solid state rec and some EV 10"s in it and run it hot.....sound guys HATE me
I think your rant shows admirable restraint. I can't imagine working with someone who wouldn't take my own experience regarding the sound I wanted into account. Fortunately I've only worked with good sound people, a couple of them really good, and never one like the person you describe. I'm glad you both made it through unscathed!!
I did a show a few years ago and we brought a guy to help us mix. (Not my choice). He and the house guy started comparing who they'd worked with and they bonded somehow. At the sound check we were having some issues with my monitor. And both of them started acting like it was MY fault. I plugged my acoustic rack into his system. there was nothing wrong with my rig. How was it my fault? I tried politely to get him to come on stage and listen to my mix so he could hear for himself what the problem was so we could figure out how to solve it. He wouldn't. He and "our' guy just kept talking to each other.
To make a long story short, there was a problem with the monitor bus I was on and HE knew it. He ended up throwing a mini-tantrum pulling my wedge and dramaticly roughly moving the fiddler's wedge between us to share. I could never figure out what his problem was. The show went on.
If the sound guy is going off on who he worked with, or who he's going to work with, I'm just going to say, "Y'know, that's great, but all I care about is who your working with tonight."
I can't understand why anyone would deliberately make the sound bad. That's a bad reflection on the venue and the idiot mixing. When I toured as a sound guy, I had bad nights, but it was usually something beyond my control, like equipment failures, reverb that couldn't be tamed or something on stage that I didn't have the right mic or pickup for.
I'd say your rant is quite restrained. I want my sound- not an interpretation. If it was me, he may have been leaving with a drumstick stuck somewhere...
If someone has to name drop and brag when unprompted then my BS detector goes into overdrive. The true professional lets the work speak for itself. The braggart is usually someone with all the gear but no ear.
"Where's my masking tape? I need a roll for each 58! A little trick I learned working with a singer...maybe you've heard of him....Roger Daltrey....smoke-break time...paws off the faders grasshopper. Anybody seen my Birkenstocks? Bare-footing gets old on tour-busses. Makes me want to get out a hatchet....Molly Hatchet..."
People who are blowhard, loudmouth jerks naturally can only get employment at a job working late at night....in the dark....where it is very loud so that no one has to listen to him talk.
Seriously, there are folks like this in all walks of life...
The singer in my band is turning 50 in May, and he has rented a hall so that we can have a big party. (The Anza Club in Vancouver, for those who might know it.)
We are going to use the house PA, and they have recommended that we use their sound guy, because he knows the system really well. The PA will cost $125, and so will the sound guy.
After reading this thread, I am now really nervous about how we're going to sound. Has anyone here ever had a good experience with a house sound guy?
I've been to shows at a local venue that has a house sound guy and the sound usually sucks. They even have some pretty good acts (you may not hear them on the radio but you would hear them on Pandora).
Way too loud and way too much low end. Usually can't hear the vocals.
House sound guys can be awesome and have you sounding your best. They can be moonlighting studio engineers who understand the room AND your music and make you shine.
Or it could be a guy that traded a motor cycle for the PA and wants to bring in a little extra cash. Or make his rent. He may hate your music, not want to be there except for fear the mics are being damaged, and know nothing about live mixing. Or a bartender who can point you to the stage and the board.
I actually see more of the first paragraph description.
From the prices bandied about in this thread ( mid 2 figures to the sound guy if he got a fee in my day) most sound like someone trying to make full time min wage for a week for one nights work. Now, he might only have one or two nights to make that nut- there might not be more music at that venue per week. But 3 large seems a precarious in many situations- could end up a pay to play gig with a small crowd.
The house guy at the theater I used to work sometimes is great. He's been on the road with national acts and knows his system and the room.
I find that the local rock dives have less skilled guys and systems that are twenty years old with dented 58's and broken 57's and mic stands that won't stay upright.
I can't believe the smells on those nasty dented 58s. How did I even live this long!