"Romeo Rondeau" romeospamfree@oakwoodrecordingstudio.
There are some tones that you can't get with a small amp. I like the sound
of a Marshall 4X12. You can't get the same tone with a smaller amp, period.


Yup. There is definitely something about a Marshall JCM 800 turned up to
8. Especially the 100 watt version... g Single note lines are so much more
"vocal" whne the thing is cranked and you need that cabinet for the solid
punch. But if are gonna do that you could at least face the amp cabinet at
the rear of the stage, ala Steve Stevens or the late John Sierra. You can
still face the head forwards, just turn the cabinet around. The drummer won't
mind, he's deaf already!


Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits

Romeo Rondeau wrote:


Well, I CAN play guitar and I don't have a small penis. So why do I like my
Marshall half stack?



It doesn't seem necessasary to have a small one to want an
extension.


Bob

--

"Things should be described as simply as possible, but no
simpler."

A. Einstein

"Romeo Rondeau" wrote in message
...

Well, I CAN play guitar and I don't have a small penis. So why do I like
my
Marshall half stack?

There's nothing wrong with *liking* a half stack. *Nothing* sounds like
a dimed non-master plexi, that's just about the coolest sound in the world.
But playing a half stack in a venue that seats 100 people is compensating
for something. You'll *never* need that much volume in a venue smaller than
an arena, and a good tube amp doesn't sound good on 1, so there's no upside
to a half stack in those situations. You'd be far better off with a tiny amp
that you can crank up loud enough to get some good power tube distortion.
Believe me, I *love* a full marshall stack. But I know better than to use
one.

ryanm

"Romeo Rondeau" wrote in message
...

Most of the musicians I know are great people. Maybe he should get some
better clients...

Maybe you classify them differently. Perhaps I should've said that most
people who *think* they are musicians are worthless, lazy, wastes of life.
They pawn their gear, have rockstar attitudes, can't be bothered to practice
or show up on time to gigs, tend to get too drunk and make an ass out of
themselves in front of the audience, and so on. Perhaps the musicians you
speak of don't include those types (the open audition types), but only
include the ones who can actually play and behave like adults. IME, fewer
than 1 in 100 who claim to be musicians actually fit that description,
though.

ryanm

"Romeo Rondeau" wrote in message
...

It would **** me off, too. Touch my knobs and you'll draw back a nub. What
a
****ing control freak you are. If you don't like the way a guitarist
sounds,
say something. If you still don't like it, get another guitarist.

Ah, yes... see the problem is that your half stack is damaging the ears
of the other players on the stage so that you can get your "holy grail" of
tone. I don't tolerate that kind of childish crap. My ears can't be
replaced, but your speakers can, so a simple mic stand through the grill
cloth would take care of that problem pretty quickly. Since you have no
qualms about damaging my ears, I have no qualms about damaging your
equipment. I've gotten another guitarist many times, until I found one who
actually values the overall sound more than the *ki113r t0n3* he gets from
his monstrous amp. The idea is supposed to be for the whole band to sound
good, not for everything to sound like crap, but "check out the tone on that
guitarist!"

There are some tones that you can't get with a small amp. I like the sound
of a Marshall 4X12. You can't get the same tone with a smaller amp,
period.

The real question is whether or not you *need* precisely that tone in
order to put on a good show. I'd like to have a 100W bassman head on a
closed 2x12 for my harmonica, but guess what? It's just not a feasible
solution for the venues we play, so I do it with a POD. Not the holy grail
of harmonica tone, but good enough to sound good without causing physical
pain for everyone else on the stage and starting a volume war. It's all a
compromise. Surely you understand the concept of sacrificing a bit of tone
on your instrument to make the whole mix sound better. And smaller amps
*can* sound very close to what a dimed marshall sounds like in the mix with
the rest of the band, but at much lower volumes. It's not perfect, but it's
far better than the mush that results from turning a 100W marshall up loud
enough to get the sound you're talking about.

ryanm

Lines: 19
Message-ID:
X-Trace: ofjmidbaofeaohdodbdpiflmbcekedmfhojhikkbagflhcboac ndahemnhdikaaeecjobkgamippnjnhekhhbllnjhbkkmibhnjb didboiflfmpgoapdjinoploeaipinahfjjngllkibedkapkgnp algbmddmbh
NNTP-Posting-Date: Tue, 09 Mar 2004 13:20:58 EST
Date: Tue, 09 Mar 2004 18:20:58 GMT
Xref: intern1.nntp.aus1.giganews.com rec.audio.pro:1049025


On 2004-03-09 said:
Ah, but this rant was from 2000, so it must be Clinton's fault! g
That was a joke, son.
YEs and I think the guy posted it to alt.audio.pro.live-sound as well.
I recall seeing it there.



Richard Webb
Electric Spider Productions
REplace anything before the @ symbol with elspider for real email

--



"Standing in the Glare of Quantization" Watch for it on
Empty-Vee.--- Hank Alrich

Lines: 35
Message-ID:
X-Trace: npbhgpngjbkmjfegdbdpiflmbcekedmfhojhikkbagflhcbola hdhmojpgldmaoedekajmggfglicjiijcdnblcannfbonlfoiij alhpngcelkpmoapdjinoploeaipimkklhmheonaomkmdajnemk eahkfplghp
NNTP-Posting-Date: Wed, 10 Mar 2004 10:52:41 EST
Date: Wed, 10 Mar 2004 15:52:41 GMT
Xref: intern1.nntp.aus1.giganews.com rec.audio.pro:1049377


On 2004-03-10 ospam(Leoaw3) said:
An interesting thread in the original link is soundmen struggling
with stage monitors so loud that they become a major part of the
FOH sound. Is there any way to make stage monitors more
directional???
NOt that I know of, but there is a way to better control monitor
volume.

tHe folks on stage need to position back line amps so they're not
blowing right into the front line vocal mics. Getting those speakers
from their back line gear to fire across the stage and into their ears
instead of their knees will also help keep their amp volume down
permitting you to not need so much from stage monitors.

Never ceases to amaze me when I'm doing a show and this guitar god
tells me he's only got a little 30 watt amp and can't turn it down any
more. YEt he positions the little amp so it's blowing at the backs of
his knees and firing straight up into nearby vocal mics. Hmmm
THere have been quite a few threads on this in
alt.audio.pro.live-sound over the past few years.




Richard Webb
Electric Spider Productions
REplace anything before the @ symbol with elspider for real email

--



Great audio is never heard by the average person,
But bad audio is heard by everyone.

Lines: 21
Message-ID:
X-Trace: bhmkggakljkaanefdbdpiflmbcekedmfhojhikkbagflhcbojn iogaofopdloapkmodoldmkocifcjbkkacoongiebbiapcfoiij alhpngcelkpmoapdjinoploeaipilhnofjddlmhlediijcgfbi ocdjinejdo
NNTP-Posting-Date: Wed, 10 Mar 2004 21:40:36 EST
Date: Thu, 11 Mar 2004 02:40:36 GMT
Xref: intern1.nntp.aus1.giganews.com rec.audio.pro:1049583


On 2004-03-10 (Mike) said:
Has anyone tried only side fill monitors? Seems like it would work
for smaller venues or it could be used to reduce the number of
onstage monitors. Wonder about the feedback problems.

I've done it with bands a few times. SOmetimes I needed to add
another fill for the drummer, but it's worked well.
YOu still need to ring them out as you would any monitor system but
it's worked rather well.




Richard Webb
Electric Spider Productions
REplace anything before the @ symbol with elspider for real email

--