Solo gig rigs

[OneEng]

I recently re-gigged my FOH setup for my full band and when I did, one of my criteria was that the tops I picked had to work well for my solo gig too.

 

I am currently using the following:

 

 

I use the "Contour" button on the speakers to boost the highs and lows a bit, eq the guitar directly on the fishman pickup eq, and balance the vocals on the guitar/vocals from the Harmony G XT.

 

The sound is absolutely fantastic, the harmonies are very realistic, and the reverb is breathtaking. I love the way I sound through this rig

 

The system is quite small (I can even make it smaller by only using 1 speaker if needed). I can get insane volume before feedback (enough to play a medium size club with), and there are very few cords.

 

I love (love love) the sound of the DSR112's, but at 47lbs, they are not the feather weights in their class..... they were the best sounding solo speakers I auditioned though.

 

So ... what do you guys gig with? What do you like about it, and what would you change.

[richardmac]

I think most people already posted their rigs in the "Duo Gear List" thread. I have the EV mic too, BTW, and I really REALLY like it.

[Louis Schwartz]

I also recently put together a small solo rig from out of my band's set-up.

 

I lead a sort of complicated band (7 musicians: 4 vocals, 2 hand percussionists on a variety of odd drums and whatnot, acoustic guitar, electric guitar, clarinet, accordion, upright bass). We gig in a variety of local small to medium spaces. We have a PA for our larger gigs, but getting a good balance at gigs too small for the PA (sometimes in challenging acoustical settings) has been a bit of a struggle. I decided that putting together a small PA made up of a small mixer and a decent powered speaker would be my best bet for getting a good mix for the vocals and, when necessary, the accordion and clarinet (up to that point we had been using just combo amps: a Genz Benz Pro LT for my guitar and vocals, a fender Blues Jr for the electric guitar, a 15" SWR bass amp for the bass, and an old Peavey KB/A 60 keyboard amp for the background vocals--nothng for the clarinet, accordion or percussion). I figured a small PA set up like this would not only give me more control over and better sound for some crucial parts of the mix, but could also serve me--just as in OneEgg's case--as a good set-up for small solo gigs.

 

I ended up with:

 

1 RCF 312a and an A&H ZED10FX

 

through which I run

 

a Heil PR35 for voice (on a boom stand)

a Taylor 410 with an LR Baggs M1 through a Baggs PADI into the ZED

an EV N/D767a (also on a boom stand) for the guitar, to add some mic sparkle to the mix

 

In situations where I need some monitoring, I plug the vocal mic and guitar pickup into a Genz Benz Pro LT and take the signals out from the separate channel DI outs in the back (pre EQ and effects) to the ZED. I set the amp a few feet back behind me at my feet, tilted up, and it provides the monitoring.

 

I'm still working on getting to know this system and developing some "best practices." See my posts over in the Live Sound and Production Forum thread on powered speaker volume for some of my puzzlements about the best settings for master volume on the board and the speaker, and I'm still not completely pleased with the guitar sound (the Pro LT is far more flattering to the sound of the M1 than the ZED and RCF seem to be--I bought the M1 for use with the band, but I'm thinking that I'm going to install a SBT for solo gigs). But even so, this little set up is sounding pretty great as is.

 

Before this I just used the Pro LT, and that was no slouch, either, sound wise, although a little better for the guitar than for the voice, I think. Experiments will continue.....

 

Louis

[rodclement]

Louis I love your rig! similar to mine and tha Heil is the best ever!!!!

 

Best bang for the buck mic in my mind will always be EV 767a!

 

Rod

[Louis Schwartz]

Louis I love your rig! similar to mine and tha Heil is the best ever!!!! Best bang for the buck mic in my mind will always be EV 767a! Rod

 

Thanks, Rod! Yes, they're both great mics! I think we've both talked about this on other threads, but the 767a was my vocal mic of choice for a couple of years until I found the Heil. I still think it's wonderful. The Heil, as you suggest, is another thing entirely, though. It's taken some getting used to (I was very comfortable with the 767a), but it just keeps getting better and better the more I learn how to work it.

 

Louis

[AJP]

VERY cool forum! I'll be reading and replying more over the next few days, I'm sure. Solo gig rig:

 

Yamaha Motif XS7 on the OnStage KS7150 Platform Stand

Ovation Celebrity CC24 (Gimme a break, I'm really a keyboardist ;-)

Alesis iMultiMix 8

Pair of Mackie Thumps

Shure SM58S

 

iPod's docked in the iMultiMix for breaks. Couple of different playlists depending on the venue. Most of set one is usually guitar/vocal (while dinner is being finished, etc.), then I bring it up with backing tracks on the Motif depending on the songs and crowd. It's been working really well. Also, it sure is nice not being beholden to three or four other peoples' schedules!

[Christhee68]

Man, some of you guys have a lot of gear. Mine is very simple (by default more than by design).

 

Alvarez acoustic electric

Crate Gunnison 60 watt acoustic amp

Shure SM58 mic

iPod

Mic Stand

Amp Stand

Oh yeah

[Telecruiser]

Previously posted but here it is.

 

 

Martin 00016 with pickup

Fender CS Tele

JBL 512 speakers (2) on poles

Yamaha MG124 mixer

TC Helicon M100 effects

DBX1231 EQ

Driverrack PA+

Rack mount CD player

Shure SM58

Senn 945

Complete AC distribution (12-3 SO cord extensions, quad boxes, twist lock plugs and receptacles and adapters)

Backup cables for everything (AC, audio and instruments)

Black, bright green and caution orange gaffer tape.

Custom modified platformed aluminum handtruck/dolly

Padded covers and/or cases for everything.

[EightString]

SM58 + stand

iPad + iKlip mount, iRig adapter, running Ampkit+

TC Helicon Harmony-G XT

electric guitar

 

Fender acoustic amp for small gigs (makes a nice mini-PA)

Full PA for larger venues

 

 

Here's the smaller (Fender acoustic amp) rig in action at a "jazz" gig:

 

[ATTACH=CONFIG]338926[/ATTACH]

 

Missing from the frame is the Harmony-G XT at my feet.

[chemikool]

I did one solo gig last weekend and this is what I took:

 

Beta58 + mic stand

Music stand / Lyric books

Acoustic guitar (Used to be my nice Martin...but some drunk girl spilled beer on it about 9 years ago; so now its a POS Ovation)

Yorkville PA head

2 Peavey speakers loaded with a 15" and a horn; each on a stick

One or Two multi-light fixtures w/DMX foot controller

Guitar pedal board

 

I can set up and tear down the whole thing in 10 minutes; load in/out is down to four trips. Three if I leave the lights. Two if I only take one speaker.

 

Backups that I kept in the car:

Behringer Head

Behringer powered speaker

POS guitar

OH {censored} bag (cords,strings,etc)

[John Bartus]

Here's my solo rig:

 

Breedlove 6- & 12-string acoustic electrics

Fishman Aura Spectrum DI

Shure Beta 58A

 

Akai Head Rush looper

Digitech Vocalist Live 3

 

(For smaller gigs)

Behringer XENYX X1204USB Mixer (for routing, only when the looper is used)

Fishman SA-220 Line Array PA

Gemini 12" powered subwoofer (when needed)

 

(For just acoustic guitar and vocals, the Fishman FishStick works great alone!)

 

(For mid-sized gigs)

Behringer PMP1680S Powered Mixer

EV Force i 15" 2-way speakers on sticks (2)

 

For larger gigs, my drummer and I have a small sound company that can handle the festivals in our area (as well as our band gigs).

[Dingoist]

John, what you think of the fishman aura spectrum Di? I'm contemplating one.

[John Bartus]

John, what you think of the fishman aura spectrum Di? I'm contemplating one.

 

I love it, and won't play a gig without it. When I heard about the original Fishman Aura Blender several years back and saw a demo online, I bought it. No regrets. It was the first time I'd ever played a plugged-in acoustic electric with a UST and had it sound like an acoustic guitar coming through the speakers.

The Aura Spectrum DI raises the bar with very cool (and easier-to-use) features, plus way more Aura images. The only thing about it is that it requires some set-up time so that you can choose the perfect image(s) for your guitar(s). In addition to the loads of images that come with the Spectrum, there are so many more available on the included software CD and downloadable on the Fishman Aura website. My 6-string image is an actual Breedlove image, from a guitar with the same pickup/preamp combo. The 12-string image that worked best came from a jumbo maple Guild 12-string. Plus, you'll want to set up the anti-feedback notch filters in a gig setting, as well as the phase switch to minimize feedback. I also have Feedbackbusters in both guitars, and they help out immensely.

 

I realize that I probably come across as biased; for the record, I'm not a Fishman endorser or artist, and I've paid for every Fishman product I've ever owned. I have no connection with Fishman at all. The Aura just works for me. I will not gig without it.

 

As always, YMMV. But try it out, and don't be afraid to spend some time looking for the right image and optimizing your own sound. Good luck!

[Dingoist]

I wired my washburn with a fishman matrix infinity UST a couple of years ago, and I'm looking to do the same with my Martin 12 string. Cool, i'll have to give it a go and see how it works out.

[OneEng]

It is interesting to see how much gear some of you use. I was on a quest to get the best sound for the least amount of gear and hookup. The Harmony G XT acts as my mixer, efx, channel eq, and harmony backup. The sound quality is truly fantastic. I had previously been using a small cheep Behringer mixer and an external reverb. This was definitely a step up.

 

I couldn't do a duo with this rig (no mixer), but at this time, I am not trying to either If I were to go for a duo, I would likely just add my mixer back .... but that makes things quite a bit more complicated that my solo rig.

 

The Heil PR35 sounds very interesting. I have never heard of anyone changing from my beloved EV ND767a to any other mic The only thing I noticed is that it is > 2 times the price of the EV. Also I am not sure how well the mic would work for my full band where feedback rejection is very important (anyone have any comparative experience?)

 

Louis Schwartz,

 

Love the ZED mixers. I use a MixWiz for the main rig and love the sound. Also, how satisfied are you with your LR Baggs M1? I have a Taylor 810 acoustic that I have been contemplating putting a fairly non invasive pickup system into (leaves out cutting a hole in my side wood).

 

EightString,

 

How do you like your Harmony G? How do you hookup to the ipod?

[EightString]

 

... EightString, How do you like your Harmony G? How do you hookup to the ipod?

 

 

I wouldn't gig without it now. It has been a life saver in terms of filling out material like Queen or The Temptations. I too like it that it has a fairly complete vocal chain so I don't have to take any other fx unit with me.

 

Re. the iPad, I use the iRig adapter as my guitar input and as my amp sim/playback output. So, all my backing tracks are loaded into the iPad, and I play my guitar live through it as well. But I do run the raw guitar signal in and out of the Harmony G before the iRig/iPad.

[OneEng]

 

I wouldn't gig without it now. It has been a life saver in terms of filling out material like Queen or The Temptations. I too like it that it has a fairly complete vocal chain so I don't have to take any other fx unit with me. Re. the iPad, I use the iRig adapter as my guitar input and as my amp sim/playback output. So, all my backing tracks are loaded into the iPad, and I play my guitar live through it as well. But I do run the raw guitar signal in and out of the Harmony G before the iRig/iPad.

 

 

Great rig EightString! That is cool +1. That is what I am talkin about. Great sound, huge flexibility, small price tag, and small footprint!

 

I agree on the Harmony G.... really great sounding unit ..... even if you don't want harmony.

[Voltan]

I'm experimenting with the Fender Acoustasonic for small to mid sized venues... this rig consists of:

 

Breedlove AC25sr+/Fishman classic IV--v

.--or------------------...Fishman aura spectrum-->TC Helicon H GXT-->Fender Acoustasonic instr ch

Washburn D49/LR Baggs active I-beam--^

 

 

Sennheiser e-935 --> TC helicon Harmony GXT --> Fender Acoustasonic mic channel

[Louis Schwartz]

...... The Heil PR35 sounds very interesting. I have never heard of anyone changing from my beloved EV ND767a to any other mic The only thing I noticed is that it is > 2 times the price of the EV. Also I am not sure how well the mic would work for my full band where feedback rejection is very important (anyone have any comparative experience?) Louis Schwartz, Love the ZED mixers. I use a MixWiz for the main rig and love the sound. Also, how satisfied are you with your LR Baggs M1? I have a Taylor 810 acoustic that I have been contemplating putting a fairly non invasive pickup system into (leaves out cutting a hole in my side wood).

 

I was blown away by the EV 767a when I first switched to that after using an SM58 for a long while. I still think it's a fantastic mic, and it was a perfect match for my voice and what I was doing with it at the time. Then I tried a Heil PR22 and was so taken with its open, natural sound that I thought a PR35 might be worth a try. It was more than twice the price of the EV, but I happened to have some cash at the time from selling an essay, so I took a chance on it as a present to myself. Got blown away once again. It's an extraordinary mic. It has many of the virtues of the EV--in particular a powerful and clear low-end--but the upper and midranges are something else. I thought the highs on the EV were open and natural, but this thing captures so much detail and texture from an inch or two back that it's almost scary. And the fullness of the bottom stays there even without the big boost from the proximity effect that you get a little closer up. An amazing mic that has really forced me to rethink what's possible in terms of using more of the space around the mic. I always kept right up on the grill with the EV and the 58, except for occasional bits of big belting. The PR35 gives you a lot more in the way of options and effects, I think.

 

The M1 is a great magnetic pickup. I bought it mostly because I needed a mag for playing in a full band setting, and in that setting, though a Genz Benz Pro LT (alone or DI'ed into the board), I couldn't be happier. For solo playing, though, it's less perfect. It's got a terrific bottom end and sounds more natural than most mags, but the mids and highs need serious taming. When I go through my PADI into the Genz Benz, I have to take a big chunk out of the mids on both the PADI's EQ and the amp's (at around 1.5 k on the PADI and a little lower on the amp) to take away the electric mid harshness. The highs on the M1 can also sound a little shrill and edgy, but the Pro LT's general warmth, its tube preamp, and some reverb take care of that and give the upper end a lovely, burnished sound that's not perfectly acoustic, but very attractive nonethless.

 

When I put the M1 through the ZED, however, the electric edginess of the two highest strings are more exposed, and that's less happy for me as a solo player. I'm still working on the settings, though, so we'll see. Cutting the highs and letting the EV767a take care of them with its own lows cut works very well, but I hate having to stay put in front of an external guitar mic unless it's a quiet sit-down gig. I also have a little Presonus tube preamp that I've tried using to warm up the sound and it does that, but I'm not sure I want to complicate my set up with it for live work. I played this afternoon outside with a hand-drummer, so I left the Presonus home and set up the EV for the drummer (it's actually a great mic for darbuka). I also left the Pro LT at home and just let the M1 be itself through the ZED and RCF, with a little cut in the highs and presence along with the usual cuts in the mids. Not bad, but not ideal when it comes to a natural acoustic sound. I used nails and skin for most of the gig, even for strumming, to warm up the highs a little.

 

Anyway, probably more info. than you needed, but I hope some of that's helpful.

 

Louis

[rodclement]

You guys wanna be inpressed by a mic, try the Line6 wireless...I went fom rmy EV 510 condenser to the line 6 and I can onestly say that none of my wired microphones have ever made me this happy!

I have owned them all from the Shure's to the Ev's, Sennheiser, Beyerdynamic, you name it, mics have always been my thing since I am a singer but once I got the Line 6 my mind was opened a little bit more...with the mic modeling built into I can go from their setting (my favorite) to a EV 767a emulator ot a beta 58, or even an audix and they react and perform pretty close to what they are modeling...will be tough to justify changing this one now.

 

Rod

[OneEng]

Hey Louis,

 

Thanks for the very detailed reply.

 

I have listened to tons of recordings with various pickups from here: http://www.dougyoungguitar.com/pickuptests/

 

... but you can't really get a sense of how they will perform with respect to your personal rig and feedback considerations. It is also difficult to get a read on how easy/difficult the installation of the pickups are going to be .... a few forum posts here and there

 

If the PR35 is that much noticeably better than the ND767a, I may have to save up for a Christmas present I find your experience to be as mine when considering the SM58 to the ND767a; however, I have had many discussions with sound pros here on HC that assure me that the 58 is every bit as good (I am suspecting hearing loss on this opinion ). In a direct A/B comparison, I find it difficult to believe that anyone would intentionally choose the SM58 over the ND767a. If you are saying that the PR35 has noticeably more clarity than the ND767a, then it is certainly worth a try.

 

You don't happen to know how the PR35 does in a full band with respect to feedback rejection to you? One of the reasons that the ND767a does so well is that it does have a very close pattern and rejects outside noise well. My fear would be that a wider pickup pattern would lead to more feedback.

 

Thanks Rod. If I get a chance, I will audition the Line6. I do admit that I have a Line6 prejudice ..... Their amps are truly awful for live performance IMHO. I have heard good things about their new wireless mics

[rodclement]

I considered getting the PR35 capsule for the Line 6 Mic but after working with it fo ra few months now, I can't justify doing it...the line 6 has so little, if any handling noise and is so detailed that I can't imagine anything at this price range being better, wireless or wired.

JMO

 

Rod

[Louis Schwartz]

Hey Louis, Thanks for the very detailed reply. If the PR35 is that much noticeably better than the ND767a, I may have to save up for a Christmas present I find your experience to be as mine when considering the SM58 to the ND767a; however, I have had many discussions with sound pros here on HC that assure me that the 58 is every bit as good (I am suspecting hearing loss on this opinion ). In a direct A/B comparison, I find it difficult to believe that anyone would intentionally choose the SM58 over the ND767a. If you are saying that the PR35 has noticeably more clarity than the ND767a, then it is certainly worth a try. You don't happen to know how the PR35 does in a full band with respect to feedback rejection to you? One of the reasons that the ND767a does so well is that it does have a very close pattern and rejects outside noise well. My fear would be that a wider pickup pattern would lead to more feedback.

 

You're very welcome! I think that the PR35 is better than the 767a but some genuinely objective measures, but there are differences that won't necessarily make the Heil better in all cases for all voices. I'm finding that the PR35 is not a mic you can treat as close and aggressively as the 767a. When I get really worked up I have always been in the habit of hanging on the grill of the mic to maintain my orientation and not go off mic. The 767a is fantastic for that because it sounds so good up close--the bass boost remains so tightly controlled--and it take a lot to overload it. The PR35 also sound great up close and is hard to overload, but the boost is so much stronger without a significant bass roll-off that you have to be careful not to send peaks to the board that will clip the input. I'm sure there's a way to control for this with the gain structure at the board, but I haven't figured out how to do it yet. Came close last night, but I'm still wary of just pressing into the mic and still singing full force. Obviously this is more an issue in a band context than it is at a mellower solo gig.

 

As far as feedback rejection is concerned, I haven't had any problems with it, although the tighter pattern of the EV does make it better at rejection of other sounds on the stage behind and to the sides of a singer. Still, using the PR35 last night I had a bass amp, an electric guitar amp and two loud hand drummers right behind me and had no problem (at least in a room with a pretty small Sunday night crowd--and I should add that even with the electric guitar and the amplified upright bass, we're not a full-out rock band, so you should keep that in mind). The rejection to the rear of the Heil is very good, so there's no worry about the monitors. Certainly, it's as good as the EV for that.

 

It is a noisier mic than the EV, handling-wise, though. I'm not sure I would use it in my hands. You also have to be careful not to kick the mic stand, since it will pick that up, too. It's not as bad in this respect as the PR22, but it's a consideration. The PR22 also picks up more stage sound from around you--that's in fact why I use it to mic accordion (it covers more of the front venting). I use the PR35 in a stand only, so the handling noise isn't a consideration for me. I've messed around at home with holding in my hand, and it works OK as long as you're conservative about dramatic movement, especially about moves like switching hands fast and etc.

 

I guess the bottom line is this: If you like the advantages of the Heil for your voice and purposes, it could very well be worth exercising the extra care it takes to manage. It was for me and in my situation. I fell in love with what I heard the mic do when I was playing solo, and so I'm doing everything I can to bring that into my band gigs. The only way to find out if that would be true for you is try it to see what it does for your voice.

 

As far as the SM58 is concerned, even that can be a better mic for certain voices in certain situations. Vocal mics are so voice specific.

 

Louis

[dboomer]

 

...although the tighter pattern of the EV does make it better at rejection of other sounds on the stage behind and to the sides of a singer.

 

 

You are confusing pattern with system gain. Directional mics are all the same directly to the stage behind them once you balance them out.

[Louis Schwartz]

 

You are confusing pattern with system gain. Directional mics are all the same directly to the stage behind them once you balance them out.

 

 

OK. I guess I was just thinking about the fact that pickup pattern is wider on the the Heil and so it picks up my voice from much farther away to the sides, and I know I that it can pick up more of the clarinet sound next to me and I have to set the gain lower than I can on the EV to keep that from happening. But I guess, also, that what you're saying that this is a matter of gain (or do you mean gain and the pattern together)?

 

Louis