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SteinbergerHack

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Posts posted by SteinbergerHack

  1.  

    Like, I play pedal steel, accordion, banjo, doboro, and keys (generally not all on the same gig, lol), so it seems like a natural kind of tool... like, I can have a scene with a main mix out and then split each of the instruments to individual outs if I wanted that, all with whatever processing I want on them... plus bring in a mix and send it to my wired IEMs.

     

    But there is so much overhead with just interacting with the device via ipad it seems like it'd be way more headache than it is worth. When I'm setting stuff up or "just" running sound it's not a big deal, but the context switch to change instruments between songs seems like a real headache.

     

    So for even something as simple as, 2 singers + acoustic guitar + fiddle, yeah, that's enough for me... but if I can just bring a pedal board with an ab box, nah that mixer is too much.

     

    What makes it difficult to use, aside from the WiFi that doesn't work (as widely reported)?

     

    My application is electric guitar, steel-string, maybe one more (mando, banjo, etc), a vocal mic, with an output for monitor and a feed to the FOH board, so it's not like I need a bunch of channels. The most compelling feature for me is the integral 31-band EQ, which would allow me to have the mixer and the monitor EQ in a 2-space rack opening (which happens to be what I have open in my current guitar FX rack). If I have to buy a new rack case and add the EQ to the price of an inexpensive analog mixer, it ends up being double the price of the XR12, so.....?

  2. So I've downloaded and been playing with the x32 app and the xr18 app. I can only use the demo version since I own niether. Well, it's cool, but it keeps crashing (ipad2). And the 6 seconds it takes to reload is far longer than it takes for me to adjust an aux send or eq on an 01v96. This doesn't help sell me any tablet only mixer...

     

    Did this get any better with updates? I'm thinking of getting one of these to put in my guitar FX rack as a sub- / monitor mixer. Any thoughts on it for this purpose?

  3. It's jazz... If you accidentally add a b9 or a #5 or whatever to a chord, a musician hearing it will think "cool interpretation", and a nonmusician will not even notice.

     

    Not in my gigs.

     

    Saturday night, after the show I asked the director for feedback. He said "Overture, bar 90, beat 3 you played an Eb that should be an E." One missed eighth note out of a 2 1/2 hour show. He was right - it was a passing tone between a Bb and an A; I was misreading the staff note based on the chord notation above the staff.

  4. [ATTACH=CONFIG]n31928641[/ATTACH]

    Yep I had my share of looking for a rock to craw under afterwards. This last weekend my guitar just went dead after fading out during the last song where I was supposed build up the crescendo...I thought it was the amp's rectifier tube but it was a bad connection in my pedal board. With 15 stomps that's 45 connections counting the AC plugs chained together.

     

    This was part of my challenge last week during tech rehearsals. I had a tube intermittently going bad in my amp - the one that drives the FX loop. Of course, this means that it acted like it was something wrong in the FX rack, wah pedal, cable, etc. After two nights of swapping out every cable and battery in the rig, I popped a new tube in for opening night, and FINALLY had a rig that worked properly.....and then proceeded to make every mistake in the book in my playing. Oh, well...some days you're the windshield, some days you're the bug.

  5.  

    I use those feelings to make sure I don't screw up again....at least not in the same place. :D

     

    This! Played again last night, and I think I redeemed myself - MUCH better performance all around.

     

    Thanks to all for the thoughtful responses - it's good to see the common ground in this group among the wide spectrum of political viewpoints.

     

    :philthumb:

     

     

    • Like 3
  6. I was very critical of my bandmates when their alcohol consumption compromised their playing.

     

    I don't play with people who have substance problems. I drink plenty of beer and wine myself, but not before a gig. I may have one beer during the last set of a 4-hour club gig if I'm not singing any leads, but even that is rare. NEVER before or during a corporate, symphonic, or theater show. I'm lucky in that I have the luxury of simply not taking gigs with people I don't want to work with - and drugs/alcohol impacting a performance is a non-starter for me.

     

    People pay good money to come see us, and they deserve to be shown enough respect not to give them a shoddy, unprofessional show.

     

    JMO. I know that some others feel differently and get away with it - I just don't want to be a part of it.

    • Like 1
  7. For some of us, it's not just a job.

     

    In my case, my loyalty is to the music and I take my responsibility to deliver the music to the audience with integrity quite seriously.

    !!!!!!!!

     

    Found it! I knew there was I reason I've always respected you, even when we disagree. Now I understand.

     

     

    • Like 1
  8. It's the tortured artist syndrome. We can't be content or we will stop striving.

     

    I'm sure we've all met one or two players who seem to think they are better than they actually are.

     

    I'm probably a bit in both camps, to be completely honest with myself. I'm not the player that I was when I was in my 20s and playing full-time, and my self-image probably hasn't caught up to reality yet. That said, I still want to give my best to every performance out of respect for the people who paid to come see us. I want my playing to be the guy who nailed it hard every single night in 1987, even if it unlikely to happen this week.

  9. Perhaps I need to learn to say:

     

    "I'm glad to know that you enjoyed it. It was a challenging show for us, and I appreciate the opportunity to play for you tonight."

     

    If I treat it a "stage line" to deliver on cue, maybe I can beat down my inner bad vibes and focus on a positive experience for everyone.

     

    Thanks to all for the responses - great stuff!

    • Like 2
  10. Of course there are some other things we can to, such as staying sober and keeping our instruments up,

     

    Well, that's a given from my perspective. This is just professionalism, IMO, and a basic expectation in the circles I play in.

     

    One thing I've noticed is that we try to achieve a certain level of performance and, when we fall short, we dwell on the difference between what we are trying to do and what we actually achieve.

     

    The audience, on the other hand, only sees what we did - which we tend to overlook at the time.

     

    Thanks for this - you put it in perspective in a way I hadn't thought of.

     

  11. I create some large distraction' date=' such as setting the green room on fire, pouring beer on the guitar player, etc. [/quote']

     

    :D

     

    Nice! Since I am the guitar player (and ukelele, and banjo, etc....), I would welcome someone pouring beer in my direction. micro-brew IPAs are strongly preferred....:thu:

    • Like 1
  12. If you're a good musician' date=' you are always your own worst critic.[/quote']

     

    Truth. The choreographer told us that all of the things we were fretting over were simply not big enough issues to be noticeable from the audience. Probably true, but that doesn't mean that we will be satisfied....

     

    Grace.

     

    You are 100% correct, and I have trouble with this one. I am biased towards perfectionism and don't hide my emotions well, so I have a very hard time being cordial while I am internally kicking myself squarely in the tailbone. I need to develop a "canned response" that I don't have to think about.....

  13. We've all had bad nights performing, right? I had one last night - missed a few cues, blew too many notes, and just generally wasn't "on". I even played over a vamp cutoff once, which is a cardinal sin in theater work.:bangheadonwall: All in all, it just seemed that my concentration wasn't there. To be fair, many of the miscues grew out of timing issues from on-stage, but it's our job to cover those up so that the audience doesn't see them....even when the singer comes in and puts his down beat on the "and" of 2.:facepalm:

     

    At the end of the show, I feel like I should be fired from the gig. I'm speaking with the director and talking about how to prepare for the challenges we're facing from stage, and a local music teacher comes over and tells us that this was the "best pit orchestra she had ever heard in this town".

     

    My initial response::barf:

     

     

    Here's the question: How do you guys respond when this happens? When you've had a good night, dealing with the audience is easy....but when you feel like you put on a performance that was walk-out material, how do you respond to a compliment? I honestly didn't know what to say, because I felt like running away and hiding from anyone and everyone who had seen the show, and was simply not expecting anyone to see it as worthy of any sort of praise.......

     

     

    (Site Admin Note: This thread was originally in HCPP, and was moved here with permission from the OP. New posts start on page 4 of the thread. :wave: - Phil )

  14. I have noticed that Mesa has FX Loop with availability of choosing the channel, so that's mean I can get distorted channel for the headphones. Is that correct?

     

    http://static.musicbusiness.fr/media/catalog/product/cache/4/image/9df78eab33525d08d6e5fb8d27136e95/m/e/mesa-boogie-dual-rectifier-multi-watts-chrome-mmb-2dr1x-back_1.jpg

     

    You could get it, but you won't want to hear it. The speaker is a critical part of the sound of a guitar amp. A line out generally is only useful for driving an external power amp and speaker, or for driving a cabinet emulator.

     

    Trust me, you will not like the way it sounds.

  15. The easy way is to use something like a Torpedo Live or Palmer PDI. These take your speaker output and then process it to emulate the response of a speaker/cabinet, then give you a line and/or headphone output that sounds like a mic'd cabinet.

     

    If you want it to sound right, you need to have some sort of speaker emulation. A plain line out without speaker emulation sounds terrible for guitar applications.

     

    The less expensive solution is to put a SM57 in front of the amp and use a cheap pre-amp/mixer to drive headphones.

  16. The most likely reason for your mix issue is EQ, not power or speakers. 50W is more than enough power, regardless of speaker selection.

     

    To be heard in a power trio, you need to have stronger mid- and upper-mid output. "Scooped" mids only work in a bedroom. Leave the low frequencies to the bass and kick drum, and place yourself in the midrange gap between the low toms and snare/hat.

    • Like 1
  17. A really great bunch of musicians can and will control their dynamics appropriately.

     

    Yes, and if they don't, it is the conductor/director's job to deal with it.

     

    In the end, what's wrong with putting your speaker off stage (hint - if you have a separate head & speaker you can keep the head onstage for tweaking and remote the speaker only (less issues with the long cables as well))?

     

    How does that solve the problem of hearing relative levels with the rest of the group? That's just another way to add a problem into the middle of the feedback loop among all the musicians.

     

    If you have it folded back through your monitors then you still should be able to control the dynamics to get that blend you're talking about.

     

    Sorry, but that's just nonsense. I've got a trumpet and trombone playing straight at my head. What SHOULD be happening is that we all match together, playing at the dynamics set by the score and the director. Having 15 instruments live and 6 neutered doesn't allow this.

     

    In any case, the mix in our headphones seems to be moving around every night, and I have no direct way to adjust it. The bottom line is that we have no reliable basic level reference. With a horn, percussion or string instrument, you know very directly how to control and get p, mp, mf, f, ff, etc.; with an electric instrument, you MUST have a dynamic reference in order to level-set. For me, I tend to use the brass instruments, because a full trumpet/trombone blast should be a bit louder than my max level (fff). Once I have that baseline, I can manage everything else from there, all the way down to pp.

     

    If the sound tech is worth his/her salt then they should place you in the mix where that same blend is sent to the audience.

     

    Simply not possible - and in any case, you've got the cart before the horse. What the audience hears should mirror what is being played and heard by the performers, not the other way 'round.

     

    Setting relative levels and dynamics is not the sound tech's job. This is the job of the director/conductor. The sound tech isn't reading the score, and is not responsible for dynamics - neither relative nor overall.

     

    Imagine a symphony orchestra playing a Brahms work. Is it the sound tech's job to determine what level the french horns should be in the "mix"? ABSOLUTELY NOT! The sound tech's job is to precisely mirror what the musicians are creating under the director's guidance, not to pick and choose him/herself what he/she wants to hear. A "perfect" mix is one that changes nothing other than the volume level - the amplified sound should be no different from the stage sound - just louder.

     

    Possibly you are one of the few who really understands dynamics. If so you are the exception rather than the rule.

     

    Perhaps. I played symphonic violin before I switched to guitar, so my views come from a traditional music approach, not from bar-bands.

     

    I know that as a musician there is a tendency to play just a tiny bit louder to make sure you're playing your part right (not saying over the top - just so you can hear yourself).

     

    Right. This is why you point your cabinet at yourself, so that you hear yourself louder than anyone else does. This is no different from playing violin, where it's close enough to your ear that it will always be a few dB louder than anything else.

     

    If you're buried in the mix, this can be difficult BUT sometimes you should be buried in the mix (it all depends on the material of the moment). Let the sound person do this for you. That's their job.

     

    Yes, there are places where every instrument should be layered in the mix, and places where they should be on top. This is written in the score, and/or directed by the conductor. It is decidedly NOT the sound tech's job to make that happen, though. It is the conductor's job, working through the individual musicians.

     

    An interesting thing happened last night. About 10 minutes before curtain, the sound tech came to me with a couple of very specific (and impossible) requests to "change my patches". Given the way my rig is structured, what he was asking for was basically nonsense....so I asked him what problem he was trying to solve. He told me what he was hearing, and I made some adjustments. Here's the upshot - he wanted me to reprogram a bunch of stuff when what was needed was a pickup change or a picking adjustment. The good news is that he's a decent guy and I get the impression that he has a good sense of what sounds good out front, so the end result is all good.

     

    IMO, part of the trouble comes in when a tech guy thinks that a guitar's sound and level are all governed by programming in a rack unit, and that each "patch" is a set, specific volume level. A real player has TONS of dynamic control, from picking technique, guitar volume, pickup selection, and a whole host of other inputs that have nothing to do with the programmable electronics or amp settings. Sound guys think in terms of electronics and programming, while players think in terms of their instrument, You'd never try to micro-manage a violinist to change to a different bow or move their bridge position, would you? Of course not! You would tell them if their instrument sounded too dark or too brittle, and let them adjust their playing, right? Why is it that sound techs always think they can micro-manage the guitars, but don't attempt to do this with any other instrument?

     

    I resisted posting on this for a while as I didn't want to bruise any egos.

    No worries - no ego issues here. It's all about trying to make the performance the best it can be - with the least stress imposed on the largest number of people.

     

    IMO, this is a healthy discussion topic that's probably easier to hash out in a forum like that than in person or in a performance situation where tempers can get frayed due to pressure and stress. YMMV.

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