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Etiquette Thread.

Who's making noise in and around Madison? What's new in the business of making music around town? Review shows and CDs here. Please keep all hype in Hype Exchange.

Postby Henry Vilas » Wed Apr 11, 2007 12:00 pm

GenieU wrote:Work with the sound people-you may not like all their ideas, but on the other hand they may know a little more about the venue than you do.

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Postby AreaDrummer » Wed Apr 11, 2007 4:59 pm

For those who cringe when they see a drum rack show up...
One of the reasons I went with a rack is so I could get off the stage quickly on multi-band bills. Two bandmates help me lift the entire rack off the stage with cymbals and toms still hanging. Unfortunately, sometimes there's not a whole lot of room, but it's still better than tearing down on stage for the most part.

Sound check: I totally agree with everyone who believes never play more than you have to during sound check. It's sad when the drummer decides sound check is the time to play a drum solo, completely blowing his wad before the band plays a note of music. Just groove and do a few tom fills...)unless your band features a drum solo in every song)
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Postby Kenneth Burns » Wed Apr 11, 2007 5:58 pm

"Okay, floor tom."

Thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump.

"That's good, thanks. Okay, snare."

Thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump.

"Okay, lead vocals?"
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Postby The New Loud » Thu Apr 12, 2007 2:10 am

Make sure you know when sound-check/load-in is. There was just a 4 band bill at The Cactus Club in Milwaukee and one of the bands showed up at 10:45 pm(right before their set). They were told to go home as load in was at 8pm.


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Postby AreaDrummer » Thu Apr 12, 2007 4:38 pm

Kenneth Burns wrote:"Okay, floor tom."

Thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump.

"That's good, thanks. Okay, snare."

Thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump, thump.

"Okay, lead vocals?"


ETIQUETTE FOR THE SOUND TEQUE-ETTE

That brings up a pet peeve of mine: Sound guys that need WAYYY more than just a line check. If you can't get a kick drum sound in under 20 seconds, let someone else at the board. Armed with a D112 or Beta52, how much time do you really need? :)
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Postby lil bunny fufu » Thu Apr 12, 2007 5:12 pm

AreaDrummer wrote:how much time do you really need?


First, let me agree that there are plenty of people working as sound techs that simply aren't up to scratch. We've all run in to them, and they harsh everybody's mellow.

Having said that, being a sound tech is right up there in the pantheon of shit jobs alongside manual ditch digging, bilge cleaning, and wiping asses. Its a hard gig to win at; either you're too slow to set up or you're in the way; you take too long to sound check or everything sounds dumpy and nobody can hear dick in the wedges; its too loud or its too quiet; if the guitar player's loud enough for his buddy or significant other, then the singer's too quiet for theirs; in a lot of these club situations the gear you've got to work with necessitates a wholly different set of expectations than what the musos have; a sound tech that is seen by some as competent and good to work with is often ridiculed as an ass-munch by others. And most of them ain't gettin' rich doin' it, either.

So, I encourage anybody tempted to start slagging sound guys willy-nilly to think about walkin' a mile in those beat up Chuckie T's beforehand. But hey, fair's fair, so if they really got it coming, beat them like gongs.

Friendly tip for AreaDrummer - it just so happens that if you keep your mouth (err, fingers, as it were) shut about microphones, nobody'll ever know how little you know about them or their usage. And that's OK.
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Postby raw-tracks » Fri Apr 13, 2007 9:44 am

AreaDrummer wrote:
That brings up a pet peeve of mine: Sound guys that need WAYYY more than just a line check. If you can't get a kick drum sound in under 20 seconds, let someone else at the board. Armed with a D112 or Beta52, how much time do you really need? :)


If the drum is well maintained and *tuned properly*, 20 seconds will do for PA work in a small club. If the drum is not up to snuff, it may take a couple minutes to get a passable sound, not good, but passable. Generally, it seems, if something sounds like shit throught the PA, it's assumed it's the sound guy's fault. When, in reality, it could easily be the musician's fault. The sound guy, wanting to save face, may need a minute to attempt to make the shitty sounding instrument sound *better*

So the moral, maintaining your instruments will make you sound check experience quicker.



I am not specifically targeting AreaDrummer or his kit. I don't know him, or what his drums sound like.
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Postby LoopBo » Fri Apr 13, 2007 10:12 am

i'm on the edge of my seat on this one! i can't wait to see whose fault it is for the drums sounding shitty at this hypothetical gig: the area drummer, or the area sound guy.
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Postby AreaDrummer » Wed Apr 18, 2007 4:54 pm

Point taken about the less-than-glorious job of a sound tech. I've been on that end of the board a few times, live and in the studio. Believe me, I'm usually the first one to thank the tech at the end of the night.

Since this was posted in the etiquette thread, it was more a point about be considerate to the people in the club who have to endure sometimes several minutes of THUMP THUMP THUMP when a good baseline might be all that's needed. I may have been spoiled by having Tim Woodworth or Dave Meier running FOH most of last year. Yea...if you have a crappy PA, crappy drums with mostly duct tape for a kick head, I can understand where people would get frustrated.

Friendly tip for AreaDrummer - it just so happens that if you keep your mouth (err, fingers, as it were) shut about microphones, nobody'll ever know how little you know about them or their usage. And that's OK.


I play a DW kit with an 18x22 kick. PowerStroke 3 on the batter, Ambassador with hole in the front for resonant with the kick-pillow inside. I usually carry my own mics, with a Beta 52, 4-Beta98, 1 SM57 and AKG C451EB w/CK1 capsule for OH. I did quite a bit of research on their strengths and limitations before I bought them--I'll try to speak intelligently when it comes to mics in the future. :)
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Postby lil bunny fufu » Wed Apr 18, 2007 10:38 pm

AreaDrummer wrote:I'll try to speak intelligently when it comes to mics in the future.


No one or two microphones are "magic bullets". There are no "guaranteed" sounds.

Having said that, yes, part of success is choosing an appropriate tool for the job.

I freely admit that I have no idea whether you're a sound noob with little to no real experience. But you sure seem like one when you spout off about Mic A or Mic B being a sure bet and throw out random time limits that are somehow supposed to single-handedly identify proficiency.

Keep on truckin' . . .
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Postby Windom » Thu Apr 19, 2007 1:09 pm

You guys are four year olds
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Postby Stomach » Thu Apr 19, 2007 1:13 pm

Windom wrote:You guys are four year olds


I'm 4 1/2.
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Postby DrAwkward » Thu Apr 19, 2007 1:45 pm

lil bunny fufu wrote:Having said that, yes, part of success is choosing an appropriate tool for the job.


That's not a very nice thing to call a soundperson. :wink:
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Postby lil bunny fufu » Thu Apr 19, 2007 3:43 pm

:D
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Postby harrissimo » Fri Apr 20, 2007 7:18 am

I use a Milux 69-BS Keyboard with auto key menstruation which I filter through a BM 101 ballbuster in order to modulate the upper range vibratory membrames. I usually use a BM-69 mic on the drums which gives me that funky-a-funk sound that stiumlates the testicular functionality. However, if its a large club I will add a funk-a-rock-a-doobie range fuzz perturbulator in order to rimrod the low-end fuzzle bass tones and to accenuate the high-end mucus sizzle tones. I like the funk-a-rock-a-doobie range fuzz perturbulator because it uses the old fashion fermature plate to ascribe the scribble ratio of 1:5 instead of the newer knutson nutsack technology, which may be easier to use, but I miss the facial creamatory tonal subreflux that gives you that creamy tone. I'm sure lil bunny fufu knows what I am talking about.
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