Recto help

Any of you guys who has gigged in various sized halls, let me know what is normal and what is a challenge to get good sound for the audiences.

For me, since I use only a processor (Helix) and don't use any amplifiers on stage, it's super simple. My guitar is mixed in just like everything else. We recently hired a sound/light tech who takes care of the mix during the gig. Since none of us use physical amplifiers, it makes for a cleaner sound since you don't have this din of stage noise bleeding into mics and generally making it near impossible to hear what's going on.

The burden is really on me when I build my patches to be sure they have a pretty consistent output level, but it's not that hard. I also usually build in a "Lead" snapshot for most patches to boost my level (and adjust any other effects, if necessary) for doing solos and such.

Ideally, we do two sound checks. The first sound check is just to get our in-ears set right. Since we all have an app on our phones/tablets that allows us to control our own monitor mix, that's pretty simple. The second sound check will be full PA which gives our sound tech the opportunity to set the PA levels.
 
I just had a thought pop in my head. With so many options for metal/ hi gain amps, do modeling amps have a place for performers like Ramo instead of chasing his sound through a Recto of questionable reliability? Something like a Kemper...

By "modeling amps" I assume you're including the idea of processors, of some brand or other, which may not necessarily include an integrated amplifier.

If so, my answer to your question would be, yes, I do think they have a place. Metallica, for example, uses Fractal Axe-Fx. Bill Kelliher of Mastodon uses a Helix. There are others. Today's modellers are so much better than they used to be. It really all comes down to how the patch is built, not the device itself. A common mistake is to "over build" the patch, i.e., use more effects than necessary. This can give kind of a squashed effect to to the sound, similar to running a legacy board with too many pedals switched on.

There is this perception that metal requires huge amps to be effective. It simply isn't true in today's world. Increasing numbers of hard rock/metal performers are using processors and even studio recordings are often done using plug-ins on a computer. Physical amps are cool, and all, and I don't dislike them. I actually like mine. But, I never have to even think about the issues Ramo is describing.
 
For me, since I use only a processor (Helix) and don't use any amplifiers on stage, it's super simple. My guitar is mixed in just like everything else. We recently hired a sound/light tech who takes care of the mix during the gig. Since none of us use physical amplifiers, it makes for a cleaner sound since you don't have this din of stage noise bleeding into mics and generally making it near impossible to hear what's going on.

The burden is really on me when I build my patches to be sure they have a pretty consistent output level, but it's not that hard. I also usually build in a "Lead" snapshot for most patches to boost my level (and adjust any other effects, if necessary) for doing solos and such.

Ideally, we do two sound checks. The first sound check is just to get our in-ears set right. Since we all have an app on our phones/tablets that allows us to control our own monitor mix, that's pretty simple. The second sound check will be full PA which gives our sound tech the opportunity to set the PA levels.
Much appreciated that you level your patches. Always been the biggest issue at the sound board when patch levels are vastly dif volume wise
 
For me, since I use only a processor (Helix) and don't use any amplifiers on stage, it's super simple. My guitar is mixed in just like everything else. We recently hired a sound/light tech who takes care of the mix during the gig. Since none of us use physical amplifiers, it makes for a cleaner sound since you don't have this din of stage noise bleeding into mics and generally making it near impossible to hear what's going on.

The burden is really on me when I build my patches to be sure they have a pretty consistent output level, but it's not that hard. I also usually build in a "Lead" snapshot for most patches to boost my level (and adjust any other effects, if necessary) for doing solos and such.

Ideally, we do two sound checks. The first sound check is just to get our in-ears set right. Since we all have an app on our phones/tablets that allows us to control our own monitor mix, that's pretty simple. The second sound check will be full PA which gives our sound tech the opportunity to set the PA levels.
I have to have a cab behind me with guitar. Just the way I gotta hear it. That said, we play surprisingly not loud compared to most rock bands.
 
Much appreciated that you level your patches. Always been the biggest issue at the sound board when patch levels are vastly dif volume wise

Thank you, BFT. It’s also important to be humble enough to accept observations from others. We have developed a certain following. If someone from the crowd or our sound tech tells me a certain section or passage was too quiet or loud, I may ask further clarifying questions, but I don’t argue. I attempt to fix it right then. Otherwise, I have it fixed for the next gig.

Even if we have to work with house sound engineers, I get on the good side of the engineer as soon as possible! I’ve learned that they WANT me to sound good. If I show consideration for their needs as engineers, they generally do their best for me.

One thing I often do if we’re using the house sound tech is to go to him during our first break and ask if everything sounds okay and if I need to make any adjustments for him. It’s kind of funny because I can see them sort of bristle like they’re anticipating that I am coming to complain! But, when I ask if they need me to do anything to help them, you can see them visibly relax. From that point on, they are my best friends for the evening!
 
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