Sad but true. People want to be able to talk on their phones and livestream
You nailed it. Guess that makes me weird.
Yeah, back in the 80s/90s I don't think in-ear monitors were a thing - at least if they were I never heard of them (no pun intended). The 'state of the art' deal was decibel reducers - ear plugs with little propellers inside that were supposed to slow down the sound waves without sacrificing tone. Never tried them as they were like $100+ for a set and I always figured that was a quick way to lose $100 cause I'd use em at one gig and lose em. The regular ear plugs seriously impeded my ability to hear what I was getting from the microphone - all the little nuances you get from mic techniques - and low passed all the high end, so I tried em once or twice and never again.
Explanation: Lemmy wasn't a human, he was a metal god. I ran into a few times when I lived in Hollywood, such a super cool, down to earth guy, too.
KILLER tone! You need to post more in Friday Night Riffs!
I don't remember ever diming my stack in a club, but would always run it at 8+ cause it just wouldn't come alive til then. In the DC/Baltimore area at the time we had 3 or 4 "regular" sound guys you would see at nearly every gig. One guy, Chris Koslowski (passed away last year, sadly) was one of the best sound engineers I've ever met. If he was running sound, you knew you were going to sound incredible. 2 of the others were passable. The 4th was some know-it-all control freak who would constantly try to come on stage and mess with everyone's amp settings and "educate" the drummer on how to play. He would come up and turn my master down to 2 or 3 and give me some lecture about how I needed to rely on the FOH to make it sound good. As soon as he would get off the stage, I'd turn it right back up again. Pretty sure the last time he did a show I played, the bass player threatened to punch his lights out if he messed with the EQ on his amp head.
Yeah, I've had to slap people's hands away from my mixer more than once, and made use of the DFA fader/knob, but those days are gone. You either turn down or you're switched off and don't get any more bookings which when most venues are part of a chain isn't good.Yeah, back in the 80s/90s I don't think in-ear monitors were a thing - at least if they were I never heard of them (no pun intended). The 'state of the art' deal was decibel reducers - ear plugs with little propellers inside that were supposed to slow down the sound waves without sacrificing tone. Never tried them as they were like $100+ for a set and I always figured that was a quick way to lose $100 cause I'd use em at one gig and lose em. The regular ear plugs seriously impeded my ability to hear what I was getting from the microphone - all the little nuances you get from mic techniques - and low passed all the high end, so I tried em once or twice and never again.
Explanation: Lemmy wasn't a human, he was a metal god. I ran into a few times when I lived in Hollywood, such a super cool, down to earth guy, too.
KILLER tone! You need to post more in Friday Night Riffs!
I don't remember ever diming my stack in a club, but would always run it at 8+ cause it just wouldn't come alive til then. In the DC/Baltimore area at the time we had 3 or 4 "regular" sound guys you would see at nearly every gig. One guy, Chris Koslowski (passed away last year, sadly) was one of the best sound engineers I've ever met. If he was running sound, you knew you were going to sound incredible. 2 of the others were passable. The 4th was some know-it-all control freak who would constantly try to come on stage and mess with everyone's amp settings and "educate" the drummer on how to play. He would come up and turn my master down to 2 or 3 and give me some lecture about how I needed to rely on the FOH to make it sound good. As soon as he would get off the stage, I'd turn it right back up again. Pretty sure the last time he did a show I played, the bass player threatened to punch his lights out if he messed with the EQ on his amp head.
Yeah, definitely a different world. We were always the dog, not the tail, and clubs wanted us because we brought our fans, who would routinely wipe their bar out of stock. One club in DC had to go across the street to the liquor store the first time we played there. I can still picture them wheeling in cases of beer and booze on hand trucks. And, from then on that club owner lets us do whatever we wanted cause he knew we'd make him money.
The cost of music licences and the hoops you had to jump through to get one made that scenario highly unlikely to happen over here. Noise complaints are taken very seriously by local councils, which control the licences.
Crazy.
So do I
