We're a large band with unusual monitor requirements, instrument changes, etc., and we know we're a bit of a challenge. We've run sound ourselves from the stage and we've had to deal with mediocre engineers (or otherwise good ones unfamiliar with our genre -- there's a horror story I can tell), so we understand what we have to be grateful for when we get to deal with one who can do a good job with us. And that they should be acknowledged and thanked.
Working with Allon means having an engineer already familiar with our sound and our repertoire (and easy to work with), as well as good. And I feel much more secure onstage knowing ahead of time that the board is in good hands, instead of waiting to find out whether an unfamiliar engineer is going to turn out to be good or not.
So yeah, I appreciate feeling better, playing better, being able to hear better, and having the audience able to hear us.
I use a Dean Markley Pro-Mag coil pickup on my 6-string (with a Radio Shack inline transformer/phone-to-XLR adaptor), and a Audio Technica AT831b condenser mic on the 12-string (using the soundhole clip that came with it). The condenser is usually phantom powered, with the switch set to "off" or "flat" (that is, no bass roll-off -- and the "off" position only affects battery usage; it can't actually be turned off when phantom power is supplied).
I also use the 831b on the double bass (which I play in a different band), using a clip I made myself from a paper clip and part of a nametag (I attach it to the bridge, pointing at the soundboard between the f-holes).
I really like the coil in the six-string (when EQ'd right it just sounds like My Guitar Only Louder, instead of "sounding like a coil pickup" (or sounding like an electric guitar -- I've got electric guitars fpr that). But on the 12-string I wasn't happy with the balance between strings with any coil pickup I tried, especially with the octave strings on the lower courses, so I went with the condenser.
(no subject)
Working with Allon means having an engineer already familiar with our sound and our repertoire (and easy to work with), as well as good. And I feel much more secure onstage knowing ahead of time that the board is in good hands, instead of waiting to find out whether an unfamiliar engineer is going to turn out to be good or not.
So yeah, I appreciate feeling better, playing better, being able to hear better, and having the audience able to hear us.
I use a Dean Markley Pro-Mag coil pickup on my 6-string (with a Radio Shack inline transformer/phone-to-XLR adaptor), and a Audio Technica AT831b condenser mic on the 12-string (using the soundhole clip that came with it). The condenser is usually phantom powered, with the switch set to "off" or "flat" (that is, no bass roll-off -- and the "off" position only affects battery usage; it can't actually be turned off when phantom power is supplied).
I also use the 831b on the double bass (which I play in a different band), using a clip I made myself from a paper clip and part of a nametag (I attach it to the bridge, pointing at the soundboard between the f-holes).
I really like the coil in the six-string (when EQ'd right it just sounds like My Guitar Only Louder, instead of "sounding like a coil pickup" (or sounding like an electric guitar -- I've got electric guitars fpr that). But on the 12-string I wasn't happy with the balance between strings with any coil pickup I tried, especially with the octave strings on the lower courses, so I went with the condenser.
At some point I'd like to go wireless.