June 26, 2020
It’s no secret house sound engineers fight with guitarists about the volume of amps on stage, especially in small venues. It may even be a bit of a cliché to mention it. “Turn it down!” often becomes “I’ll turn it down for you!” and “I need it louder!” turns into “I’ll just sneak over here and turn this up…”
Whichever side you fall on, it turns out both sides have valid concerns, and everybody just wants to achieve the best sound possible. So, let’s look at how and why you might achieve a good balance with house sound, while still achieving the great tone you’re after.
Here’s the crux of the situation on a stage, especially where a loud rock band and a small venue are concerned: Everyone has a need to hear themselves (and each other), but no one can!
This actually usually starts with the drums, which are almost always too loud for a room. We’ll tackle how to start at the bottom with this problem in another article, but suffice it to say, if you can tame your kit, the sound engineer/guitar feud will be easier to manage.
Focusing on the guitars, the major problem the sound engineer faces is guitars tend to overwhelm vocals, keys, and other similar elements very quickly. Since the P.A. is the only amplification these elements have, if the guitar amps defeat that, there’s no way to hear anything else in the room.
The best way to handle that from a purely house audio standpoint is to eliminate the guitar amps, and put the guitars directly into the P.A. This means everyone on stage can get what they need in their monitors, and the house mix can be controlled.
Unfortunately, that can all but ruin the tone many guitarists seek, and that can destroy a band’s signature sound.
To make matters harder, most guitarists achieve their tone by “opening up” the tubes in their amps – by turning them up to eleven. In this scenario, when the engineer asks you to turn your amp down, it means changing the tone.
But in almost every venue outside of a big stage, this volume level will fill the room, blast the audience’s ears, and make a good mix impossible to achieve. Even amps that are completely absent from the P.A. mix can be overwhelming in many cases, which means if you turn up to eleven, you’ve just defined your sound as “guitars only, with a guy lip syncing to nothing at the front of the stage.”
If that’s not enough reason of why you might want to consider lowering your stage volume, consider a few other factors:
So, what’s the solution? You may not want to hear this – but turn it down. Fortunately, there are a number of ways you can reduce your overall volume without ruining your tone.
The encouraging thing is, it’s more than possible to achieve a best-of-both worlds, opened up, high quality guitar sound on stage, while still leaving room for the rest of the band and the sound engineer to help you put your best foot forward. For more discussion on the subject, check out How To Improve Your Live Shows By Reducing Your Stage Volume on this blog.
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One of the most misunderstood things in mixing is bass – whether it’s getting the low end right in general, letting the bass guitar cut through without overpowering everything else, or just making the bass interesting and cool. It can be tricky to get it right, but there are plenty of tried-and-true tricks for getting there quickly. Let’s go over a few of those.
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