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What's Your Gigging Rig?


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I'm especially interested in your experience with personal, small-format PAs like the ones Bose introduced (with subwoofer and column array), and have since mutated into a zillion different models from a zillion manufacturers.

 

I just finished reviewing the Mackie SRM-Flex, and was surprised that something that small could put out a significant volume level. It wouldn't be enough for large venues, but if I was a singer/songwriter doing a coffeehouse gig, it would do the job.

 

I've also used the Bose L1 in bigger gigs where the line out went to a PA. But, having the unit next to me, allowed getting feedback with my guitar by holding the neck parallel to the column - no Marshall stack required. I also have a Bose S1 that I haven't used yet in the line of live gig fire, but it's great for mimicking a basic live setup in my studio.

 

Then again, for my DJ-oriented gigs at the turn of the century, I just always sent a line out to the front of house - didn't need a rig to gig, even with guitar

 

So...what do you use?

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I like the sound of the small PAs with subwoofers, really versatile, light and easy to set up. Not in the budget yet and what we have now is working well.

 

I have a Fishman Loudbox Performer that we use for a PA at many places. There are two singers so it's just enough channels. 180 watts, 3-way 8" system with a 5" midrange cone. I think the mid cone is the key to the gorgeous, clear vocal tones it delivers.

 

We can reach the back wall in some larger venues, it can be surprisingly loud and always sounds great at any volume.

It has a sturdy metal tiltback so you can get the sound out into the room without using a stand and it's one box - 30 pounds. We put it behind us and have had no problems with feedback so it is both a monitor and a main.

 

For the duo gigs that I play often the other guitarist plays acoustic through a Loudbox Artist and I use a Peavey Transtube EFX 258 that I stuffed a 10" Scorpion into.

Once I shorten the footswitch cord on the Peavey I'll have everything the way I like it. I think that amp gets the "Peavey facepalm" often, but does not deserve it. The stock speaker stinks though.

 

We can travel pretty light for how big it sounds when we play.

It took a chunk of my life to get here and I am still not sure where "here" is.
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That's the kind of info I'm seeking in this thread - setups that have worked for gigging musicians. I hear nothing but good things about the Loudbox amps.

 

They are very well thought out and designed. There are three XLR Direct Outs on the back, one for each channel and one that is a mix. You could run to the PA or daisy chain with more Loudboxes or other gear.

 

Each channel has it's own effects loop. The Aux In has both 1/4" and 1/8" phone plugs.

 

Combo inputs, pad switches with clip indicators, 3 band EQ with well chosen bands, phase switch, Anti-Feedback knob that works wonders on acoustic guitars, each channel has an Effects Depth knob for Effects Bank A (2 Reverbs, Delay and Echo) and an On switch for Effects Bank B (2 Choruses, Flanger and Slap Echo) - Effects Bank A also has a Time knob and Bank B has a Depth knob.

 

Aux Level, Master Volume, Headphone out (1/4"), Mute button, Phantom power button and a tiny knob that adjusts the volume of the tweeter (I LOVE this knob, it makes a huge difference!).

 

There is also a jack for a 2 button footswitch so you can Mute remotely or turn on Effects Bank B.

The tiltback bar snaps back into place when you don't need it and the cover has a pouch for cables and such.

 

So it's really a matter of "what do you want to do" and "what do you have with you" more than "this is how we do things." Super versatile and everything is effective, reliable and sounds great. Such a joy to just leave your setting and hit the Mute button for breaks.

 

It's also great to be able to plug into the wall, into the box and you are up and running. Set up and tear down are fast, simple and effective.

I can't think of any downside and I am not one to hold back. I'd get another one if I didn't have this one.

 

It took a chunk of my life to get here and I am still not sure where "here" is.
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Church rig (which mostly stays put): PC2, PC3, iPad for charts, sometimes iPad for sound generator, small Tapco mixer, pair of JBL EON15 G2 amp/speaker.

 

Going out: varies considerably. Speakers are usually pair of QSC K10. Choose from PC361, SK1-73, IK iKeys 37 Pro or Samson Carbon 61 inti iPad sound module, K&M 18880/18881 stand.

 

shop/studio: PC3X, sometimes SK1-73 or PC361 into DAW computer, into pair of EV SXA 100+ (12").

Also have Fender (modified) Blues Jr, Trace Elliot series 6 head into 2x10+horn and 1x15 cabs, pair of JBL EON10G2, PC2X.

 

Sorry, none of the new stuff, but all the stuff is paid for and working for me. Would be nice to have a very lightweight single amp to go with the iKeys 37 Pro outfit, but carrying one K10 isn't too bad.

 

Comments: The EON 15 pair work well, but are too heavy (and odd shaped) to move around at my age. The EON 10 pair didn't work out for gigging, they are in the home now - The power amplifier IC is protected from heat overload by an internal circuit that greatly reduces the volume when the thing heats up. The EV 12" pair probably sound the best of all that I have. The K10 pair are close to the EV in sound, but lighter and more portable (why the EV pair is up on poles in the shop/studio.

 

I learned after the first mishap - purchase of a pair of cheap "DJ" powered speakers - loud enough but a huge resonant peak at E and F in the octave below middle C. Buy quality once, buy junk over and over - quality is cheaper in the long run.

 

Howard Grand|Hamm SK1-73|Kurz PC2|PC2X|PC3|PC3X|PC361; QSC K10's

HP DAW|Epi Les Paul & LP 5-str bass|iPad mini2

"Now faith is the substance of things hoped for, the evidence of things not seen."

Jim

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I also think a lot of these rigs have potential as FRFR guitar amps. I tested the Mackie Reach in that context a couple years back, it actually worked pretty well - and easier than carrying a Fender Twin around by far.
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I've been gigging a long time and have acquired a lot of gigging tools. It's all paid for, still works, there's no learning curve so I'm in no hurry to replace them with modern stuff.

 

I also refuse to use a laptop or mobile in my gigging rig.

 

With that, this is my rig. Because I play all kinds of genres, I designed it to be modular so if I only need piano and Hammond then I don't bring the synths.

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http://www.nortonmusic.com/pix/GigRig_2019.jpg

 

with two ZLX-15P speakers.

 

The 3 synth modules on top of the mixer are for my Yamaha WX5 Wind MIDI controller, The Sound Canvas near the bottom is for Leilani's Buchla Thunder Tactile MIDI controller.

 

We need so many channels because besides for the synths, we both also sing, we both play guitar, and I make my own backing tracks which I play through a computer.

 

It's a lot of schlepping to the gig, but it sounds soooooooo good.

 

Insights and incites by Notes

 

 

Bob "Notes" Norton

Owner, Norton Music http://www.nortonmusic.com

Style and Fake disks for Band-in-a-Box

The Sophisticats http://www.s-cats.com >^. .^< >^. .^<

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When my wife and I decided to pursue gigs as a duo I started looking at the "PA on a stick" options. I mentioned the JBL Eon One Pro as a possibility and before I felt like I'd had a chance to really research others my wife ordered it. Shortly after we started out I decided we'd just use it for our vocals and use amps for instruments. I'm using an old Roland KC100 I bought second hand years ago at Music Go Round for my keyboard and guitars and she uses a Behringer Ultratone K1800FX I've also had for a number of years for keys, flute, mandolin and EWI-5000. So far I've been satisfied with this setup, we play small places and this is a small and reasonably light load in/out.
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With the JBL Eon Pro, do you ever use the battery-powered aspect?

 

I think it's a nice feature to have but I don't foresee us using it under any normal circumstances. There are only a handful of songs we do that don't benefit greatly from keyboards and ours require an outlet.

 

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When I play gigs larger than a certain size, I rely on the house PA and make it clear beforehand that I'll need it. However, I play a lot of gigs in very small spaces: cafes, art galleries, house concerts, and the like. I wanted a stereo speaker system that was small, very light, and easy to set up and use, that wouldn't break the bank. If it wasn't super-powerful it wouldn't matter, because I play ambient music that isn't meant to blast over conversations and rattle the walls.

 

With that in mind, I took a gamble on the Korg Konnect portable PA and was very pleased with it. It hits all my criteria very handily, is surprisingly good at filling a room, and I can load it in and out with barely a second thought for my spine. I think if I was to do it all over again, I might look for something just a trifle bigger with more bass and more wattage, but for now it does the job nicely.

 

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

Editor-in-Chief, Bjooks ~ Author of SYNTH GEMS 1

 

clicky!:  more about me ~ my radio station (and my fam) ~ my local tribe ~ my day job ~ my bookmy music

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Craig, what's your pedalboard consist of? In the aforementioned HC review, you used a MS-100BT, but are there any multieffects that deliver the best bang for the buck in your opinion?

 

And in the interest of the topic, I use Quilter amps - a nice, discrete analog signal path made digital only by two Eventide H9s in the effects loop.

 

I also use the Boss GT-1 for my church and some of my wine bar gigs, which I bought used for ninety dollars - crazy that a Benjamin can buy you that much processing power!

 

BTW I bought your book(s) on recording. The latest digital guitar one is great!

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Craig, what's your pedalboard consist of? In the aforementioned HC review, you used a MS-100BT, but are there any multieffects that deliver the best bang for the buck in your opinion?

 

I haven't played live since moving to Nashville (the irony!) but expect to be putting together an act before too long. These days, the Line 6 Helix is ideal for me for a few reasons...first, it has pretty much every effect/module I could want. Second, it's compatible with the Helix Native plug-in, which I use a lot for recording. Third, it accommodates multiband presets, and I love that sound. It's like a CGI version of analog.

 

And in the interest of the topic, I use Quilter amps - a nice, discrete analog signal path made digital only by two Eventide H9s in the effects loop.

 

Quilter amps are great, good choice!

 

BTW I bought your book(s) on recording. The latest digital guitar one is great!

 

Glad you like it!

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It accommodates multiband presets, and I love that sound. It's like a CGI version of analog.

 

Ooh! I'll have to give that a try!

 

There's a demo video if you want to hear what multiband presets sound like. These days, I pretty much use only multiband amps for anything involving chords. The sound is just a whole lot sweeter...it's not really needed for leads, though.

 

[video:youtube]

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These days, I pretty much use only multiband amps for anything involving chords. The sound is just a whole lot sweeter...it's not really needed for leads, though.

I read your reply after watching the video, and I'm surprised to see that, as I thought leads would soar with multiband patches. How well do these guitars sit in a mix with lots of instruments - say a Chigago-style band with horns and keys?

 

Also, I'm now G.A.S.ing for a Helix. Never ends!

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I am currently in 3 bands and have 3 rigs :

1- Mesa Boogie Mark I amp, pedalboard, guitar (Jazzmaster or SG) and a MicroKorg for some bass lines, Fender P-bass thru Ashdown MAG300, sometimes I uplay an old Ibanez double neck and switch between amps

2- Laptop with GuitarRig and Kontakt, and a Guitar Rig midi controller on the floor, a Telecaster and a master keyboard (usually the MicroKorg), sometimes an extra synth (Minilogue)

3- Gibson Firebird, Fender Champ XD, pedalboard and Minilogue

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  • 2 weeks later...
I use mainly solid state stuff live and use pedals for tone except for larger gigs. So mainly with small stuff or in orchestral settings it's my pedal board into an old Bandit 75 on the clean channel. Larger show it's a silver stripe Special 130. I might use it clean, and go with my ADA rack setup (ADA Mp-1,old Alesis Quadraverb), or I might just use my old Ibanez PT-5 in the effects loop for delays and modulation and just use the three channels from the amp (set properly, they really are very good), or I might use said pedal board. Just depends. On REALLY big shows I will use a 212 extension cab, and put the old "75" on the other side of the stage and have the sound guy pan the amps so that the ping pongs are noticeable out front from my delays. I keep the tube stuff at home. Too expensive, too temperamental, and too hard to replace on my meager salary.
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I use mainly solid state stuff live and use pedals for tone except for larger gigs. So mainly with small stuff or in orchestral settings it's my pedal board into an old Bandit 75 on the clean channel. Larger show it's a silver stripe Special 130. I might use it clean, and go with my ADA rack setup (ADA Mp-1,old Alesis Quadraverb), or I might just use my old Ibanez PT-5 in the effects loop for delays and modulation and just use the three channels from the amp (set properly, they really are very good), or I might use said pedal board. Just depends. On REALLY big shows I will use a 212 extension cab, and put the old "75" on the other side of the stage and have the sound guy pan the amps so that the ping pongs are noticeable out front from my delays. I keep the tube stuff at home. Too expensive, too temperamental, and too hard to replace on my meager salary.

 

Ahhh... another Peavey user. I am not alone!!!!

I've used the amps you mention and many more.

I now use Peavey's Transtube stuff for some gigs, I can dial up great lead tones.

My Transtube 258 EFX has seen a lot of gigs and many more to come. There was just enough room to mount a Peavey Scorpion 10" and now it is a little monster.

With the dedicated footswitch I have channel switching and rotary speaker. I leave reverb on. If I want delay I reach down and turn it up then tap in the tempo with the same dial.

 

Still sussing out a Peavey Vypyr VIP 3 and Sanpera 2 rig. Pedal board is a bit bigger than I like but it has EVERYTHING. The mid gain, "amp turned up a bit too loud" tones are excellent and can be deployed at very reasonable volumes.

 

2 weeks ago I picked up the latest version Envoy, pawn shop had guitars and amps 50% off so $50 out the door. I'll be putting a Scorpion 12" into that one. That will be my "big amp" while I update the firmware and re-dial in my Boss Katana 100 Combo.

 

Yeah, I've owned an enviable list of tube amps. The amps are solid but tubes do fail and it's never at a convenient time. Still have a tweed clone and an ac-15 clone laying around the house.

Last gig with a tube amp was the New Years Eve before last, took a beloved Red Plate Blues Machine and the output tubes decided to wet the bed and needed rebiasing to sound good. I had a third the usual output and an less desireable tone until I put it on the bench.

 

I said "Never again" and sold it. Don't miss it either!

 

It took a chunk of my life to get here and I am still not sure where "here" is.
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Keyboards are my primary instrument, but having grown up with a guitar playing brother I'm dangerous enough on rhythm guitar and amps.

 

Also being an EE, I have good knowledge on why tube amps sound the way they do. I'm a child of the 70s and I really like the sound of tubes. When covering a song onstage, I'm a stickler for authenticity.

 

I own six good guitar amps and a selection of 4x12 cabinets with various speakers, mainly for recording. All tube amps and some of them vintage. The non-vintage amps are M/B Lonestar and Vox Valvetronix (original "blueface" version). With the two exceptions, all of my amps are heads. For recording I find a lot of value experimenting with different speakers with different amps for acquiring the sound I need. I'm not a "one sound" player and I own a good strat, good tele, and good LP.

 

My choice for gigging is the Valvetronix amp. It's a modelling amp with a real tube in the output stage, and the output stage changes configuration based on the amp model used. That's a crucial element that many modelling amps lack (I told you I was a stickler). I've worked around enough tube amps to recognize the underrated value of the power tubes. I'm currently playing keyboards & rhythm guitar in a classic rock band and I need a variety of guitar sounds from AC/DC to Dream Theater. The Valvetronix is very well equipped for these demands not just with the amp models but with the good selection of modeled pedal effects, tape or digital delays, and digital reverbs. I have the companion VC-12 foot controller which lets me switch sounds quickly, and it archives my patches. The Valvetronix goes into an original Groove Tube Speaker Emulator. The SE is a reactive load designed to emulate Celestion 25w greenbacks and it works very very well. It eliminates the speaker cabinet onstage, and I just go direct into the PA and play it through the same Bose 802 I use for keyboard monitor.

 

The only vintage amp I gigged was the Marshall 1987 50w for a southern rock band. The Marshall is modified with the dual channels changed to one channel with the input stages cascaded, like a 2204 50w. I needed the touch dynamics that this amp does, and I couldn't duplicate it with the Valvetronix. The rest of the vintage amps stay home.

 

More than one guitar player I have worked with has told me "How does a keyboard player know so much about guitars?" I retort that I adapt the motto of the West Point graduate: "know your enemy" :laugh:

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