Re: ----- I suck, I tell you, I suck. ------

[Mike Curtis <wd6ehr@xxxxxxxxxx>]

> At 5:13 AM 2/28/95, Mike Curtis wrote:
> >Assuming you want a fat "Cross harp bluesy" sound, here are a few tricks
> >I use for jamming on an unknown PA:
> >
> >1. Ask them to turn the treble completely off your mic.  Also, make sure
> >   it has plenty of bass.
> 
> Hmmmm .... although I like the rest of your tricks, this one is somewhat
> suspect.  A better approach with an unkown PA is to set all available EQ on
> your channel as flat as possible, i.e. at 5 for most rotary controls, then
> take it from there.
> 
> Doing the "roll off the treble and boost the bass" thing will probably kill
> feedback, but results in a very dead and/or boomy sounding tone.

If it's "boomy", you're getting bass feedback and should cut the bass
setting.  But what I usually do is have it set about +2 on a +/- 5 system. 
Not a lot - just a little "fatter" sound than a normal vocal mic. 

When I play into a tightly cupped mic, I get a very "fat" sound that
sounds good with these settings.  I usually get a little distortion from
the mic preamp due to my very loud playing into a very closely coupled
microphone.  Of course, I have large hands and chest (53"), and it may
well be that my natural resonance is deeper than some.  I can only speak
from my personal experience.

Turning the treble and volume down cuts the potential for feedback, which
for me is the highest priority.  Once you start playing, the engineer (or
band member acting as such) can inch things up for the sound they like. 
This will usually include more treble.  But starting at full CCW is a good
("safe" :-) place for unknown systems. 

> I long since gave up trying to use house PA's and simply make sure I have
> my amp with me if I'm likely to be playing.  If the band doesn't want me to
> set up my amp, I don't play.  Playing and sounding like crap is worse than
> not playing - for you, for the band and, most importantly, for the
> audience.

I know many harp players who do the same - including myself.  When sitting
in, I bring my amp, too, and my "pedal board", including octave divider,
digital delay (slapback echo), and wireless.  But in some cases, it's just
not practical.  Knowing how to play through the PA is an important skill
to master, in my opinion.  Even on your own gigs, there will be times when
your amp will pop a tube or something and the PA may be the only
alternative open to you.  While a PA won't sound as good as your 59
Bassman, etc., it can certainly do a more than adequate job.