[Harp-L] Re: Sans amp



Robert Hale wrote:
<Richard Hunter,You mentioned playing out 80% of your gigs with effects processor-to-board, and no <amp. I'd like to hear more about that set up, and from anyone who does this. Pros and Cons? Getting <used to managing the stage differently? Monitoring, etc? Thanks Richard, and all.

I run my microphone (usually the Audix Fireball V) to the input of the Digitech RP355, and I run a 1/4" mono line out from the RP to an available input on the board. If the board only accepts XLR inputs, I run stereo XLR to the board.  I try to make sure there are no effects applied to my channel(s) at the board; I already have my sounds loaded in the RP, and I just want the PA to make them louder, not different.  I try to talk to the sound tech if there is one.  If not, I try to make sure I have access to the board and know which knob controls channel volume.  

The pros are: setup is as simple as can be: it involves no heavy lifting and just a few pieces of gear, takes only a few minutes to complete, and gives you a massive array of striking sounds to work with.  Unlike multi-pedal rigs, you can make complex changes involving multiple effects instantly.  Basic sound quality for both clean and distorted sounds is very high.  Effects are harp-friendly.  The sound techs I've worked with generally love the RP--to them it's miles ahead of mic'ing an amp in terms of sound quality and feedback control.    

The cons are: if there is no sound tech, or if the sound tech doesn't know what he's doing, you have a problem.  When you run straight to the board, you being heard out front is utterly dependent on what the sound tech does.  If you can't be heard through the PA (or monitors) and you don't have some kind of amp with you, your only option is to grab one of the vocal mics. On an unrelated issue, if a drunken guitarist wanders in your direction and steps on your RP, he will probably change your sound, maybe drastically. (It's happened to me more than once.)

I try to stay away from drunken guitarists. In order to avoid total dependence on the PA, I bring a Peavey KB2 keyboard amp with me when it's not inconvenient to do so. It's loud enough for an onstage monitor, and it can be lined out to the PA for more grunt.  Bringing the amp is usually not possible when I travel, so I try to work with the sound tech whenever possible, or at least to learn how to work my channel on the PA.  

In short, the benefits of working with the RP--a huge variety of instantly accessible sounds in a package that weighs about a pound and sets up in a few minutes--outweigh the caveats.  I'm sure I'll continue to use the RP for the vast majority of my performances.   

Marcos Coll uses a Digitech RP200 with my patches in it for the vast majority of his performances. Perhaps Marcos can comment on how he deals with the issues mentioned above.
 
Regards, Richard Hunter

author, "Jazz Harp" 
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