Re: [Harp-L] my first amp and mic??

["Bob Laughlin" <rlaughlin@xxxxxxxxxxxx>]

Great advice from Garry.

 Try playing through a vocal mike first, left ON the stand, into the PA. To
do this, you'll need to develop your acoustic playing ability, tone, hand
technique, etc.., which is basic in anything following. Then, when you step
to the mike for the first time, assuming you are called onstage in the
middle of a gig,,make certain that you don't just "get up close and
personal" with the mike right off the bat, since it may be turned up too
high for the harp. If it is, and you get too close,,the entire bar will know
it in an instant that you're "green and stupid", heads will turn, and you'll
either get jerked off the stage by someone in the band (probably not, unless
you continue to break eardrums willy-nilly), or hear people behind you going
"whoa, whoa,,not so close! back off the mike!" (I did this once, when called
onstage in the middle of a song. I had assumed that the mike was not turned
up so loud, and got right up against it, with the result I mentioned,,).
Better to start off a bit of a distance away (a foot maybe, and move closer
if necessary). It's always best, when adding, to add sparingly at first,
rather than add too much, since it's easiest to add rather than to subtract.
Same principle as in cooking (and really, your goal here is to "cook",
right?)

If, however, the mike is turned way down, and you're not getting enough
volume, you can try taking it off the stand and holding it as one usually
does when using one's own mike. (Google "harmonica mike holding technique",
or something similar,,)If it's still not loud enough for your liking, it's
between you and the soundman, or the PA controls, and that's something that
you have to leave til later. Don't just go running to the PA to "try"
something. If there IS a soundman, and he IS listening, you may be able to
signal him with the ol' "volume up" sign, which sign varies from person to
person.

On the other hand, it sucks when the mike you've been invited to play
through is turned way down. It just isn't very personally rewarding not to
be able to hear yourself, and your friends in the audience going "turn it
up!", thumbs in the air,,and you can't do a thing. It always helps when
things like this have been settled beforehand, as the band sets up. In the
process of asking if you can jump in, while you hold your harp case open,
displaying your seven or 12 harps, letting them know that you're "ready", or
"it's time", or "I'm da man,,", or at least can play in whatever key,,ask
the guy in charge (?) or the biggest guy, or the lady with the
moustache,,ask them which mike to play through, and whether it's typically a
"hot" mike, or whether you need to get closer.

As much fun as playing with the band can be,,it's always good to do the
footwork of asking, knowing things, preliminary preparatory stuff so that
you don't have any surprises, and neither do they. Putting people at ease
with you and your ability to do something complimentary to the band is
always a plus. Sometimes, if I'm driving up and I see the band unpacking,
carrying instruments in, I just roll down the window, put on something I've
been practicing along with, and play a few bars on the harp along with the
music. It always results in an invitation to play, later on, if the planets
are aligned, and the moon is in the seventh house. If not,,there's always
another night, and another band. Who knows, you may have just saved yourself
the trouble of finding out that it was the wrong band, the wrong night, and
the wrong place for you and your extraordinary talent. Hey,,if they can't
take a joke,,,

Though I always get compliments on the sound of my little no-name vintage
amp, I do agree that playing through whatever vocal mikes are available is a
great way to start, since it allows you to do some cool stuff with hand
effects (assuming you CAN), allows you to control your volume simply by
distance, and if you're already used to playing acoustically, it doesn't
distract you from your harp technique with undue concentration on
mike-handling technique. It also allows you a feeling of freedom from having
to carry stuff around. "Stuff" can get really burdensome, when you're really
there just to enjoy the music, and be a part of it. Later on, "stuff" may
become more important to you, as you begin to get an idea of what you're
wanting to do.

In time, you'll get used to using your own equipment, but to start out, the
house mike is a good choice, in my opinion, until you get comfortable with
playing out. It really feels stupid to show up at some club, amp in hand,
and not have the chops to match the equipment. I've never done that, of
course.

(Actually, I never have. First of all, I never had enough dough to be able
to afford equipment that surpassed my playing ability, and secondly, I was
always typically so shy of performing that I waited until my playing ability
demanded that I do something with it. I'm still shy, so I don't do anything
until I KNOW I'm ready, and am NOT going to make a foo' of m'self in front
of da wimmens. I gots t' be coo', cuz I ain't no foo'. That's why I've never
had anything but invitations to play again. Performing really gets me
nervous, at first, but the high you get from a fun gig, a performance well
done, along with the approval of your musical peers, and the sure promise of
great notoriety as well as unimaginable pecuniary reward,,,well,,,,anyway
it's a lot of fun.)

Other than that,,go to some shops, used, consignment shops or otherwise, try
the equipment, see what works for you. Sometimes used you can make some real
discoveries. Personally, I find that the mike is primary, and the amp
secondary, in the choice, though both factor into the equation. Pick a mike
that feels good to you, and can produce the sound you're looking for, based
on other's suggestions or your own experience, and then go places with that
mike, trying it out on various amp combinations. You'll get "closest" to
your mike. Then, some amp you try may someday unexpectedly decide to make
"friends" with you and your mike.

Or,,if, unlike myself, you're rollin' in the dough,,,there's the "boutiques"
aplenty, the customizers, or electronics tweakers like Ron Holmes
http://www.holmeseng.com/index.htm. Stick around here, and you'll get to
know them all.

I'm mostly speaking from a "po' boy's" perspective. What I thoroughly enjoy
is the thrill of discovery, when some old funky ham radio mike you just
happened to find in an old box of parts just turns out perfect with some old
beat up amp you happened upon at some garage sale,, "He ain't shiny, but
he's my brother,," It's like "the heavens opened up" and just dumped this
stuff on you, and it works!, and you STILL have enough money left over for a
cup of Starbuck's.  Now that's what I'm talkin' about.

BL
----- Original Message ----- 
From: "Garry Hodgson" <harp@xxxxxxxxxxx>
To: "steve abercrombie" <aber@xxxxxxxxx>
Cc: <harp-l@xxxxxxxxxx>
Sent: Saturday, February 23, 2008 5:53 PM
Subject: Re: [Harp-L] my first amp and mic??


> steve abercrombie <aber@xxxxxxxxx> wrote:
>
> > After more than a year practicing, I want to buy an amp and mic. I
> > want them for home practice and for local blues jam sessions (if I
> > can muster enough nerve).
>
> i'll let others answer the gear question.  i just wanted to mention
> two things about going to a jam.  first off, make yourself do this,
> it's really a huge step forward to start playing with other musicians.
> if it seems really daunting, that's because it is.  but it's worth it.
>
> the other thing is, when you start going, you might consider leaving
> your rig at home and playing through a vocal mic, especially if there
> is a competent sound guy running the PA.  when i started playing not
> that long ago, i found that dealing with my own rig was a huge
> distraction from what i really needed to be focusing on.  messing
> with gear, dealing with feedback, not being loud enough, etc.  it's
> only pretty recently that i've gotten a handle on all of that, and
> i've been playing for 3 years (yeah, i'm a slow learner).
>
> you can work on your killer tone and ultimate rig at home, but at
> the jam you're learning about music, and about how to play with
> other musicians.  you can always bring your killer tone and rig later,
> once you've got a better handle on the music parts.
>
> just my 2 cents.
>
> -- 
> Optimism and pessimism don't exist for me.
> I'm a blues man.  I am a prisoner of hope.
> I'm going to die full of hope.
> - Cornel West
>
>
>
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