Time to bail on that situation. His response is too hostile and it will only get worse.
In situations where it is possible to reason with said band/owner, arm yourself with a sound level meter. Amazon has them for less than $20.
Show them how loud they are and refer them to this chart to see if they and their audience are at risk of hearing damage. http://www.dangerousdecibels.org/educat ... uidelines/
I know it's unrealistic to try this if you're in a dive bar full of intoxicated troglodytes, so maybe someone else has a better solution?
I'm with Bill Hatcher, I usually keep a pair of earplugs with me when I see a live show, especially "rock." Yes, you miss some of the nuances with them in, but hearing damage is no joke. Drummers ...
Most players who are too loud are half deaf. The remaining ones that are too loud confuse loudness with talent.
I still chuckle at one band leader we had who turned to the (overly loud) guest-drummer and said..."What'n the hell are you doin' back there? Buildin' a shed???"
Donny Hinson wrote:Most players who are too loud are half deaf. The remaining ones that are too loud confuse loudness with talent.
I still chuckle at one band leader we had who turned to the (overly loud) guest-drummer and said..."What'n the hell are you doin' back there? Buildin' a shed???"
Everyone knows that alcohol enhances talent.
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 .Playing for 53 years and still counting.
I once had a woman scream at me to "turn the F!#& down or me and my friends are leaving." We always query the audience and take these complaints seriously. She was the only person who complained, and left alone. a good time was had by all after.
I have also backed some great harp players--Mickey Kellog, Little John Chrisley--and play harp myself. EQ is critical for harmonica. They can be extremely shrill and painful if EQ'd wrong, especially if played loud. John Chrisley blew tweeters in my speakers several times just because he played loud and hard.
ShoBud Pro 1, 75 Tele, 85 Yamaha SA 2000, Fender Cybertwin,
A lot of times you can be the first one to play, setting your tone and volume to where it usually is with the band that you're playing with, and it'll sound louder and have more highs than what it sounds like in the mix with the band playing. How did he sound after the band started playing?
Bob Watson wrote:A lot of times you can be the first one to play, setting your tone and volume to where it usually is with the band that you're playing with, and it'll sound louder and have more highs than what it sounds like in the mix with the band playing. How did he sound after the band started playing?
I left before the songs with the harmonica, but I think it was okay. They were a loud band playing loud music, but the issue I had was with the harmonica. It was really shrill and I think he was accentuating the shrillest parts.
In defense of harmonicas, I would like to mention Toots Thielmans and Dave McKelvy, one of whom I actually got to work with.
Look 'em up sometime - if you don't like them, well...
Barry. It's the sound of the instrument, not how good of a player they are. There are a million great banjo players, but the sound of the banjo gets on my nerves after about 5 songs.
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 .Playing for 53 years and still counting.
Denise and I have been listening a LOT to British comedy old and new. The Goon Show was not just really freakin' funny, but Max got a tune every show, and so did Ray Ellington, whose band featured really tight piano-guitar twinning that almost sounded not like twinning, but a whole 'nother instrument.
But Max just rocks the harp.
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects
