PG Music Home Forums User-to-User Post your own Tips and Tricks here Some advice for loud parties?

What I hate the most is people with hearing aids at a dinner party sit closest to the PA system and keep waving your sound down. Then those at the back bring you a beer and complain they can't hear the 'background' music. The wife doesn't amp her flute and they say she plays too loud. Wow. It they weren't war vets I'd just not play there, but twice a year they call so I made cards and put them on the front tables, WARNING, IT MAY BE A BIT LOUD HERE! That seems to have worked a bit.

I'm thinking Bose is the way to go but the daughter needs some uncovered eye laser thing for conical eyes, to the tune of 5g's so there goes my walking around cash.

Hey I resemble that remark....

I simply don't accept solo gigs if I know the crowd is going to be rowdy.

Mike,

I Know what you mean . . . For that an other reasons I do not play weddings.

Later,

We book weddings.

But we also let it be known in advance that should a fight break out, the band is very likely to join in!

And win.

Another good use for the Japanese Fender Tele w/Rock Maple neck and Ash body if there ever was one, the martial arts options should be well studied and practiced, dojo style until the guitarist has mastered the Body Held Headstock Jab, the Neck Held Full Slam and the Neck Held Battleaxe Edge moves, at least. Save the Tuners Across the Eyeballs rake for the serious afficionados of the sport...

Always set the B3 up facing the crowd, so that if he's in front of you when he calls you out, you can just reach underneath the keyboards wih both hands and flip about 500 lbs of hardwood and steel organ right on top of him. It won't hurt the B. At least, it hasn't to date and I've had that thing a looong time...


--Mac

Wooh! So you still have real John Wayne type bar room brawls across there in the States! Wooping and a fighting amid the mud and the sweat and the tears! Great!

Call me!

Be careful, Sam, you might get what you wish for.

I was just joking.

So don't use it to stereotype. 'K?


thanks


--Mac

First, I'm not a Bose or a Yamaha representative but I've spent a bit of time recently looking into my first PA for solo and group giging and I've found a product that I think solves this exact problem you're having.

I'm taking the advice of others here and at other forums and I'll be buying the Bose portable PA. I'm leaning more toward the model II with tonematch engine over the model 1, although it certainly isn't as cheap as other brands/models (or the model 1 for that matter), but it's a different animal -- it's not designed the same as other PA's (check it out at http://www.bose.com/controller?url=/shop...match_pkg.jsp).

The model-1 system is cheaper but the model 2 has some features I couldn't (didn't want to) live without. The model-1 is actually on sale right now direct from Bose and you end up getting the first bass unit for free (up until 6/30/2010). Check it out at http://www.bose.com/controller?url=/shop...single_pkg.jsp.

I mention this to you because I've tested it live and this I've found the Bose to be a totally unique PA in that it's actually designed to be placed behind you (not in front of you) and without feedback. You can, but you do not need to have any monitors since you're hearing the same thing your audience is hearing (you're hearing it before they do and hence, your crowd noise isn't a problem anymore). Also, anything you'd want to adjust (including a one-touch sound effects feature) can be done on the spot using the T1 (tonematch) panel and this can either be mounted directly on the speaker unit or alternatively on a mic stand.

Aside from the fact it's portable and I'll be able to port it around myself, it's everything I need for a solo act or even a small ensemble (and again, it's positioned behind me, not out front). They also offer additional bass modules (both models come with one but you can add up to four and they recommend two or more for bass guitars, drums, etc.).

I have seen documentation from Bose which shows a typical band usage where they use one L1 setup for each instrument / section (one for piano and bass, one for drums / percussion, one for bass guitar, one for lead guitar, etc.) and each unit is placed near (but behind) each musician. However, unless each musician in your group is willing to shell out his/her own cash for their own unit, this in my opinion would be cost prohibitive -- although for me, it doesn't matter what 'group' I'm gigging with, nevertheless I'll have my own system and I won't even need an engineer as I can instantly hear and process my own performance independent of the group (although it does provide the capability to patch if you do have a sound guy/gal on a separate board).

You can get more details for the model-1 and see some more reviews here:

http://pro-audio.musiciansfriend.com/product/Bose-L1-Model-II-System?sku=600095

BTW based on my comparisons, I will be buying the Bose over another 'portable', the Yamaha STAGEPAS 500 Portable PA system. I did test the Yamaha and although it was impressive, it doesn't have near the clarity or features that the Bose does and the Bose can always be upgraded to suite your needs.

There's seems to be lots of argument between Bose and Yamaha people about their choice of PA system, but one of the reasons I chose the Bose is the ability to play 'out front' which I feel could potentially eliminate the problem you're experiencing. There have been arguments that the Yamaha (designed the same as most others), does cover low frequency better than the Bose, but having tested both brands I can attest that this is not necessarily true, as the Bose does provide for expansion by simply adding more bass units.

It's an expensive investment, but I bought a Bose L-1 with the T1 Tonematch mixer. This thing cuts through any volume level and makes BIAB sound fantastic; pluse its easy to haul around. It has a usb in/out so I can use my computer with great sound reproduction (sometimes I just use mp3's I've transfered to my iphone. There's hardly any feedback problems so you can put it right next you. Oh, and that acoustic bass realtrack is out of this world!

Mike

For what it is worth . . . . . The following information is from my website, please keep in mind that for the most part it is directed to Activity Directors in Retirement Communitles as they often have issues with one or more entertainer's music volume. However my experiences have taught me that no matter where the gig in most cases you can still breakdown your audiences into these three categories.

To avoid any pit falls in executing a successful event make sure you and your entertainment are on the same page when it comes to just what is expected from your act at each particular event, and music volume is a very intricate part of this equation.

Over the years I have come to learn that most party-goers can be broken down into the three categories which are listed below. I have also included what experience has taught me is a pretty accurate description of what each categoery expects from the entertainment at a cocktail party or dance.

Social Visitors: They like to hear the music in the background, but still be able to hold their personal conversations at normal speaking volume over the music. They expect the music to enhance the mood of their visit and conversation, period. They are usually the first to let you know when the music is “too loud”.

Listeners: They like to listen to the music in its entirety at a comfortable listening volume. They are usually into the music and will hold their conversations in-between tunes on breaks. This group very seldom complains about music volume, that is unless it is ”really loud” although they have been known to complain about loud conversations around them. However most of the time they will just find a seat closer to the performer or band to better hear the music or see the act.

Dancers: They not only like to hear the music, they like to feel it as well. So while the volume for this group maybe acceptable for the “Listeners” as well it may be a bit too loud for the “Social Visitor”. This group will be the first to fill the tables closest to the band and dance floor. If this group complains about the music “being too loud”, it is too loud!

When booking entertainment, besides checking out references and past reviews, always let them know up-front what you expect in the way of genre selection and volume. But at “party time” try to keep in mind that with the exception of dinner and small venue cocktail parties, most parties will be made up of all three-category partygoers listed above. So your function, “on it’s own” may very well take on a different mood than what you intended. With this said any professional performer worth their salt will err on the side of lower volume at the start of the performance and will adjust volume accordingly based upon audience and the booking agent’s feedback and response. And by response I don’t necessarily mean a “stage visit” from anyone in particular, all though don’t rule that out as I have heard some acts that just blew my ear drums out. What I mean is that by monitoring the general reaction and response of the crowd as the party goes along, the professional entertainer should know how and when to adjust his/her volume.

So don’t be alarmed if you get one or two guest who complains about music volume while you have the majority of your guest listening and/or dancing. That is unless that complaining guest is paying the bills then you can throw these rules out of the window!