Questions and Answers
Now there is annual get together rock music show in my building and the audience will be around 200 people. So my small Marshall amp won’t work for the performance.
I am planning to buy a JBL Vertec Speakers.i simply want to know the difference between the Marshall Amps And the JBL Vertec Speakers.whats the difference.I have no idea plz tell me
and which is better.
In other words, this type of speaker arrangement has nothing to do with a guitar amplifier or guitar amp speaker.
What you need is either a good hose PA (with good monitoring system) to mike up your amp, or you will need a larger guitar amp. Simply hooking up another cabinet to your existing amp will not do much about your volume.
A smaller combo can work very well if it is powerful enough, and/or it is mike through the PA.
If you plan on having vocals, acoustic instruments etc. In the mix, then you will definitely need a good PA system for everything to be heard. Just be warned – this can get rather expensive.
The speaker system you mentioned here is designed for PA applications, but is total overkill plus it costs a fortune. This stuff is more designed for very large stadiums and the biggest concert halls and it requires specialized training and experience to operate.
•Graham’s main guitars are a Gibson Custom Les Paul and a 1952 Fender Telecaster, both of which are reissues. He’s also got an original 1962 Gibson SG, a Telecaster Thin and a 1993 Gibson 335 that’s one of only three in “Autumn Sunburst”. A further two Strats, a spare Les Paul and spare ‘52 Telecaster lurk in their cases at the side of the stage. Jason also looks after Damon’s Guild acoustic, which makes only an occasional outing during the gig.
•The pedalboard that provides Graham with the means to do his screechy, fuzzy or just plain howly bits starts off with a noise gate and a digital delay. Then there’s Jason’s home-made wah wah which, “rather than using it as a wah wah, you can just set a frequency and turn it on and off”. Other effects include “an old Boss vibrato, which they stopped making probably five or six years ago, two Rat distortions, a new Boss tremolo, a new Boss flanger, and a Dod Punkifier, which is his favourite”.
•Indeed, Graham does his stuff impeccably throughout the gig, especially in ‘On Your Own’ and ‘Killer For Your Love’, where he seems more to just swipe at the strings than actually play them. ‘Bank Holiday’, which live has always been fairly fast, is now reaching ridiculous speeds and it’s a wonder that they all manage to keep up. These days, though, ‘Chinese Bombs’ accompanies it in the lets-see-how-fast-we-can-finish-this stakes.
•It’s another all valve system with the bass amp, as Alex James prefers the Ampeg SVT2, a 300 watt head with valve pre- and power amps, a seven-band graphic equaliser and rotary tone control. Although no longer in production, the SVT2 is a favourite with many bassists and is still quite common. Used with the Marshall Shreadmaster distortion pedal, it gives the nice deep bass sound that James prefers.
•Although previously he used a Fender Precision, according to the bass backline tech, Alex McCartan, “he changed his mind at the beginning of the year and now we’ve got two Ernie Ball Musicman StingRays. I don’t know why, I think it’s because they look more glamorous. The sound engineer hates them, he wishes we would use the Precisions, but I think they sound nice; they’re nice to play and they’re shiny as well.”
•Indeed, the black and rosewood StingRays both get a comprehensive polishing before the gig starts. With such attention to coolness, James has managed to subordinate his bass playing almost entirely. Whilst there are plenty of bassists out there with better technique, there are few that can produce sounds that swing so effortlessly between extremes of subtlety and full in-yer-face-ness and you’d have to be a real spaniel to ignore how much his bass adds to songs like ‘Beetlebum’ or ‘Girls and Boys’.
Acclaimed Drummer Gavin Harrison's recent Cambridge workshop at Ananda Studios reveals secret of a great drum take
Internationally acclaimed drummer Gavin Harrison, pictured, who has worked with a wide range of artists including Iggy Pop, Sam Brown and King Crimson, recently held a drum workshop at Ananda Studios in Cambridge, during which he revealed the secrets of creating a great drum take.