![]() ![]() Regarding volume, I would advise to turn up enough that you don’t need to use monitors. This will make you feel comfortable in any environment and will help your live performances to be consistent. With this in mind, you can play a bar show with no PA or a huge stage with monitors, you will always position yourselves the same way, ear yourself the same. Matching your volume to how hard your drummer hits, the position of your gear on stage so that you both are happy with the minimum volume you decided on. All these live shows pre-productions shouldn’t be neglected, especially if you play in a small to mid-size band, hence playing everything from basements to big festival stages. This is something that saves you a lot of hassle at sound/line check and that will help any good sound guy to quickly do a great mix. I believe that what makes a band sound good is the balance of their stage sound. If you have the chance to do it once, you’ll realize you don’t write the same music once you have eight sub-woofers on and that every kick drum sounds like a punch in the stomach. Writing music in a live venue, on stage, with a full PA on, is also quite an experience. Playing through a certain amp, with a certain guitar to a certain volume will make some riffs or notes sound awesome when if played on your couch quietly or through some computer plug-ins on headphones wouldn’t. Composing this way made me play stuff I’d have never written otherwise. I reckon this is what helped me the most to get the best out of my rig. A whole new world opened.įrom then on, I would always write rock songs playing on my setup at stage volume. I basically wanted the sound of the amp to inspire me rather than “forcing” a riff through it. ![]() No more playing in front of a computer with headphones or jamming any riffs through any random sounding amps. This happened right when I left a full time touring band I was in for the last seven years and needed to approach music a different way. This is when I started jamming some more classic rock blues infused licks. I played an E and A major and was completely ecstatic of the richness of the sound. Once you get there you will have with this warm crunchy Orange “nasal” sound. For the amp to drive, I had to crank it up extremely loud. The riffing in CDQ finds its roots a couple of years ago when I first plugged a ‘71 Les Paul Deluxe straight into a ‘73 Orange OR80 combo. In the end, I’m not sure if this is the sound I wanted or was needed but the result is what came out naturally through rehearsals, shows and recording sessions. Since then we’ve been on the road constantly and I’ve been trying many different setups to find the sound I needed for this band. We played our first show in June 2014 to fill up a twenty minutes’ slot at a DIY festival. ![]() I’m gonna stop here and let him take over… INTRODUCTIONĬloset Disco Queen is a very young band. We reached out to Jona to see if he’d be interested in doing a rigged – especially interesting given he creates a huge and varied sound by himself – and he sent over the Mother lode. ![]()
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