The Rapiers Sound

How many watts? Should be how many decibels?

2011-12-07T23:11:00.001Z

I was recently asked after a Rapiers show how loud our PA was. At the show we had just performed we used the house system. Someone was interested in booking us and us a valid question. Rather hesitantly I told them 600 watts. Actually it's more than that about 1100 watts front of house and 500 for stage monitors, plus backline.

Why was I hesitant, well recently I had been looking at other speakers. QSC. They have a range called K and 4 speakers in that range, K8, K10 and K12 plus a sub. Those just mentioned are all 1000 watts each speaker, so the same volume right? You'd be wrong. QSC have the actual volume quoted in decibels as 127db, 129db and 131db respectably. A good example that wattage isn't a good indicator of the actually output volume. Each of my main speakers are peak at 129db I have 4, plus subs. So which is louder, 1000 watts or 600 watts?

I will add, it's not quite as straight forward as that, but you get the idea. Some of the top end speaker manufactures don't publish how many watts their speakers as a indicator of volume because it isn't the value to know. Unfortunately, promotors don't yet know this. I could go out a buy 4 QSC K8 speakers, my system would be a 4K rig, but, quieter than my current 600 watts rig.

QSC K system
L-Acoustics
d&b audiotecnik

Above are links to the QSC K system specs, plus top pro end manufacturers d&b and L-acoustics, the latter 2 being found at most popular arena concerts. You get the idea. And If you can help me with suggestions of what to replace my ageing speakers with, please send them through.

Oh lastly, the rapiers have a new website www.therapiers.com

Sound as the early 60's

2011-09-18T15:56:00.000+01:00

Mo Foster at Shadowmania 2011
© Nathan J Hulse

In England back in the late 1950's and early 60's, before anyone really knew what a rock star was, music gigs and concerts would have just used amps that were available to them. No Massive PA sound systems. A famous band would have had the luxury of 1 amplifier for each instrument, lead, rhythm guitar and bass (3 amps) and no dedicated bass amp. If you weren't a top 40 band, everything would have gone into 1 amp. It's probably sounded poor compared to today, but everyone would have been the same.

On Tuesday 13th The Rapiers were asked to perform 4 instrumental songs for Mo Fosters latest book launch. The venue was popular music venue Dingwalls in London's Camden Town. Inside the venue is a massive and well spec'd D&B C system PA with Nexo speakers as fills. Mo said he wanted it just as it would have been at the birth of the British Rock Guitar using only the Guitar and Bass amps and drum kit with no extra amplification. Thats what we did 3 Vox amps on stage, and it sounded great. Of Course, if you were sat infront of the Lead guitar amp, thats what you would have heard most. We did have use of the fill PA for a vocal announcement mic.

Mo Foster is a popular session bass player who has played with many artists including Phil Collins, Eric Clapton, Cliff Richard and the bass line on the theme of TV show 'Minder' amongst many others. He has also written a book called '17 watts?' with the USA version called 'Play like Elvis', recently a new book (which The Rapiers were at the launch of mentioned in the post) 'British Rock Guitar'.

Where do the Rapiers record

2011-08-22T15:50:00.000+01:00

Liam Watson at Toe Rag Studios
© Nathan J Hulse

A recent conversation with a Rock n Roll fan, he mentioned a story of The Rolling Stones going to Chess recording studios to record. The Stones wanted the "Chess" sound, when the recording engineer told them the sound was the artists not the studio. In my opinion he is partly correct.

In the 50's and 60's and still some recording studio today, they used to have equipment made for them. EMI Abbey Road had it's mixing console made by in house engineers, the same is with all the equipment. This would be similar for studios around the world. Different studios had their own sound. Due to equipment, recording environment, personal operators and so on. Today, much recording is done via computer based studios, therefore the sound isn't shaped as much by each individual studio.

For this reason The Rapiers choose Toe Rag studios which still uses old analogue equipment. Its the only way they can get their recordings to sound as the would have done if they were produced in the early 60's.

Aux Fed Subs

2011-06-20T17:23:00.000+01:00

I decided to try something a little different at the Rapiers last gig. Rather than running the stereo ouputs of the main mix into the whole Front of house system I split it. I still ran an active bi-amped system, but ran the subs/bass bins via an aux output on the desk. The main mid/top system had a high pass around 80hz (set on the system controller) and the sub a low pass at 100hz set via the QSC amp. The controller is 2 in 6 out, 3 in would allow the sub crossover filter to match the mid/high crossover point. I was concerned about phase differences running the system with different filters at the Xover point, but as I was going to treat it as 2 seperate mixes/PA's I didn't think it would have a negative effect on the sound.

Into the subs I just added the Bass Guitar and Kick drum. Also feed the bass guitar through the mid/high system to give some more range to the instrument. On the whole, I think it allowed me to get a much more rounded sound. I have had trouble getting the kick to sound vintage and still hold the bottom end, similar, but not as drastic with the bass guitar. Also stopped some boom from the mic stands. If I turned off the vocals on the main Mix and just sent them through the bass end, there was nothing there, so nothing lost in the vocal range. I think It help to clean up the whole sound and add a little definition. Of course. I mix from stage, so I only have the audience to comment on the sound, also as it was an over 50's audience, we weren't that loud.

My notes for the next gig, remember to also switch the low cut 33hz filter on the sub amp. I normally leave that task to the system controller. Also, on this desk, apart from channels 1-3 all aux outputs are pre eq, with the aux feed subs this isn't a problem as the aux is the bass control for 100hz and below. Also 80hz is approximately low E on a guitar, 40hz is the low E on a bass guitar (as a pure tone).

The Rapiers Web Site

2011-06-12T13:33:00.001+01:00

The Rapiers now have a web site up and running. Although still in early development. Greg's Blog will still continue to supply all upto date information and background news and rumours, while the website will have more static content with a gig list and official publicity photos.

The Rapiers web site can be seen here. It's easy to remember www.therapiers.com or www.therapiers.co.uk.

Let us know what you think about the site. All good and bad comments.

Jet Harris 1939 - 2011

2011-03-18T12:18:00.001Z

It is with great sadness that I write this post. Jet Harris the original bass player with Cliff Richard and The Shadows passed away last night 17 March 2011. Jet had been ill with cancer for the last few years and struggled on with performing. The Rapiers worked with Jet for the last 25 years. He will be missed by us all any many others that have known him and influenced in those early years by him.

Jet Harris in Weymouth, 2008

Here is some more information on Jet Harris's career, Most followers of this blog will probably already know:-

Jet Harris was a UK pioneer of the electric bass guitar. He was the first person in Britain to play the Fender Precision Bass guitar in a band.
Jet Harris was the original bass player with world-renowned instrumental group the Shadows. Some of (Cliff Richard and) the Shadows greatest hits came during his time with them.
Jet Harris thought up the name the Shadows
With Cliff Richard and the Shadows - Jet's chart career was staggering.
When the Shadows won international fame in their own right with their chart-topper “Apache” in 1960, Jet’s driving and innovative bass playing was central to their sound.
Jet Harris left The Shadows in 1962. He broke new boundaries in the 1960s by transforming the bass into the lead instrument on his number one hit “Diamonds” and chart-topper “Scarlett O’Hara”
Jet has appeared on 24 No.1 hit recordings - the singles include: "Living Doll", "Travelling Light", "Please Don't Tease", "I Love You", "The Young Ones", "Diamonds", "Apache", "Kon-Tiki" and "Wonderful Land".… Jet was a pioneer of 6-string bass playing. The sound was dubbed “The 6-string Thunder Thrill”
In 1964 Jet received the New Musical Express Award for Top Instrumentalist of the Year
Jet has inspired and been revered by guitarists who followed in his wake including, Sir Paul McCartney, Sting, Bill Wyman and Fleetwood Mac’s John McVie
"Nivram" has become a 'standard' and is acknowledged as a classic example of a bass guitar solo.
Jet received a Lifetime Achievement Award from Fender guitars in 1998 and he continued to actively tour until a few weeks before his death
In January 2010 Jet Harris received an MBE (Member of the Order of the British Empire) in the Queen’s New Year 2010 Honours List
In 2009 Jet Harris was diagnosed with a form of cancer. The primary site of the cancer was unknown. CUP (Cancer of Unknown Primary site) accounts for 4% of all new cancer cases*

*Figures taken from the Cancer Research UK website www.cancerhelp.org.uk/type/unknown-primary-cancer/

Future problems for the Rapiers - LEZ

2011-03-11T16:00:00.001Z

The Rapiers have been made aware of a problem facing us from the beginning of next year. The London Emissions Zone

Currently we use a 2000 ford transit to transport our equipment including guitar amps and backline, plus ourselves to venues across the country. This year looks to be a tight year with not much booked into our calender. This wouldn't cause great concern as it is enough to get us through the year.

From January, 2012 the London council/government have increased restrictions on transport emission within much of the M25 area. This is where all but 1 member lives, the van is also registered within London. However, this causes The Rapiers a problem. It will cost us £100 each day our van is parked in London, outside one of our houses, or in a garage. The solution to this problem according to the transport for London web site is to either buy a much newer van, or pay £1500 plus VAT (20%) to have a filter fitted, that may or may not pass the test anyway. As I already mentioned, work isn't plentiful and some weeks we have to decided if whether we should eat or pay the electric bill. The joys or being a musician.

At the moment, our options will be to use our own individual cars, although some equipment may not fit between us all. If anyone knows ways we can overcome this please let us know. Oh, if you were going to suggest hiring a van, I have contacted a few local van hire companies, they don't hire to musicians. We have about 9 months.

Effects (reverb) in Holland

2011-02-24T16:29:00.000Z

While The Rapiers were on Tour with the Cliff Richard and the Shadows tribute show, Richard Misseijer from MPS audio was the principle sound engineer. I spoke to him many times about his approach to the sound for the show. Of interest to me and hopefully some readers were the effects or reverb used. I recorded one interview with him, the rest didn't work.

Richard Misseijer at his soundcraft desk

Richard used 5 different reverb effects unit for the show. While this may seem a lot, it isn't. Let me explain why. He had each unit set with different types of reverbs, from short to long and one with more sibilance. This meant that during a show, he only had to move the fader on the desk, rather than go to his unit in darkness during the show. Also a separate unit was used for a consistent echo/reverb for Jimmy in his monitors. Richard did mention that he built the effects around these 5 units, at times more than one effect could have been used depending on the song being performed at the time. This helps to stop the vocal sound becoming similar for the whole night.

Colin's 12 String burns also had one of the units to supply reverb for a total of 3 tunes. In addition Richard used another unit which helped him double the lead vocal and sometimes the guitar, this was to give a bigger sound when needed. I'm unsure when this was used, I think during the 12 strings Burns guitar section.

Next Rapiers Gig

2011-02-06T13:27:00.003Z

Our next gig is in Scarborough. Check out the details here.

More info on the sound coming soon.

Vox, Burns and Colins echo

2011-01-13T14:05:00.001Z

Many people ask Colin about his current echo unit he was using on tour in Holland. The important thing is the sound this unit makes, how it sounds and the echo repeats. You can see the unit in the photo. Along side the burns double six and vox amp. Here is a comment posted by Geoffrey Strachan on a shadows forum about Colin's echo unit.

"Colin's echo machine is one of two reproduction machines, of which I have the other one. they took 3 years to develop, and there were 7 prototypes. The prototypes have all been scrapped. The electronics are today's technology, but the circuits closly follow the Vox/Meazzi unit. We sourced and used many vintage Meazzi parts in the project. There will be no more of these produced as the project was exclusively for Colin. Colin still has the Atlantis unit which he currently has with him as a spare machine."

In the picture you can also see Colin's AC30 Vox amp and Burns double six.

TV interview from Dutch tour

2011-01-03T13:47:00.000Z

Followers of the Rapiers Blog most probably have seen this clip already. Keep watching to the end to find out some information about Colin's Guitar sound. Plus a brief interview with Colin Pryce-Jones.

On my next post some closer photos and brief information on Colin's equipment.

Rapiers lead guitar set up - a closer look

2010-09-05T12:36:00.000+01:00

Heres a link to a recent post on the rapiers blog.

It features a Black and white shot of a recent post I made on the sound blog here. You can see the chair for the echo unit much clearer. It's a very important component to the lead guitarist sound.

Live recording and compression (after the recording)

2010-08-31T20:37:00.000+01:00

I've not done a post for quite some time. I was hoping to have an interview with Justin Daish about digital vs analogue echos. Anyway onto my post.

With live performances the best way to guarantee a good balanced sound for the audience is to have someone mix the band from the front of house (FOH). With many small bands this isn't possible. While quite a few of our shows do have someone mixing for us, many smaller venues we are responsible for our own sound.

We do a sound check, where we check the sound is balanced and you can hear the vocals, guitars all balanced how we want them. However, does this change during the show, if so by how much, also is the vocal balance consistent.

There are a few ways to find out. Record the show. I have done a few 2 track recordings which show everything works well. After seeing a you tube post by Dave Rat on live mixing (he mixes for many large shows such as Red hot Chili Peppers and Blink 182), he suggested using compressors to keep elements under control. I quite liked this idea, particularly with the vocals. I'm sure at times with all three singers going for it, they may be at bit too loud for the song. I didn't want to try this at a gig, so I got a cheap alesis ADAT 8 track recorder and went to work. The First show was a disaster as I had the levels too hot for the recording. Next show was much better, with some fine adjustments during the show. I then set to work in various mix strategies. Also I got a chance to try out a new effects unit.

Compression on the vocals. The best way I found to keep these under control, is to send them to a sub group and compress the group. I set the compressor, that it wouldn't compress with one vocal, as more vocals came in it started to compress. This worked well and tightened up the vocals. I'm still not sure I'll try it at a gig in a live situation yet. I do have some great live recordings of the band now.

Making it easier for The Rapiers

2010-06-15T13:59:00.000+01:00

A I've mentioned in previous posts I have started to update the aging PA of the Rapiers. While it worked well, it could be improved on for us. Many of our shows we don't need to use our equipment (only backline). Sometimes we may only need our monitors and desk to hook into the house system. Up til now, when we've used the house system, we still have to bring in the heaviest piece of the equipment, the amp rack, which also has the effects unit for vocal reverb. To make this easier, I have purchased two identical rack cases so I can split the equipment. In one, I will have the monitor amp with effects and graphic, in the other the front of house amps. As the cases match they will look much neater on stage, although we still try to keep them hidden away.

The top case is the mixing desk.

It works for us (The Rapiers)

2010-05-23T22:25:00.000+01:00

A recent show at Bushy Police club, Hertfordshire, with 60's singer Mike Berry, we had to use our own system. This isn't really a problem, however, I have set our system around the needs or the Rapiers. For example we have our monitor at the side of the stage to keep the stage as clear as possible. Also you may recall from a previous post, I have got the monitors as small and compact as possible. We are used to this. Also, the effects unit has an un-locatable battery in it which has died in the past few years. Lucky for us, the default effects is a nice big reverb. This had been used by the band long before I joined them, it did have a setting for Mike Berry, presumably from a period when they used to do shows with him in the past. Mike likes to use a slap back echo for most of his show and reverb on the Joe Meek numbers.

Mike's first comment was that the monitors wouldn't be suitable and they must be in-front of him. Which is a reasonable request for any singer. Colin suggest he waits to make judgement until he heard them. After some initial 1-2's Mike decided he only need to angle one up slightly and they were more than enough for the job.

The next comment from Mike was all our vocal mics sounded different. Neil's was very middy, mine was too toppy and Colin's was great. I tried to explain, that they worked for us singing. During our sound check, I lent over to Mike and commented on how crisp Neil's vocal was. The end result was he commented on how well all the vocal mics blended.

Mike Berry knows what he wants as all good performers should. He even admits he does like to moan. He rarely praises things, having his own studio he knows a thing or two about sound. I have no problem with that. The end result was Mike commented a few times on how good the mix was and how good the PA was. I must also finish by saying this isn't meant to sound negative about Mike Berry. I'm pleased that Mike was impressed enough to comment, especially after his initial reaction were that it wasn't going to sound any good at all. I would also like to say that I don't claim to have the best PA (or be the best sound engineer). I know there are better, which I want. It's all about knowing how to get the best from what you do have.

Another foot note:- I have purchase another monitor. It's an odd monitor which will eventually go to the drummer when required, after I have purchased another HK audio monitor. Also we rarely mic up the bass/kick drum, I decided to at this gig to give the kit some bottom end. It's not hugely loud in the mix (I don't have great subs for that anyway) just enough to lift it and give the band an extra anchor point to drive it.

Great Yarmouth

2010-05-22T12:21:00.000+01:00

From a recent show at a Gold Weekender at Vauxhall Holiday park. Many weekend music event we perform at have hired in sound crew, normally the event use the same crew. At Vauxhall Holiday park they have a permanent install to cater for the many weekend events they have. the speakers consist of 3 stacks a side of d&b C7 series plus a B2 sub each side (in addition to the C7-subs). The B2 gets seriously low. I have included a shot taken from the mix position of the desk plus outboard effects and processors.

D&B is on my personally wants list. Top of the range equipment, with a price to match. So will probably be on my wants list for quite some time.

Monitor for sale

2010-05-04T12:40:00.000+01:00

For anyone that may be interested I'm selling one of the Rapiers Monitors on ebay. It's been replaced by a smaller monitor. Although this one is still small.
This is the link
http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=290431949519&ssPageName=STRK:MESELX:IT#ht_500wt_1073

Details are also below

Here for sale I have a stage wedge monitor built by Allan Gordon studios in Walthamstow, London. The shop is no longer there as the owner retired some years back. This was purchased about 16 years ago. Here are the specs as best I can find.

12'' inch speaker
horn
parallel jack input/output (for linking to other speakers
Metal grill to protect speaker
power rating at 250w RMS (i have tried a HK audio pr:o10 monitor rated at 400w and this seems louder and more efficient than the HK).
Black cloth covering
Sprung recessed handle
Rubber Feet
Metal protective corners

There is some wear to the cloth covering which can be seen in the picture. You are welcome to arrange to hear it before bidding. It has now been replace by smaller and lighter speakers, hence the sale on ebay.

Collection preferred for this item. Cash (on collection) or paypal in advance. Any questions please ask.

Plectru

2010-04-22T13:15:00.001+01:00

I have mentioned in previous posts that lead guitarist Colin Pryce-Jones has gone to great effort and time to perfect his sound. Colin would also suggest that it doesn't just end at the lead guitarist, the other instruments need to be correct as well. This doesn't stop Colin trying to further perfect his sound. Recently he has been reviewing his use of plectrums.

In the late 50's and early 60's plectru would have been made from tortoise shell. these would have been quite hard. Colin comments in a radio interview in the 80's how you can really hear Hank Marvin of the Shadows whacking the strings in FBI. Quite unlike today where Hank probably has a much lighter approach (don't quote me on that last statement). A super thin plectrum wouldn't be able to provide the force required. Also if you remember that strings weren't sold in gauges, you just purchased a set of strings, which would have been a heavy gauge.

In Colin's attempt to maintain an authentic look he tried some tortoise shell imitation plectru. A friend of Colin found some original tortoise shell plectru and commented how the sound was even more like the original sound of Hank Marvin. Colin found a suitable plectrum and asked me to locate them on the web for a bulk purchase, just incase they stop producing them. Anyway here is a link to the plectrum or should I use the now common term picks. Notice how the description claims they provide a warm tone.

http://www.stringsdirect.co.uk/products/6111-fender_351_classic_celluloid_picks_12_pack_tortoise_shell_

Little things can make all the difference.

Stage shot - foundations of the echo

2010-04-18T13:10:00.001+01:00

A recent shot Colin asked me to get at the Millfield theatre in Edmonton, north London. Notice the wooden chair which Colin believes is the foundation of a great echo. We also have a smaller stand for the bass cab, which is similar to the stand Jet Harris used for a brief period. While we still use it, the cab was on the floor to hide the multicore on the stage. We always aim to keep the stage as clear/clean as possible. That how it used to be, not just with the Shadows, many other bands from the same period back in the early 60's.

Holland tour - trial

2010-04-06T17:18:00.000+01:00

As many Rapiers fans will know the sound or more the tone of the guitar and the band is very important. It's one thing for the guitarist to spend ages perfecting their sound, only for the sound guy to wreck in the mix. Quite often when we travel abroad (and some UK venues) we have hired amps and sound guys, that are good sound guys, yet don't know our sound. That is a huge thing to us, not so important for other acts perhaps.

A recent trip to Holland, was a trail for a forth coming tour The Rapiers will be doing in September - November in 2010 with Cliff Richard tribute act Jimmy Jemain. The guy that booked us knew how important our sound was, so he decided we would take our own backline out with us. Unfortunately that makes for a long journey, rather than a 50 minute flight.

As mention, our sound could still be compromised in the mix. Once Colin sat down with the sound guy, the sound man started talking about early cliff and the shadows records and the differences in the mix of their records today compared to the sound we were after. He was on the same wavelength. The promoter had briefed him previously and he made a point to study the sound of those early recordings. Sound equipment was d&b audiotechnik, one monitor infront of Jimmy (singer) our monitor off stage, to keep a clean stage. The end result was a sound that everyone commented on, Colin was particularly happy.

The sound was provided by MPS audio in Holland.

A shot of the stage from the mix position

New Monitor/s

2010-03-24T16:14:00.000Z

The current monitors or fold back we use with The Rapiers is the same as I used in my previous 2 bands. 1 12'' and horn speaker and a second 15'' and horn speaker. These were made by allen gordon studios in Walthamstow (a former original member of the Honeycombs). The larger 15'' was to large, and sound difference (obviously) to the smaller 12''. Time for change. I wanted to initially replace the larger cab to reduce the weight and amount of space taken up on stage. Also a low profile was preferred to reduce obstructions for the audience and keep the stage looking cleaner. Searching various manufacturers web sites, I found a few that may fit the requirement. With the monitor I settled on, I failed to find a supplier that had one in stock to audition, so I had to buy it on spec. As I had also been looking at the manufacturer for FOH speakers, I thought this a good way to demo the system. I settled on a HK audio Pro:10.

Initially I was unimpressed with the cab, until I changed how I routed the monitor signal to the monitors. See this post for more info. I'm now happy with them, but not blown away by them. I'm still looking for a good set of monitors. These are fine for small venues when you are almost on top of the monitors, they are not really suitable for a large stage, where we would place them at either end of the stage. We don't have the rock start monitors everywhere one stage.

Here are pictures of the previous monitor and the new one. I should have taken some side by side comparison shots, I forgot.

The old monitor. As you can see looking rather tatty, the lead plugs into the side, could easily get knocked and broken if a careless singer isn't paying attention.

The new monitor. It's much smaller, looks tidier and the lead plug in the rear. It also has a top hat so it could double up as a FOH speaker. On these speakers the are angled downwards, so more sound is directed at the audience rather than the ceiling.

How loud to perform

2010-02-07T15:39:00.000Z

How loud should a sound system be in a given venue?

This can depend on a few things. The type of people/clients you are performing to and the law. Currently in the UK the law states (as I understand from talking to a health and safety officer) the sound should average a sound pressure level (SPL) reading of 80 decibels (db). In London, I measured the traffic SPL which measured an average of 80db.

I have in the past performed with some loud acts that don't take into consideration the target audience, or local residents. Being told to turn down isn't a good thing and performers don't like it. I know some that will turn the volume up when asked to turn down. I once performed with a band, many in the audience left. I was told because it was too loud for them. Not only can you lose your audience, you can lose your booking. Of course there are times when the audience will expect high volume. Individual perception of what they hear and sound levels will differ from person to person and hence be subjective rather objective. A reliable method needs to be used, especially if you will be performing in a level sensitive environment.

The Rapiers gig last night (Sat 6th Feb) was at one such venue. The target audience with mostly retired and loud volume wouldn't be a good thing. Now we use Vox AC30 amps on stage, the levels on the stage are not particularly loud, in fact we let the PA do the work for us. So once a mix had been set it was important to get a sound level that wouldn't offend people. I aimed for 90db average music level, speech will be lower and hopefully balance out to the legal average of 80db. Not that we were being monitored be anyone. How do I measure the level, with expensive equipment? Well yes and no. My iPhone with an app that measures sound pressure levels. Once I get a volume level I think is satisfactory, I measure it with my phone. I wont say the iPhone is accurate, it is however a good reliable guide. Side by side comparisons with a more expensive device works well. The iphone peaks out at 115db because thats the highest the built in mic will register.

So, how was the performance. Comments from the staff and audience were very favorable. Saying the sound was great and the volume was perfect, not too quiet and certainly not too loud. I will add, that I did increase the volume level for the second half. Well, lets face it, they were already familiar with the current level. I didn't increase enough to offend anyone.

Picture shown is an example screen shot from the iphone app.

Speakers and volume

2010-02-03T13:42:00.000Z

Currently the Rapiers use Ramsa speakers as the main FOH system. They are 125w RMS (250 program). Are they louder than Electrovoice speakers rated at 200w (400w program, 800w peak)?

Logic would conclude that the EV speakers are louder. Things aren't that simple. The watt (w) rating is power handling, how much power the speaker can handle from the amplifier without risking damage. A more acurate answer would be found by looking at the SPL rating. Max peak is usual 6db higher than continuous. If you know one rating you can work out the second.

So to answer the question the EV speakers are rated at 127db max SPL/1m, while the Ramsa speakers are rated at 129db max SPL/1m. 1m is the distance the measurement was taken, 1 meter is a standard. The Latter being more efficient. More efficient speakers could mean you don't need as high an output from the power amp and save costs on a lower output amp, possibly reducing weight. If someone tells you they have a 2k (2000w) rig, it may not be as loud as someone that has a 1k rig. Also, if you are looking to increase the volume of your current system, don't go by power handling alone, as you may end up with a quieter system. Don't forget that 3db is half the volume. There are more variables that can effect a speaker, the actually sound coming from it is also very important. This description is very simple and I'm sure some people would be able to say 'Ah but your forgetting to consider x y and z.' SPL levels can also be given in half space or full space. Ideally you want a full space value, if its half space you need to deduct 3db to get a full space rating.

I'm please to announce that I will be having an interview with Justin Daish of the Shadowers to talk about digital verses analogue echoes.

Inside the mixing desk-Monitor considerations

2010-01-13T13:18:00.000Z

In the previous two post I detailed my decision and requirements for a new desk. Apart from all the extra specifications of the newer desk there was one spec that was different. I'll try to explain:-

On the Spirit desk the Aux sends were post eq - this is separate to pre and post fader. If I change the channel eq it will change the sound for the fader (LR) output and the Aux sends, importantly for this particular requirement, the monitors. Because we used minimal equipment, we didn't use and external graphic to control the monitors, for the majority of our shows when we used our PA, it wasn't an issue. If we got feedback on the monitors, we could either, 1) reduce the volume, or 2) try to change the eq. The second option would also change the EQ the audience hears, so reducing the volume is preferable.

Fast forward to the new desk. The Aux sends are pre eq (they can still be routed pre or post fader). Each channel signal to the monitors via the Aux would be flat. This is great, so I thought. I could control the monitor sound with and external graphic and therefor have greater control over the overall sound. While good in theory, it wasn't really a success. While the monitors were ok, different vocals had different eq settings (especially if we were backing someone) and the results weren't great, especially for the artist we were backing.

The Allen & Heath desk is configurable via jumper connections inside the unit. I could change the Aux sends to post eq. I didn't want to open the unit up if it wasn't going to be any better. I needed to test the post eq setting. At out last gig (New Years Eve), I didn't need any complex mixes, which left me with free sub groups. I sent the vocals to groups 3/4 and used the group output as the monitor control. I had no graphic eq on the monitors, it was running in a similar way to the previous spirit desk. It worked. Certainly I think it will be better for guest performers.

I concluded I should change the jumper connections inside the desk. This would mean unscrewing it. A bit worrying, I just hoped I didn't muck it up. I opened the desk and realised I had to moved the jumpers for each channel, rather than a global change. This actually isn't a bad thing, because if I compress a bass guitar using post eq would also send the compressed signal to the monitor (should the player want it). The problem here would be the player playing harder, but not hearing it due to the compressor. So I just changed the jumpers on the first 3 channels which we use as vocals. I shall see how this configuration works next time we use it.

Inside the desk - everything is back-to-front - channel 1 is far right

The strip with the jumpers (channels 2 and 1). The top black jumper needed to move to the connectors below, without dropping it inside the desk

If it was really important to have a separate eq for each channel on the monitors, I would suggest using a signal splitter and sending the vocal channels to separate channels for the monitor. For example, if you had 4 vocal channels, run 1-4 as FOH then 20-24 as the monitor channels. Almost like a separate monitor desk on the main board. Of course this does assume you have enough channels (which I don't).

A note on pre/post fader:- If a signal is post fader, any change of the main fader will also change the Aux post fader signal. This is good for effects sends. For monitors you really need pre fader, this will give you seperate control over the signal level to the monitors and not be effected by changes on the main channel fader.

New Mixing Desk

2010-01-08T15:00:00.001Z

My last post detailed why I needed a new mixing desk. Although most men find reasons they need things even if they don't. Here is a reminder of my requirements

XLR outputs - This would create another need (great excuse)
Global control for Aux outs (monitor use)
We use 7 channels usually, so 8 as a minimum.
Must be small an compact

Plus these features would be nice

Sub groups - to control a group of faders with one or two faders
More than one Aux for additional effects and monitor feeds
Direct outs on channels for possible multitrack recording
Inserts for compressors (don't tell Colin)
4 band eq with 2 mid sweeps
Input Peak indicators for each channel

I used to provide sound/PA for a few venues when I was in a band called Jet Black around 1994-8. Linden the guy that done it with me had an Allen and Heath 16 input rack mount desk, which was release just after I purchased my spirit folio. The A&H was a great desk. Since then A&H have release other desks in a series they call Mix Wizards. They had one that was perfect for my requirements. It had 10 XLR channels plus 2 stereo channels, although I could get 4 stereo channels should I wish. The desk was quite versatile in that it could be configured for various applications including a monitor desk. I could configure this as half monitor desk and half FOH.

I searched the internet for a good supplier and found Digital Village (I had used these previously, in the pre internet days).

The day it eventually arrived, this massive box was delivered. Whoops, not small and compact. Compared to the previous desk it is much deeper as there is more on it. As the cardboard box wouldn't be ideal to keep loading in and out of the truck I ordered a case. They weren't easy to find, but eventually I found flightcase warehouse.

So far I've been happy with the desk. Colin thinks it's huge, while Dave thinks it's great, Neil and John, aren't really bothered, it does the job, thats all that matters.

The Mixing desk - Allen & Heath mix Wizard 14:4:2

Oh Colin's amp mic is channel 7

The XLR outputs, much better than jacks - also the system is now balanced

Next post - inside the desk, literally.

Replacing the Mixing Desk

2010-01-07T13:47:00.001Z

One of the reasons I started this Rapiers sound blog is due to upgrading the PA/Sound equipment. Once we changed to using the Vox amps all the time, there were different considerations with the sound. No longer was the PA there just to amplify the vocals and maybe a drum overhead should it be needed. It was now amplifying the whole band vocals and backline. We have on many occasions been to holiday camp (as mentioned in previous posts), previously we would just use our PA or maybe get a spare three channels on the house desk for vocals. Quite often, the holiday camp sound system was designed with fills in various parts of the room, which our system just wouldn't reach. However, our vocals would if they went in the system.

Once we started to mic the backline we could send a line signal to the house system. These tended to be XLR and we only had jack outputs (as do many cheaper/budget mixing desks). To get round this I'd use a DI unit to concert the jack to a XLR feed. Before you ask, a jack to XLR mic cable is the wrong way round (we needed a male XLR). A mixing desk with XLR outputs would get round this problem.

Another consideration, with the current mixing desk, there was no global monitor control (Aux) control, instead I had to use the input gain on the power amp. One of my preferred power amps had the input gain on the back, so not easy to get to in an emergency during a show. Another consideration that needed to be addressed.

The final thing, was that the jack connections on the desk were starting to play up, not good news during a show if one side of the PA cuts out. So the desk had to go and be replace.

Pictured is the old desk. A spirit folio which was purchased new in 1997 for a previous band I was in called Carnaby Street. With 2 auxs 1 pre and 1 post fader, 3 band eq with mid sweep, 8 XLR inputs and 2 stereo inputs (1 used as effects return). Colin's amp is on channel 7. Next post the new desk.

Congratulations Jet Harris - MBE

2009-12-31T11:43:00.000Z

I would like to dedicate this post to Jet Harris who has just been awarded an MBE on the New Years Honours List for services to music. As many will know we (The Rapiers) back Jet Harris, although recently he has been diagnosed with cancer and currently having chemotherapy for it.

Also Happy 2010 to you all

Isle of Man (part 2) Vox column PA

2009-12-20T14:01:00.001Z

Well, not quite a vox column PA. A line Array system, which has it's origins in the early column speakers which were used for vocals back in the 50's and 60's. Original Column speakers such as Vox column were very efficient at directing the sound were it was needed (with limitations) unfortunately as much as Colin would like to still use a Vox column, they are only good with vocals, we need to amplify all the instruments through our system.

Speakers when they are positioned vertically disperses the sound vertically similar to the height of the array, narrowing the vertical dispertion. The more speakers positioned vertically the more effective this becomes, especially in the lower frequencies. This type of system can help with reverberant rooms as the sound is directed where it is needed, rather than hitting the ceiling. Please note; there is more to Line Arrays than my over simplified description, the basic principle is there. The alternate to line arrays are point source. Point source systems are used mostly by many small bands and smaller theatres. You tend to get line arrays at big concerts and the systems are generally flown from the ceiling. It helps to distribute and even sound rather than have a mass of sound at the front (point source).

The theatre in the Isle of Man had a JBL Line array system. This consist of 8 x (2x12'' plus high) and 2x (2x10 plus high) cabs a side, plus 4x18'' subs a side giving a total of 30,000 watts. All powered by crown VZ5002 amps. This was all controlled by a DBX 4800/20 drive rack. the DBX drive rack controls system eq, limiting and crossovers. I'll be writing a post on systems controllers concentrating on the DBX drive rack in a future post - it has some relevance in a previous post on controlling the echo.

The hall/room was a very reverberant room with a huge dome in the ceiling. A line array would help reduce the amount of sound bouncing around unnecessarily. Sadly I didn't get to hear the system as I was on stage. Comments from the audience were that it was the best show they'd heard (and seen). They could hear everything; the guy mixing was better than the usual local guy. The last comment was interesting as the guy mixing our show, mixes most shows at the theatre. Also Anglin told me that the system was barley on, with a light or just illuminating on the mixing desk for the output levels. Just because he has a 30k rig, doesn't mean it needs to be used.

I'd like to thank Anglin, the sound guy for his assistance.

The view of the stage. The Line Arrays are seen above the stage.

The amp rack.

Line arrays have many advantages over point source systems. They are easier to fly in a theatre, which help with sight lines on the stage. As already mentioned they direct the sound more efficiently in the room. They have can have a longer throw of sound.

Disadvantages; you really need quite a few cabinets stacked to get the benefit of the line array. For most small venues, point source is the better option.

Here is a link I found on the sound system design for the theatre in Isle of Man, supplied by Adlib audio

I wish you all a very happy Christmas and the best for 2010.

Isle of Man (part 1) marshall and fender

2009-12-07T19:43:00.001Z

The Rapiers have been involved for some time with a show called Made in Britain. For this show all the rapiers use are their own backline (amps, drums and guitars). The PA/sound reinforcement requirements are done by a hired in company. The other week (28th November), the show was in the Isle of Man. We flew over which meant we could only take our guitars. The Amps and drums were supplied by external sources and the PA was supplied by the venue, an installed rig.

Steve, the guy who plays the part of Cliff Richard in show, said he would bring his vox amps and fender for us to use, to avoid getting something that wasn't upto scratch. While the bass (Vox) and Rhythm (Fender) amp were fine, the Vox for Colin wasn't up to scratch. It hadn't been used for a few years and the volume would go up and down while distorting. Luckily the sound guy at the venue had a spare amp. Colin's worse nightmare, a marshall. While marshall amps have their uses, they are not suited to the style of the Rapiers. After navigating our way around the numerous knobs on the face of the amp, Colin got a sound he was happy with for the show.

Still not quite a Vox.

Check out the controls on this

A more familier Amp

Coming in part 2, the sound system and comments from the audience.

Delay at Warners

2009-11-22T17:26:00.000Z

In my last post I mentioned about delay distributed stacks. I also mentioned that if the speakers were to far forward of the source sound, if the volume was low enough you would hear first the speaker, then the source. This may only be milliseconds, it is enough to impact on the listening pleasure if it's too obvious.

Saturday (21st November) the Rapiers performed at Warner's in Bembridge, Isle of Wight. We hook our system/band mix into there system, still using our monitors. The speaker arrangement in the venue was that the speakers were quite far forward and distributed around the room. The guy in charge of the sound (not a pro sound guy) at the venue, didn't have a clue when I asked if there were delay lines. I asked because during our sound check, exactly what I had mentioned could happen with an undelayed system happened. It was really obvious with am instrument such as a drum kit. The sound was obviously coming from the speaker. If the delay was correct, it would be undetectable. We just had to live with it. After we finished our sound check I noticed the equipment for the venue, there were 2 delay lines. I think that the delays were measured from the first set of speakers closest to the stage, still 10 or so feet from the back line. I could have done something about it sooner had I realized, but I'd already used my piece of equipment that can delay the sound on the monitors. Not for a delay, for other processing. However, bar a few minor points, the sound was great, according to audience members we asked. Apparently better than the Tom Jones act the previous week. The minor points were that the lead guitar was slightly low in the mix for some peoples taste, although the same people claim that during the sound check it was ok. Perhaps the other band members (including myself) play harder during the actual show.

you can see how far the speakers were from the stage,

enough to hear the different sound sources

Venues rack with the delay at the bottom

(delayed at 26.99ms and 26.61ms)

Coming up in futures posts, not in order:-

Echoes
Drums
Monitors
Interview with Colin Pryce Jones on Meazzi echoes

Timing the guitar echo

2009-11-18T20:45:00.002Z

Have you ever been to a theatre or stadium gig where there are stacks of speakers halfway in the audience. Sound travels at a speed of 344 meters per second (or 1130 feet per second). Something needs to be done to the speakers halfway up the room to stop the audience hearing the speakers (single or stacked) in the middle then the speakers by the stage. Otherwise you would hear the sound repeated. It wouldn't be a nice experience. These speakers would normally have a processor to delay the sound before it reaches the stack, therefore they are known as delay stacks or delayed distributed systems. Quite often the sound doesn't even appear to be coming from these stacks at all. Due to the precedence effect the sound can be louder from the delayed stack and still be perceived as coming from the primary loudspeaker. More about that later.

What has this to do with the guitar echo? It rather depends on the speaker system size and volume plus venue and stage size.

If the guitar amp isn't being amplified through the main sound system, it's not a problem. If the main sound system is so loud, the original signal from the amp can't be heard by the audience, again it's no problem.

If, like The Rapiers the audience will hear some of the amp plus the amp in the main sound system it could be a problem. For long sustained notes, a listener would hardly notice. For muted staccato notes, the sound could be heard twice, plus the repeat of the echo. On a deep stage the backline could be far enough back that by the time the audience hears it, they have heard the guitar in the main FOH sound system first. This could interfere with the echo and guitar sound the guitarist has spent many year perfecting. I have attached a diagram to try to illustrate this point.

The solution would be a simple one; add a delay line to the sound. There is one further complication. The singers, would also be further forward, so they would also hear only the backline by a small delay, so they would be singing with the acoustic natural delay of the backline. If the whole system were delayed, would the singing appear to sound after the music, to the audience.

I mentioned the precedence effect. With delayed systems, if the sound is delayed a further 5ms to 25ms, the listener will perceive the sound as coming from the undelayed speaker. So does that mean, if I did delay the whole mix by the 5/6ms plus the correct amount for the distant the backline is to the front of house system, the audience would perceive all the instruments from being amplified only on stage.

Lastly, is it worth the effort? Although it is an easy thing to do and it would make the guitar sound as the guitarist wants it to sound.

Farewell to the Fender

2009-11-17T21:44:00.000Z

Check out Greg Ogarrio's Rapiers Blog for details on Dave Lawes Fender Twin he recently sold on ebay, since the Rapiers permanent move to the Vox line-up. The original post features a picture of Dave with his Fender amp.

Regent theatre Ipswich- setting up our mix

2009-11-06T15:27:00.000Z

The Rapiers back a Cliff Richard singer called Kytsun Wolfe*, mostly playing at theatres. While most theatres have a sound guy/crew quite often it cost extra money. On one occasion Kytsun asked if the Rapiers called supply the PA/sound equipment for a small theatre show. Thinking it would be a one of, I agreed. Fast forward a few months and we seem to be using our sound system for most bookings with Kytsun. He is more than happy with the sound I get and the monitors on the whole are better than most for him.

The show at the regent theatre last night (05 November 2009) cost 15/' (shillings) a ticket, yep thats correct 75 pence (plus usual £2.00 booking fee). At that price the theatre was expecting a sell out 1500 seats. Purely by chance I happened to look at the specs for the theatre and noticed they had no sound system, ours would not manage such a large theatre and audience. After a few phone calls it was decided that we would hook into a system that the theater's resident sound guy had in the theatre for the previous days show. We still needed our usual monitors, backline, desk etc.

Heres a quick run down how the system was run.

Monitors: 3 seperate mixes:-

stage left. Vocals feed from Aux 3, controlled by sub group 3 fader
stage right. Vocals feed from Aux 4 controlled by sub group 4 fader
Drums feed from matrix A, detailed below:-

Vocals were sent to sub group 3/4
Bass and Guitars sub group 1 and drums sub group 2
The drummers mix was vocals from sub groups 3/4 and instruments from group 1
This saved me setting up a separate mix from an aux feed, instead I could use pre mixed groups.

For the FOH mix:

Sent to LR faders.
Drums mixed into sub group 2. This allowed the whole kit to be controlled with one fader.
Guitars and Bass sent to sub group 1, again allowing the backline to be controlled by 1 fader
Although the vocals were send to sub groups 3/4 this was only for the drummers mix. For the main FOH mix, these were sent straight to L and R faders.

The sound is mixed from stage. While we have full control over our sound, it does have disadvantages:-

If levels change during a performance, you may not know about it.
During the sound check, you have to keep jumping on and off stage while all the levels are balanced and eq'd.

The house system we hooked into was an HK audio actor, plus celestion fills for the balcony, kindly lent by Flipper. A few months ago this set up would not have been possible. I'll explain why in the next post. Assuming nothing different comes up.

* None of the music on Kytsun's Website site is provided by The Rapiers.

Amplifying the Vox

2009-11-05T17:03:00.000Z

The Rapiers as many will know is a guitar based band playing many instrumental tunes. Colin the lead guitarist has spent many years perfecting sound he uses on stage. I think it would be fair to say that the sound of the band hangs on the sound of Colins guitar.* Followers of the group will be familiar with this. As I mentioned in a previous post, when we used the Fender Twin amps, we never put those through our own PA. If we were doing a larger gig where we used our own backline, the sound company would do. For most of our gigs it wasn't needed, the Fender amps provided enough volume. There were exceptions to this. If we played at some holiday camps, the rooms would be a horrible shape. The venue would normally have a house system we could hook up to, as we didn't have the correct equipment this wasn't possible, so we just used our own PA to for Vocals and monitors/foldback (a vocal PA basically). Sometimes we would manage to get three mics for vocal use from the venue and we wouldn't need our PA at all. The Rapier sound requirements were very basic and still are.

The Rapiers had decided to try amplifying the whole back-line through the PA. The first venue was a holiday camp where they more or less insisted we used their house system so they could control the overall volume level (to avoid complaints for being to loud as many bands can be). All we needed were our own foldback, mixing desk and effects (reverb) for vocals. The only mics I had spare to mic the Vox amps were Sure SM57 and SM58. The SM57 is an industry standard for instruments, while the SM58 the standard for vocals. The 57 went on Colin's (Lead guitar) and the 58 on Neil's (Rhythm guitar). Next the hard bit. When I turned the level of the guitars up through the FOH system all that should happen is the guitar volume increases. The tone shouldn't change, if it did, Colins hours spent perfecting his sound would be compromised. After some tweaking I got the sound right (increasing the mid on the desk at approx 3kHz by about 3/5dB). This worked with most systems we used, including our own and most we hooked into. On the rhythm guitar, i wasn't as successful. I was getting more low boom and frequency. No matter what I done I couldn't get an accurate sound. If I cut the low frequency by to much (100Hz on the desk) I lost too much of the body of the sound, so I had to compromise slightly for the time being. I've always been told rather than use excessive eq to consider changing the microphone, so that what I did. I just needed to get one.

I had previously followed and been a member of a band called Jet Black. The guy that I replaced used to provide the sound equipment and was a very good sound engineer. He used sennheiser microphones when he used to mic up the amps. Sennheiser do 2 similar microphones a e606 and e906. The 906 had some extra options that may be useful, so I opted for that model. As this mic is made specifically for the guitar I decided this would go on Colins (Lead) guitar amp. The switch position can change the frequency response of the mic. I have it at the high cut (down) position. This gives a smoother response and a slight eq boost around 3kHz, the same eq boost I used on the desk. the eq is now off for the lead guitar. Neils (Rhythm) guitar now has the sm57 also with the eq switched off.

The main point of the post is to demonstrate that changing a microphone is a better solution to a sound problem than eq. I appreciate that not everyone has the ability to trail different microphones with their own sound system. I try to see and listen to what other use doing similar to what I require.

Inside the backline mic box - SM57's bottom and sennheiser 906, even tells you which is the front.

Other mics are just spare.

More on the guitar sound and guitar echo coming soon, plus loads of other background info.

* I hope to have an interview with Colin on his guitar sound in a future post.

Doesn't just happen to the Rapiers then

2009-11-04T02:44:00.000Z

In the past the rapiers have done shows with one particular sound engineer/guy that would switch microphones off. Quite a few will do this to stop instruments spilling into vocal mics and eliminate feedback due to too many mics being live. Most decent sound guys would keep an eye on the performance and switch them on if they are required, sometimes missing the first word or so. This particular sound guy didn't just miss the first word or so, he'd miss the whole song. What is really worrying, is the audience will think it's the band fault. At least according to some comments that were overheard.

I was photographing the Oxford Street lights switch on and a girl group called The Saturdays were performing. Guess what, mics were not working for them either. Could be the same sound guy, I doubt it. I was quite shocked that for such a big event with the street shut off, 1000's of people in attendance and I think live radio and TV cameras, the sound guy would get all the mics prepared in advance. Two things struck me:-

It doesn't just happen to The Rapiers
At least you knew the performance was live and not mimed

However, possibly, the sound engineer had to mix for broadcast, performers monitor (in ear) mix and live (FOH) sound.

to the manor born

2009-11-01T13:22:00.000Z

The Rapiers played at a Warners Hotel in Cricket St Thomas in Somerset for Halloween (31st Oct). The 70's/80's TV comedy to the manor born was filmed there. I will get back to the post on the guitar sound, but thought I'd briefly mention the rapiers sound set up for last nights show.

If we can we use as little equipment as possible. If a venue has a house sound system we can quite often send a band mix to that. Mostly we still use our own monitors and vocal effects (reverb). Cricket St Thomas has a sound system set up for their room giving even coverage to the audience. It consists of 4 forward facing speakers, 2 back at stage, plus sub bass speakers. The monitors were in the ceiling of the stage. Normally we would send a signal with the whole mix of the band. If we were to use the house system all the guitars and instruments would come back thorough the monitors, in addition if the house system added vocal reverb, this would also go on the whole mix. To avoid bringing in our rack with effects/amps and monitors I had to split the instruments mix from the vocals. Doing this would allow the operator of the house system to apply reverb to only the vocals and send only the vocals to the stage monitors.

How I achieved this:- Simplez, I sent the vocals to the main LR faders and instruments to one of the sub group outputs. The sub group would normally be sent to the LR, it was just switched off for this performance and application. If I didn't have sub group outputs I could have just panned instruments L and vocals R. Output to house system via XLR's, jack connection wasn't possible. The mixing desk was hid behind the Rhythm guitar amp (Left).

The stage was clear of clutter from additional monitors.
Comments from the audience were the best they'd heard us.
Head of Entertainment said it was a great mix
The venue can control the sound level to suit the audience and balance instruments to vocals for us.
Sold lots of CD's, always a good indication of how well the audience enjoyed it.

Some iPhone pictures

The stage set up. The Vox cab for bass was left on the floor rather than the stand to hide the amp behind.

Here you can see the house speakers on the ceiling. These were Tannoy, I didn't notice the amps powering them. The house desk was an old/early Yamaha digital desk about 10 years old. The speakers at the side of the stage were for the house band, who weren't performing.

The mixing desk. Yellow faders for Vocals, red for instruments. Notice channel 7, the lead guitar compared to channel 6 the rhythm.

Thanks to Shaun (and Miss Robin) at Warners, Cricket St. Thomas for his help and fantastic reverb. Next post will be (all being well) on the guitar sound.

Fender to Vox

2009-10-28T23:53:00.000Z

When I joined the rapiers, the backline consist of Fender twin amps for guitars and fender cab for bass (well a trace elliot in disguise actually). Sound requirements were pretty easy for the FOH (front of house) PA. Amplify vocals and over head drum mic when required. Some times I'd DI the bass if I felt it was lost in the venue. Below is a stage shot using the fender backline. Notice the huge monitors, supplied by the sound crew for that show, something we are keen to reduce is stage clutter, while increasing sightlines on stage.

For special bookings such as shadow mania, we used Vox amps. Mostly we used Fender. Also we had a reliability issue with taking old vintage vox gear on the road all the time in addition to a few other problems we needed to resolve. I will talk about these problems another time. Needless to say they were over come and The Rapiers now use the desired and prefer Vox amp line up for backline.

Heres a shot with the Vox line up.

Heres why I think the vox backline is better:-

It looks better
The shadows used Vox and the Rapiers are known as a good early period shadows tribute act
Stage volume is quieter, so no banging head ache at the end of the night
Plus other reasons which I will go into more detail in later posts

The main problem with the vox line up is this. Fender amp are 100 watts each, vox are only 30 watts. Easy to resolve, mic up the Vox amps. Colin, who for those that don't know, is the main person behind the Rapiers, had previously tried mic'ing up the backline with an early member line up of the band. However this didn't go well, so he wasn't too keen on trying it to begin with. It's not a problem with professional sound guys as they know what they are doing, did he trust me to do it. Well, he does now. It's important to note, that it's not just a simple case of putting a mic in front of the amp/s. I'll go into more details in the future. This change from Fender to Vox, was the start of re-evaluating our sound reinforcement (PA) requirements. In addition, some of the equipment is getting old and is need of being replaced. Why not update it all to fit the new requirements. Easier said than done?

Coming next (all being well) getting the guitar sound right.

Welcome to the Rapiers Sound blog

2009-10-25T17:29:00.001Z

I have decided to set up a web blog on the Rapiers Sound. It is not to replace the main rapiers blog ran by Greg in USA. It will detail aspects of the sound achieved on stage at live shows. Plus certain parameters of how we amplify our stage sound to the audience which has recently changed. For this reason solutions need to be found to ensure that what we want the audience to hear is heard. The look of the stage still need to remain uncluttered and limited space in the bands truck limits purchasing huge equipment. In addition, many shows we don't need our own sound equipment, therefore we just need to rely on the sound crew at the show whether a theatre or weekend music event.

I hope this blog will appeal to many people on different levels:-

Fans of the Rapiers
Small bands, with small scale PA equipment
Myself - as a verbal soundboard to myself whilst working out how to achieve things required.

I don't claim to be an expert on sound, far from it. I do know that I achieve better results than some so called sound professional we have encountered over the past. If I say something you disagree with or have better information please tell me. I need as much information as possible.

In the next post I will explain why our sound requirements have changed, plus why I think it's for the better.

Til next time

Nathan