Is my rig to weird?

[sonicus]

I had a girl friend about 3o years ago who  was a broadcast electrician  having more FCC license credentials then she needed  for her job and she had a great ear who worked for a local radio station . She was also a really good piano player and could tell you exactly the frequency in HZ for every note that she played ! She was exceptional as a person to sit with the FOH person and make sonic suggestions , and sometimes did.   It was difficult for most people to reject her suggestions because of her positive personality .   But then, folks like her are _____ One in a Million .

[gregduboc]

Alright, a lot of good info here!!!
Thanks everyone!
 
Rusty, with the Avalon I get zero distortion, it's a great piece of equipment!  
 
Wolf, I can imagine how you felt waiting for that recording to come! That's one scary situation you were through...
 
David, you bring a good point to the discussion. I've dealt with engineers just like that. But then again, humor aside, some others where great guys and very helpful.  
 
Keith, I completely agree with what you said! Indeed most of them want to make it as good as I do, but there have been many jerks as you mentioned. They are the reason I decided to, let's say, give them a help with the tone with my rig. Then again, I now understand that maybe I might be making it more difficult for them.
 
Of course, nothing would be better then having our own guy. No doubt about it. But mind you that we get payed very little to play here in Brazil, what I get is basically enough to buy a new set of strings... And we get payed quite a lot, compared to other bands.... Scenario here is very hard, unfortunately.... So having our guy would basically be us paying to play. It sucks, actually....
 
But anyways.... You all brought good stuff to the discussion, I really appreciate it!
If there is anything else anyone wants to say, feel free! Every opinion is a great source of knowledge.
 
And, as for having my girlfriend helping.... She just recently learned to differ a guitar from a bass guitar.... So I don't suppose she can help  
 
One thing that maybe someone can answer:
How does some one like Billy Sheehan, for example, that has a very eq specific sound should send his signal to the FOH mix? Would he do something like me, sending it post EQ, or does he simply have to completely trust every engineer that he has to work with?  
 
Also, if you should only send your signal pre EQ so not to mess with the sound signal the FOH engineer gets as many of you suggested, wouldn't a preamp pedal like most players use, be ruining that? After all, they are doing the same as I am, right? Well, I can even go further and pointing out the use of active electronics: using an on-board EQ isn't the same as sending the signal post-EQ? Do you guys get my point? Help me with your knowledge! If I sound confusing, let me know.
 
Thanks everyone!

[keith_h]

Well Jimmy J has said he leaves it up to the sound engineer in some of his posts.  
 
I don't know if Stanley Clarke sends a pre or post signal from his preamp but I have seen his bass tech at the board or talking with the engineer on some performances I have gone to. If he is actually advising I couldn't tell you but I would assume he would suggest corrections if things were off. I've also been to one or two shows where the bass sounded terrible.  
 
Keith

[rustyg61]

A Soundman can make you or break you & as my friend Doc Greene once told a Soundman, If he can't make an Alembic sound good he is in the wrong profession!

[JimmyJ]

Hey Greg, there's no right or wrong way to do this so don't drive yourself crazy overthinking it.  If the way you are running your gear works for you than that's the way to go.  If you've run into some specific problems; distortion, noise, etc, then you can pursue alternatives.  
 
My method is painfully simple - Alembic through a DI box.  The end.  Ha!  But this is the sound I'm used to and since I'm not using any effects it's just a straight shot.
 
From what I've seen here, Stanley's rig seems to have several preamps chained together - and then he goes into the front end of a standard bass amp for one more.  No idea where he taps off for FOH but he must have worked out all the gain settings so nothing is (accidentally) overdriven.  Plus ... he brings his own bass tech and sound guys.  Presumably Billy Sheehan has his own crew also.
 
I think your method makes sense - you know you like the sound as it comes out of your Avalon so what you are giving the FOH is as close to your ideal tone as you can send.  Then you can make further tweaks after that point for any stage weirdness.  As long as the rig is running clean and quiet, why not?  
 
How are you taking two outputs from the U5, line level to FOH and mic level to your amp?  Or are you using the through to your amp?
 
Jimmy J

[edwin]

I have thought about these issues for decades. It has been my goal to hear from my rig, or even better, IEMs, what the FOH hears. I usually talk to the FOH person after sound check, during set break, or after the show, and ask them about how the sound is.
 
For at least the last 15 years, the response I've gotten is: I bring up the bass fader, then I check the guitars. I send a post EQ signal. The key is to learn exactly what it is you are sending to the FOH. It took me a little while to learn not to cut the mids too much.  
 
This is the reason I try to avoid backline gear. SVTs etc., may be cool rigs, but they sound nothing like what the DI sounds like and only lead you to make EQ decisions that are usually counter to what the FOH wants. I would prefer to just go with my ears and have no rig on stage (did that just last Saturday night. Turned out great).
 
If you are open with sound people and cultivate good relationships and ask them about what you can do to give them a better sound, you'll find that very quickly you can learn how to give them a sound where all they need to do is bring up the fader. Also, practice making your notes even. Back in the old days of 4 track cassette machines, I used one as my practice device and would watch the meters and try to get all the notes even. I overheard a sound guy I've known for a long time telling the guy who was mixing our band that night that I would send a post-EQ/post compression signal and all they had to do was raise the fader. I interjected and told him I never use a compressor. He was surprised.  
 
So, Greg, I think you are doing the right thing! Keep at it!

[bigredbass]

+1 on the Avalon gear, you'd really, really have to try hard to sound bad thru them.  I played thru the big 737 preamp/limiter once, and it sticks out in my mind like the first time I played a Bosendorfer.  And the little half-rack DI / preamps can do terrific things just with the little rotary selector on the front panel.
 
Joey

[gregduboc]

Hey guys, sorry for taking a while to reply.
 
Thanks for your comments, very interesting stuff!
 
Jimmy, on my U5 I send the line level to the FOH and the through to my amp. Do you use the U5 as well? If so, how do you usually set it up? Just out of curiosity.
 
Edwin, you brought up some of the points that made me decide to set my rig like I do. Usually that's what the FOH guy will do: Just bring up the fader. I think we can relate in the sense that, basically, my stage amp is just a monitor that I can control with more specific Bass EQ for any stage weirdness.
 
Joey, I'm a fan of Avalon! It's just as you said... You have to try hard to sound bad thru them!  
I've never tried the 737, but I really want to. They are very hard to find here in Brazil, though.