But the audience can’t tell the difference!! Featured

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How many times have you seen that comment as part of an argument online and kinda rolled your eyes at it? Well, if you are anything like me, you stopped counting when you ran out of fingers and toes. 

So, to counter that, here is a bold statement. “Who cares if the audience can hear the difference?”

OK, so let me expand on that a little. When I play live (and I’m pretty certain that this applies to everyone I play with and coming to think about it, everyone I’ve spoken too about it), a great guitar tone (or bass tone – or drum tone or whatever) is about one thing and one thing only, giving the person who is behind the instrument the opportunity to feel as comfortable as possible in order to play at their very best. The audience, generally, only cares about two things. “Is the band any good?” and “Do I like the music?”. We can do nothing about the second statement, but the first we have total control over - I doubt very much if the audience is thinking about the composite parts that result in that what they are hearing.

An integral part of any live performance is whether or not the band is any good. It’s extremely rare that a band will sound good to the audience as a whole if they sound simply awful (unless of course, their whole existence is that rough around the edges feel). I’ve seen some amazing bands in the past that have given me a terrible night because they sounded awful – and that could be the FOH mix, the individual instrument tones or anything else. I remember one night were an entire pub emptied within 3 songs because the band sounded awful. And this was the same band that went on to sell out endless world tours and go on to become one of the biggest and influential bands currently performing.

In order for the band to sound great, each person has to be at the top of their game and a lot of the time you can peel that back to ensuring that every person on the stage is comfortable and loving what they are doing and hearing. Have you ever been on stage when for some reason your gear doesn’t react the way you expect it to and it go on to ruin your night? I have, many times. That’s the ‘beauty’ of playing in bars and clubs, some rooms naturally sound amazing and some kill the sound. The key to this, for me anyway, is that in order to feel comfortable I have to be in the right ‘zone’. And that zone is all about my mental state and the relation between me and my gear. If I’m not comfortable, then I don’t play as well. My wife can spot it by the time the first song is halfway through if I’m not comfortable.

Quite often, either during a break or after the gig, people wander over to the stage area and say “You don’t need all that… etc etc” and then go on to say how good it sounds and how much they enjoy/ed my playing. This always strikes me as a little odd, surely the only thing they care about is if it sounds good. It shouldn’t matter if I have one pedal and a £50 guitar into a crappy amp, or if I have boutique level stuff from start to finish… as long as it sounds good as part of the end product. In order for it to sound good, then I have to be stood there and feel 100% comfortable and ready to melt some faces. I think this is key to this debate and a word I've used several times already in this piece – 'comfortable'. Is the player comfortable? and is the gear making them comfortable? I am fully aware that my epic board is somewhat of a comfy blanket for me, I rely on it and most of the effects on it are used once, which is a lot of money to spend on something that is only used in that way – but consider this. I am there for two reasons. Firstly, to satisfy my desire to play live and make music with my buddies, and to see the audience enjoy themselves. The one song that flies into my head at this point is “Runaway” by Del Shannon, latterly covered by Gary Allen – and the version we go is somewhere in the middle of the two. The intro to that is quite a specific tone, and it uses a one time only patch from the Mobius and Timeline (although the TimeLine is used constantly throughout the gig the Mobius only features in 4-5 other songs, 1 for vibe, 1 for tremolo and 3 or so with chorus) -  does it make having a £450 pedal worthwhile? My answer is a resounding YES! On that song, as when I hit that big Am riff to start it, people jump up and start dancing. That makes me comfortable, that makes me happy and so I play better.

The main question I have to ask myself is this. Would it sound any worse to the audience if I didn’t use those patches and just got myself a crappy cheap trem pedal. Or not use those sounds at all and just use a normal tone. Well, it may well do… but the fact it’s all midi controlled so the tempo is right makes me a happy boy. There is no tap dancing, there is no tweaking of speed, it’s just there and I know that it’s going to sound killer every night (not taking into consideration if the room is awful). This means I can relax, concentrate on one of the most finger bending solos I have to do later in the song and not worry about anything not sounding the way I expect it to. 

There are a lot of players out there who survive beautifully going straight in, or using cheaper pedals and everything else, but as a player I need to know what to expect when I hit that button. When I know what to expect, I relax, when I am relaxed I play better. And the only thing the audience does care about, I’ve found, is that I play to the best of my abilities every time I get up on that stage. It’s not about sounding the best because the £2K Klon has more mojo than the £150 Tumnus, it’s about only having to concentrate on the playing. For me, the Klon is excessive as I feel I don’t need it as the Tumnus does the trick for me every night, but I know many players that only feel comfortable when they have a real vintage Klon in their chain. Now, I can barely tell the difference when I play them side by side, so incorporated into a band mix I’m 100% confident I wouldn’t be able to tell the difference, and I would go as far as saying that they can’t either… the audience wouldn’t have a chance – but if the player is happy, and therefore playing their best because they are so happy, then for me – it’s worth every penny spent.

For reference, here is my rig and I’ve taken the liberty of adding up the total cost of it all new. 

Guitars
PRS Brent Mason signature.
’94 Fender MIM Strat with hand wired Seymour Duncan Antiquities
Epiphone Mandolin 

Outboard
Line6 G30, TC Electronic Polytune 2 into One Control OC-10 looper that contains…. Wampler Mini Ego Compressor, Wampler Mini Tumnus, Wampler Paisley Drive Deluxe, TC Quintessence, Strymon Mobius (split into pre and post), Strymon TimeLine, TC Electronic MiniHOF, Wampler dB+… All wired up with Evidence Audio SIS/Monorail.

Amps and Speakers
Fender BDri
Custom made 2x12” speaker cab loaded with WGS Reaper HP and WGS ET65.
Spare amp – Quilter 101 MR 

Yep. That’s £7k of gear to play covers in pubs once or twice a week. But, let's face it – I could double that figure EASILY! Yes, I know, that original figure is insane. I really know it is, but it makes me happy and this is my only hobby and I know whenever I go out to make a noise I sound as good as I personally can - so in that regard, it’s worth it. All of it!

 

 

 

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