Here's a crappy clip from a gig on Saturday night. I thought I'd go the roundwound route for a change.
Large room, no PA support. 120 valve watts goes a long way. Listen to how the low E just stays solid and clear...
Update to this - I've just done a couple of gigs in a more challenging environment with the WB-100, and it was as loud as hell. This echoes the experience of our very own Warwickhunt, who posted his experience in the WB-100 thread,.
I've just heard back from Leszek - if anyone has been in touch and hasn't had a reply, pop him another email.
@warwickhunt has borrowed this one for couple of gigs. Once I wrestle it back off him, I'll be giving it another run out at a couple of gigs this weekend :-)
I've just picked up a TC BG250-208 to replace my recently deceased Promethean. It's very nice with all the right features, and perfect for what I use it for (acoustic - as in *acoustic* - rehearsals).
I'm not sure I'd use it at an open mic, and certainly not anything with a drummer.
Yeah - I've read a lot of comments about them, mostly from people saying they just use them at rehearsals. I'm intrigued as to how common they are during concerts.
There’s such a fundamental relationship between the musician, their peers, the room acoustics and the mood the conductor is in, I’m amazed even the lightest attenuation doesn’t strip too much of it away.
I'm quite surprised I seem to be alone in this.
Orchestras rely on individual dynamics for nuance. There's no-one in FOH to tweak the balance. How on earth is an orchestral player supposed to nail dynamics whilst wearing ear protection?