I have a Fishman Loudbox 120 arriving today. Would you guys suggest that I run the mandolin into the Loudbox then output it to the soundboard (using the amp as a moniter) or just play the sound out of the Loudbox? Thanks in advance?
I have a Fishman Loudbox 120 arriving today. Would you guys suggest that I run the mandolin into the Loudbox then output it to the soundboard (using the amp as a moniter) or just play the sound out of the Loudbox? Thanks in advance?
Tony Huber
1930 Martin Style C #14783
2011 Mowry GOM
2013 Hester F4 #31
2014 Ellis F5 #322
2017 Nyberg Mandola #172
Depends on the situation. If you are playing a gig and need more volume, I would use the DI out to the PA. I have a Loudbox Artist and I use the DI out to our SoloAmps when we play a gig, but for practice sessions or jams I don't bother with it.
Living’ in the Mitten
This is mostly for a small to medium size church. There will be times when when we play at small festivals, but infrequently. The band is electric drums (board), acoustic electric guitar (board), keyboard (board), vocals (three)(board), electric bass (amp), acoustic guitar (amp).
Tony Huber
1930 Martin Style C #14783
2011 Mowry GOM
2013 Hester F4 #31
2014 Ellis F5 #322
2017 Nyberg Mandola #172
If there is someone running the sound, running your signal through the board will help the sound man's ability to get a good mix. A direct out from the Loudbox sends your EQed signal to the board, giving a more accurate representation of how your amp settings sound. A DI placed before the amp sends a raw sound to the board that defeats all the EQ adjustments on the amp. You can also mic the cabinet and send that sound to the board.
Having everything coming through the PA mains helps the sound man achieve a better blend and relieves you of worrying about whether or not your amp is loud enough or too loud. I tend to mic the cabinet for accurate reproduction of the amplified sound, but a direct out from the Loudbox should be just fine to get you blended into the mix.
Simple answer: whatever sounds best.
The DI outs from these to the main console are fine, but as Warren H says, you can also mic them up and you do get a slightly different 'texture' that way. Very much depends on what tone you are aiming at.
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'39 & '45 D-18's, 1950 D-28.
Thank you to Warren H and almeriastrings. I am curious in what ways is the texture different micing the amp vs DI to the board? Am new to this.
Tony Huber
1930 Martin Style C #14783
2011 Mowry GOM
2013 Hester F4 #31
2014 Ellis F5 #322
2017 Nyberg Mandola #172
Try it
Really, it just sounds "different". If pushed, I'd say it sounds more "crunchy" - but it is all subjective. Nothing to lose by experimenting a bit.
Gibson F5 'Harvey' Fern, Gibson F5 'Derrington' Fern
Distressed Silverangel F 'Esmerelda' aka 'Maxx'
Northfield Big Mon #127
Ellis F5 Special #288
'39 & '45 D-18's, 1950 D-28.
My first instinct is to say that if there is a PA, everything that can be run through the mains should be and amps used for stage monitors at a reasonably low volume with the aim of keeping the overall stage volume as low as possible. A lot of people hate playing on a quiet stage because you can't hide in the mud that loud stages produce but my smartass answer is "practice more". Low stage volume makes for a tighter band. Besides, if there is a slider monkey working the board anything that isn't running through it can't be controlled. Put it in the mix and let it sound much more betterer.
Run it to the mixing board. It is only one xlr cable and the capability will be there if you need it.
willi
I received my Fishman Loudbox Artist (120) yesterday. I am shocked by the small size. When I looked at it, I wondered how it would compete with the rest of the band. Given the high marks by you guys here at the Cafe, I am looking forward to seeing how it will perform at our practice this evening. I will give a review Monday after we play for our service Sunday.
Tony Huber
1930 Martin Style C #14783
2011 Mowry GOM
2013 Hester F4 #31
2014 Ellis F5 #322
2017 Nyberg Mandola #172
Running anything into the board depends on who is monitoring the board and their skill set. You don't want to play an entire set fighting the sound guy. We played an outdoor art festival set (about two hours) with two Loudbox minis, with a powered MXL condensor mic and two Sm57's. The sound was pretty good. (must have been. we scored two more gigs off that one from folks in the audience). In fact, we left our PA setup in the van.
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I play in a church and our choir has a similar setup. I prefer to go from the pickup into Venue Pro preamp, then into the board. I set the preamp so the controls on the board are fairly flat, adjust the gain so the slider is in the middle, and I'm done. When we play a instrumental solo, I just hit the boost switch on the pedal.
But one of the reasons I do that is because we only have maybe 5 minutes at best for a sound check between masses and the rosary. So I just don't have time to fiddle with the amp, and besides, it's an old church with few power outlets.
But... if I were in your shoes, I'd more than likely use the Fishman for a monitor. I find it hard to know what volume to set my amp if my sound is coming from a different source than everyone else. YMMV.
A quarter tone flat and a half a beat behind.
For those saying use the Loudbox as a monitor, how would you position it? Facing the player, sideways or behind player facing out? And is the DI out volume independent of the amp/monitor volume? Just asking because I've been thinking of getting a Loudbox, hopefully a Mini, as my next acoustic amp.
Bill, in our case, the Loudbox sits behind me with a clear path to me. We found that the amp volume best set at between 10 and 20%. I could hear both from the amp and the system giving a nice feeling of the mix while also being able to clearly hear myself. I am sure there are a number of appropriate set ups that work.
Tony Huber
1930 Martin Style C #14783
2011 Mowry GOM
2013 Hester F4 #31
2014 Ellis F5 #322
2017 Nyberg Mandola #172
I've run sound for years at our church, which is a "mid-sized" sanctuary. I support running as much stuff directly into the board as possible, giving the sound tech control. One of the biggest challenges is dealing with guitarists who feel they need to mic their amps. They usually need to push the amp to get the overdrive they want, which results in too much volume for the stage, and often the room. Then they get fussy about the mic type and placement, which usually creates another set of issues. Bottom line is that you can have all kinds of great gear, but at some point the room itself establishes the limits of sonic quality.
Basically, I tell all of the musicians to give me an XLR out of a DI on the end of the effects chain, and I'll give them a decent mix with both the mains and their monitor send. If things get too loud, I let them know it and ask that they turn down.
I used to be a "quiet stage" advocate, but may have gone too far. Recently I experimented with bringing the monitors up a bit and got positive comments.
Finally, the secret to any good band is for the musicians to know when not to play. That just comes with experience, and having the older guys give the stinkeye to the kids that are overplaying.
Being right is overrated. Doing right is what matters.
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Pono MND-20H
I use my loud box 2 ways. First for rehearsals. Second, as a personal monitor onstage.
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—Jim
Sierra F5 #30 (2005)
Altman 2-point (2007)
Portuguese fado cittern (1965)
I used my Fishman Loudbox mini as a monitor with a line out (XLR in back) to the house system in our church for several years. With a band in a small to medium room (ours seats 250), you won't be heard over the drummer or the band for that matter without the PA. BUT-- I must add, this amplifier makes a great solo PA for vocal and mando or guitar. Lots of natural sound and good volume for a 100 seat coffee house, classroom, etc.
2014 BRW F5 #114
2022 Kentucky KM 950 Master Model
YouTube Original Recording of My composition "Closer Walk"
ugg. that's the worst thing about amateur guitar players. "I have to turn this AC30 up to 7 to get my sound". Dude... You don't have a single tune recorded. No one knows who you are. You have played 4 gigs in the past 18 months. You spend more time on guitar forums than practicing. You haven't changed your strings since the last time one broke, and even then you just changed the G string. YOU. DON'T. HAVE. A."SOUND". Grow up, start thinking, and realize that a 50 watt tube amp is just not appropriate for that tiny venue. If the slider monkey has to ask you to turn down, you have already screwed the pooch.
"Slider monkey"? From the context is this the sound person?
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2013 Collings MF, 2017 Northfield NF2S, 2019 Northfield Big Mon F
1968 Martin D12-20, 2008 Martin HD28, 2022 Martin CEO 7
1978 Ibanez Artist "Flying Eagle" Masterclone Banjo
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