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Singers have a little bit of bone-conducted energy to work with that, in my limited experience, sax players don't.
The fact that you have a regular sound-tech means you can have an ongoing informed discussion on how to make it work and s/he can take care of the practicalities while you get on with the job.
Ideal scenario.
https://www.facebook.com/benswanwickguitar
Which is to say one more thing which can make or break your gig, you get no choice or control over, and just have to hope for the best with. Mostly it’s pretty much OK, sometimes it’s dreadful, and occasionally it’s an absolute delight but worrying about it is like worrying about the weather, you’re stuck with it and might as well just work with what you get as best you can…
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
I have to say, he did an awesome job; fully EQ'd the inputs, sorted out all the issues I had with it, and was fantastic.
So thankfully, my experience of sound engineers has so far been excellent!
You know he's going to have his nose buried in it, you won't be able to signal him, and once the lights go down, you probably won't know where the c*nt actually IS half the time.
And stuff will go wrong with unmuting etc.
There's a local venue where the sound was always excellent, because of a great balance between volume and clarity. Nowadays, it's bloody awful because the house engineer a) doesn't know how to turn things down, and b) won't let anybody else's engineer touch his desk.
As you can imagine, it is a less than ideal scenario and I dread to think what some of my gigs have sounded like when we haven't had chance to do a proper soundcheck*.
*or as much as you CAN when you can't be FOH AND on-stage at the same time.
TL:DR version: I'd flipping LOVE to work with a soundman more often.
Bandcamp
Spotify, Apple et al
He was genuinely enthusiastic about mic’ing my wet/dry set up. Said he enjoyed our show and my sound, and actually (as we are going back in April supporting a big name act), he has made notes on his phone and is going to try a new set up next time- 2 mics on the wet and put hard left and hard right, then 1 mic dry down the middle.
Mute problems are not digi-specific.
The most expensive desk I've made a gig sound terrible on was only worth £150,000.
Too many options, often too little understanding of less is more. If they know the system really well, then great, but often not the case.
This extends to our own band too - I wish we`d get rid of the do it all ipad mixing system and go back to a simple desk with knobs to twiddle.