[stevehiehn]

I remember chatting with a sound technician at a concert once and he told me that putting amplification in front of the performers only started happening in the late 60's (ish). Before that musicians were actually subjected to insane DB's by standing only a few meters in front of the amplification. (Don't take this is as fact, but this diagram suggests that he was correct)

[buildsjets]

Some techniques require this. Ted Nugent wouldn't have gotten the crazy howling feedback out of his semi-hollowbody Gibson Byrdland had he not been standing directly in front a pair of Fender Super Twins pushing 4 15" drivers.

If it doesn't make your pants flap in the breeze, turn it up!

[dekhn]

I believe most musicians these days achieve this using a nearby monitor speaker, for example Trey Anastasio from Phish, although I believe he may have adopted newer technology (see https://treysguitarrig.com/2023/08/31/2023-summer/ for more details). He could sustain notes for a long time with his custom hollowbody (like, minutes at a time).

[standardly]

That dude is a wizard. A lot of guitar players look down on fancy pedal setups, but watching his rig rundown video on youtube was mind blowing. I've heard Anastasio get tones and effects you just won't hear anywhere else.

[dekhn]

I hadn't seen that before (https://www.youtube.com/watch?v=kZKjKaQdW9w) but it's lots of fun. It's nice to be able to see what devices he's fiddling with to get his effects (most of the concert videos don't show the effects pedals and stomp boxes in detail). He's making heavy use of a looper- he can play some notes, capture them, and loop them continuously in the background (he uses to create a whole group of backing music that runs even when he's not playing actively).

I mean if you look at this effects it's not surprising he can get all those tones. He's got multiple signal paths that get split and recombined with various effects applied to one or the other (being played thru speakers that are miked), a Leslie (rotating speaker in a cabinet that adds some interesting warbles), a bunch of different gains with distortion, along with a bunch of "digitech" that does real-time complicated distortion. All of those run in chains so effects compound.

Some day I really want to have the time to build my own guitar similar to his as well as my own pedals. I've spent various bits of time in the background working on related things, but haven't allowed myself to really focus on it, because I tend to get a bit obsessive until I've fully explored my interests.

Here's a nice example of looping to make one instrument sound like many: https://www.youtube.com/watch?v=UsBINddmVcY

and here's a person who runs her harp through various effects pedals (she has a library of them): https://www.youtube.com/watch?v=C1Uv7JcnhhI

[standardly]

Totally. He constantly messes with his pedals and pickups while playing, and never even looks down, it's impressive. Very important as musician to be that familiar with your gear. I heard you can get a Langeudoc like Trey's for about 60k+ now days. Good luck with that haha.

Emily Hopkins! I've followed her for a while. She just did a collab with Anthony Fantano and I think she blew up with it. Neat stuff. Makes me want a unique instrument to play. I saw Bela Fleck perform with a tribal African band and they had an African ukelele run through a wah pedal. Was super funky and not like anything I'd heard

[Synaesthesia]

The Beatles had to quit playing live shows because the amps and speakers were too small to compete with the crowd.

[llamaimperative]

Must’ve felt pretty amazing, at least for a little while til the injuries started.