Jnclude the entry level JBL JRX stuff in that too. No Beheringer or Mackie, and definitely no B52, GEM or other off brand stuff. For large venues, having your own gear is hard to economically justify unless you play several times a week or can do sound contracting work with the rig on the side.For small bar gigs the standard bottom of the barrel things are Yamaha Club series with either Yamaha, Peavey or Soundcraft/Gigarack heads. Or as mechanics often say, "there's nothing more expensive than a cheap tool".30 other products in the same category: JOINT BALAIS 2X200MM PLAQUE BALAIS GIGARACK 70 42U ETAGERE 19 FIXE 4P 400MM NOIR MONTANT 19P ARRIERE X2 SWITCH 8.The conventional wisdom among pros is to hire out until you can afford decent gear. The motto of the pros is "Buy once, cry once".
They also sell cables at very good prices that are adequate for a bar band. Yorkville Elite speakers are also good for the money.If you aren't hand holding mics, Orange County Speaker Repair sells Shure Beta knock offs that sound very good and are very reasonably priced. Personally, I've seen enough EV Sx300's laying around used shops that I wouldn't bother with the Yamaha Clubs.
Mostly schleping gear around and winding up cables at the end of the night, for not enough money.This turned out to be my first foray into self powered speakers. Hiring out on the side isn't worth it. And the PA was just for singing.If you are playing in venues large enough to mic up everything, you're better off renting/hiring until you build up enough of a following that you can justify a business plan that includes $10-15K for a PA.With the demise of my corporate band, I'm dismembering my 15kW PA and just keeping enough to play small-med bars. I made the assumption that this is a small start up band playing in corner bars. I happen to like the 935 mic better than SM58 except for strident female singers, where the mics peak just makes their voices sound more harsh.Bo, good point. The 3 packs Senheiser sells are also a good deal.
Gigarack Full Of Amplifiers
The QSC has a good reputation in the pro and rental circles even if the pattern control of the highs isn't up with the big boys. I ended up with a pair of QSC K10s and kept a pair of single 18 subs (18Sound LW1400 1000W drivers run off a 6500W Crest Pro 9200) for when I want to run a whole band though. Meyer and Eona are one thing, but a bit much for the corner bar. And I'd not heard any self powered speakers that sounded any good in the lower cost ranges. With self powered speakers you need a complete replacement. With a rack full of amplifiers, I can always repatch things to cover a blown channel.
You get marginally more bottom at the expense of what the audience is trying to listen to.If you need more bottom than an EV Sx300 (about $300-400 a pair used all over the place) then you need subs. When you go budget, these aren't going to be done well. I've even done a corporate picnic where they brought in sound and miced the kick though these 2-10 Yorkvile things, wasn't too bad at all.There are substantial engineering hurdles with 15" based two way speakers. Means you get hired back.For singing, there's no reason to get anything larger than a 12 or a high quality 10. But it sounds great, is easier to control feedback on, goes much louder for it's size (and portage) than a lot of stuff in the mid range.Main thing is that decent stuff will cover the room without feedback and without folks wincing when certain notes are played.
I have two Crown XLS amps - the 1,000 watt one for the main house speakers, and the 400 watt one for the monitors. Starving musician? Or financially able to have fun with the good stuff even if it's not a cash positive endeavor?I don't think we're talking about less weight overall, just more manageable. So it comes down to what your business model is. No local bar band drummer, playing 3-5 nights a month, is going to amortize a set of DW customs any more than the band are going to amortize a high end PA. And that depends on the folks involved. But they are amortizing the cost over years of constant rentals.A working bar band has to find some level of compromise.
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