Mine is a generic (uninteresting) Church setup - music stand, mic, guitar-on-stand, and headphone monitor thingie. But some of you guys MUST have more creative setups, with modern or creative stuff - let's see your live setups! Wherever you play - stages, bars, clubs, wherever - it would be interesting to see. Here's mine, taken before the second service:
I don't do a lot of gig stuff, having backed off from doing a lot of bar, club, corporate, and park district gigs in various band settings for the last thirty years.
I use part of what I use at home with my looper for my own enjoyment, but it's totally adaptable for smaller venue use.
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Here's my bare-bones gigging rig. I love this setup as it's all lightweight and I can carry everything from the car in one trip. I did do a couple of gigs as part of a three piece band in an outdoor tent towards the end of Covid with a couple of my music buddies. My partners have similar rigs, one of them using a Fender Acoustisonic amp and our bass player uses a Fender Rumble 100.
It takes a couple minutes to set up an Imgur account, then a few moments to upload a photo the that account. Imgur provides you with a link to your photo so you can post it here.
I like the music stand - looks like a built-in light and mic stand, all in one unit? What's the brand name? ---- I use e Fender Acoustisonic also, they're pretty strong.
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I was going to put a guitar in the photo as well, but I could easily turn up at the local open mic' and borrow one. So all I need is a pick, a capo and a tuner (I could get away without the tuner). All the songs are in my head.
I don't actually play anywhere where you need a p/a. Pubs, parties, village halls, small hotel concerts etc. And we really don't actually need a p/a at the local cinema's open mic' (200 to 300 seat size auditorium) - having a p/a at that venue (and others) has become more of a fashion item than a necessity.
I love my stand. Since I can position it low and almost flat it's very easy to glance at lyrics and is very unobtrusive to the audience.
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It was originally a bit taller than what I wanted, so I hack sawed 6 from the main stem so I could sit and have the shelf positioned below the line of sight from an audience.
I made up the walnut block and attached the boom part of a junker stand I had laying around. The nice thing about making up stuff is you can make whatever suits your needs. (Notice the nice through hole to hold my capo?)
The light is just a clip on LED light available from Amazon. These lights are quite nice and re-charge when plugged into a wall outlet. They have three brightness levels and go a long time between charges.
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It was originally a bit taller than what I wanted, so I hacksawed 6 from the main stem so I could sit and have the shelf positioned below the line of sight from an audience.
If you have a computer and can pluck out words on your keyboard that's pretty much all that's required. There's no special skills necessary to do photo posting. If I can do it probably most anybody can!
So we run 5 or 6 vocal mics a couple drum mics, my guitar line, other guitar line, bass line and two keys into a 16 channel mixer
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For me I use a line wireless into a line6 moeling amp and plug in whichever guitar I use then I select the model I need.
In the pic there are 8 optional setups - each runs through our mixer (blue box) and the squares are which speakers we connect (if we need a sub, 2 monitors or 4 monitors etc) depending upon the size of the venu.
For me, I run my acoustic with a rare earth mag blend direct into my line6 modeling amp. My 12 string has a K&K so I run it through a gipro external preamp. My electrics run direct (although one has a acoustiphonic ghost preamp for the piezo ) internal.
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I have a switch board that looks like a pedalboard but all my sounds are controlled by the modeling amp then I select models and effects.
Its a nice setup I reorder my setups for every song and even put it in sequence of our planned set list
My preference is to hear exactly what the audience is hearing so I simply use my Maui as my monitor behind me.
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2010 Taylor 814ce 2008 Taylor 816ce 2008 Taylor 616ce 2008 Taylor 426ce LTD (Tasmanian blackwood) LR Baggs Venue Ditto X2 Looper TC Helicon H1 Harmony Pedal Allen & Heath ZED 10FX LD Systems Maui 11 G2 JBL EON ONE Compact iPad with OnSongSanta Cruz Guitar company is made up of a team of luthiers based in Santa Cruz, California, who build phenomenal acoustic guitars. The company was set up by Richard Hoover in 1976, who is known to to have trained some of the most accomplished contemporary luthiers in his workshop.
Santa Cruz Guitar Company create perfectly personal guitars, built to accommodate the needs of their specific players. Richard Hoover himself describes that they build to “a dimension of frequency, rather than a dimension of size”, basing each aspect of the build process on the quality of the sound produced rather than sizes. This maximises the tonality, playability and the resonance of each individual instrument.
As well as their outstanding instruments, they’re known for their artistic edge, attention to detail, family-like team approach, green ethos within their wood sourcing/finishing process and their simply beautiful mission as a company;
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In 1966 a young Richard Hoover got the idea that he could improve the tone of his old Harmony guitar by working on it's insides. His first attempt didn't make his guitar sound better, but it did inspire him to build a guitar of his own.
Over the next few years he searched for information about his new passion, but there was a distinct lack of instruction on building acoustic guitars at this time. He took general woodworking lessons from his father, a skilled cabinet maker, where he learnt many useful techniques and gained experience with tools. However, Richard didn’t get much closer to his goal of becoming a luthier. He therefore decided to put his time and energy into becoming a guitar player instead. However, when he moved to Santa Cruz in 1972, his Martin D-28 got stolen, changing everything. Whilst looking for a replacement for this stolen guitar, he fell in love with an Epiphone Texan but didn’t have the money to purchase it. He got sent down the road to Beneficial Finance. When he explained to the loan officer what the money was for, the officer mentioned that he built guitars as a hobby. Immediately, Richard told him that he would be by his house once a week and that he was going to teach Richard what he knew. That was how he met Bruce McGuire, who became his mentor and helped him to start out as a luthier. Bruce helped Richard to finish a guitar he had previously began to build, as well as introducing him to another amateur builder, Jim Patterson.
After Richard had built a few guitars, he set up shop as a repairman and luthier and became well known in Santa Cruz. Alongside builders like Bob Taylor, Jean Larrivee and Michael Gurian, ideas, tools, and techniques were discovered and shared between them.
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In 1976 Richard Hoover was approached by investors Bruce Ross and William Davis, who wanted to start their own acoustic guitar company. Richard Hoover, Bruce Ross and William Davis went on to work for SCGC together for two years, when they developed the Model D.
“We had noticed that there was a change in the way people played acoustic guitar. There were flatpickers like Clarence White, Tony Rice and Dan Crary, who were mixing jazz and other styles with fiddle tunes; fingerpickers like Kottke and Fahey doing wild things with open tunings; and singer-songwriters like James Taylor, Stephen Stills and Joni Mitchell, who were doing very sophisticated musical things on flattop guitars, stuff that had never been heard before. We saw there was a need for a guitar that wasn’t just a big booming dreadnought, something that could record well and could be played fingerstyle as well as flatpicked.” - Richard Hoover.
And so the D was born. The model D was created to be the 'one guitar for everybody'. They saw it as an incredibly versatile instrument, however as the company grew realised that this one model approach wouldn't be a good idea.
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The concept of the model D was that it would be voiced to have a more balanced tone, with equal bass and treble response. The model D features a flatter radius to the fretboard, a 1 13/16inch nut width and
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