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That sounds fun for about two weeks of rehearsal.
This is all I need to hear to know that we are having two different conversations. If someone cares about the performance they care that the gear isn't going to get in the way. I think someone who plays like Lars Ulrich could probably jump on any kit and be the same level of mediocre. I don't think Krimh is going to jump on any kit and be able to play highly orchestrated technical death metal at 220+ BPM up to his personal standards without spending as much time moving stuff around as would have taken to just load their own kit on stage. Just like I COULD play my guitar stuff on any standard-tuned guitar, all the notes are there, but I'm not going to want to transpose it live in front of an audience. If you're used to a Les Paul with light strings and someone hands you a Strat with 11s, you're not going to be able to play the same unless you're playing super basic beginner-level blues shit.
No, I think we're talking about the same thing, and I just disagree with you. Any pro drummer I've met would be able to make that work.
Because the shells are the big clunky space wasting part of the kit. It's the reason people share drums kits. If you only ever play big theaters where there's room for 4x sets of drum shells to just lie around, then you do you, but that's pretty rare for a lot of bands.
I've never seen drums mic'd except maybe a snare and kick in situations where everyone is supposed to share a backline kit. Usually not even the snare. If the room is big enough to need tom/snare mics its big enough for some half-assembled drum kits. I guess I'm just so used to playing with metal bands and probably 60% of the bands that we play with are doing some sort of triggering and IEM that swapping kits is way less time consuming than integrating an unfamiliar kit into the rest of the set up.
Eh, i dont want to deal with “yeah its 16 ohms” and then see the magic smoke because buddy didnt know his cab was rewired before he bought it.
Definitely agree with all of this. I'm on team gear-share with the caveat that I'm almost always the one backlining local shows (at least the ones I'm in), so I know exactly what everything is. I regularly borrow amps and cabs when I'm building a wall, but I'll always try to get them into my space beforehand and practice with them. I also check the resistance of any unfamiliar cab myself. I don't care what the label says, I don't know unless I know.not being willing to gear share is fine - so long as you can set up in 5m and tear down in 5m (changeover usually 15m). This leaves the other bands more time to play. Also figure out if you have space to unload all bands gear - it may be load from and to the van, depending on billing and “venue” size.
Ive played many basements with 5 bands and very little gear share without much issue. The trick is everyone was polite and helped move gear to and from the performance area. This is where it helps to not have shitty bands booked
IMO if that kind of thing is enough of a concern, and your shows aren't diligent enough to work those details out ahead of time, then, like spawn said, just volunteer to be the backliner.
Pulled off 5 years of touring rarely ever sharing gear, with gear exchanges at some shows outside of our stuff, and they went as well as small market diy shows seem to go.
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This is basically what it comes down to for me. Unless a band is being foolish the only person who is even slightly disturbed is going to be the sound guy and, as someone who does sound for DIY shows and worked in smaller venues regularly over the last 20 years, tough fucking shit. That’s the job. If the bands can manage change over you can manage a 30 second line check and have the mix almost as good as it’s getting by the end of the first song.In my experience usually it’s the green or drunken bands that impede changeovers regardless of backline and gearshare
