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Mason Motors' Speed Week Adventure: Through the days. Pt4#4
And a solution is found, albeit a rather desperate one, but in the absence of anyone to rely on....
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This page started off slow, but by early Thursday morning, I'd finished it. Unfortunately, I didn't really work on anything else. In other news, I finished the draft of Through the days part five this morning. The Through the days arc is becoming very long, it started off as having four parts, then five, and now so far, it's seven. Also...I've no idea how many pages part four (this current arc) is. Best estimate is as long as part one (the Khapp and Henny shower scene).
Rionne's barely visible in panel #1....
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This page started off slow, but by early Thursday morning, I'd finished it. Unfortunately, I didn't really work on anything else. In other news, I finished the draft of Through the days part five this morning. The Through the days arc is becoming very long, it started off as having four parts, then five, and now so far, it's seven. Also...I've no idea how many pages part four (this current arc) is. Best estimate is as long as part one (the Khapp and Henny shower scene).
Rionne's barely visible in panel #1....
Category Artwork (Digital) / Comics
Species Unspecified / Any
Size 700 x 1077px
File Size 587.9 kB
Unless they brought acoustic instruments for an "unplugged" set ... but this doesn't seem like that kind of band.
It depends on what they're playing but it is possible that the amps are more valuable than the guitars ... however amplifiers are heavy (used to be, anyway. I've toted some newer ones that are light as a feather.) and cumbersome. By far the bulkiest and most expensive part of their gear would be the drum set. That could take up half of the van, depending on how many toms & cymbals (or maybe it's a minimalist set like the White Stripes used; just kick, hi-hat, and snare)
It depends on what they're playing but it is possible that the amps are more valuable than the guitars ... however amplifiers are heavy (used to be, anyway. I've toted some newer ones that are light as a feather.) and cumbersome. By far the bulkiest and most expensive part of their gear would be the drum set. That could take up half of the van, depending on how many toms & cymbals (or maybe it's a minimalist set like the White Stripes used; just kick, hi-hat, and snare)
*Is just absorbing the info*
There was to be a plot point about Maxine (the opossum) wanting to stay in the van with Alejandro (coyote) and the drums, but this comic is already eight pages.
I'd hadn't really thought about the amps, thinking that the largest pieces of equipment were the drums and the keyboard.
There was to be a plot point about Maxine (the opossum) wanting to stay in the van with Alejandro (coyote) and the drums, but this comic is already eight pages.
I'd hadn't really thought about the amps, thinking that the largest pieces of equipment were the drums and the keyboard.
All right, since you seem interested here's some more band logistics:
Unless the venue has a sound system they can plug into (and a lot of places don't), they will need to bring their own PA system which will consist of a mixing console (somewhere between the size of a shoebox and a carry-on suitcase) with two large speakers (usually on stands) on either side of the band, projecting into the crowd - and at least one floor monitor (a low, triangular speaker that projects back at the band so they can hear themselves.) One of the modern methods if you have a "fancy" setup is to give everybody in the band earbuds, and the monitor mix will be broadcast to them via Bluetooth. My experience with Bluetooth is that it's unreliable and tends to malfunction right when you need it. (Plus I find it's hard to sing with headphones on.) The instrumentalists usually have their own amp which serves as a monitor, and this will either have an output to plug into the PA or they will put a microphone in front of it. The drummer doesn't need a monitor to hear himself, but he does need one to hear everybody else. Drums usually have a bunch of microphones: One for the kick drum, one for the snare, one for the hi-hat cymbal, others depending on the size of the kit and the number of available channels on the mixer. All of these mics have to be put on stands; the drum setup takes up a lot of space onstage. Microphones have to be placed carefully and levels adjusted so they don't feed back (i.e. squeal loudly because the mic is hearing one of the speakers and amplifying itself in a feedback loop.)
If there is no PA, then everybody just sets up their own stuff and hopes for the best. This is the low budget beginner method and you seldom get a good-sounding mix that way, unless you are playing jazz or folk music in a small, quiet venue. The mix that you hear on stage is never the same as what the audience hears out in the room.
Unless the venue has a sound system they can plug into (and a lot of places don't), they will need to bring their own PA system which will consist of a mixing console (somewhere between the size of a shoebox and a carry-on suitcase) with two large speakers (usually on stands) on either side of the band, projecting into the crowd - and at least one floor monitor (a low, triangular speaker that projects back at the band so they can hear themselves.) One of the modern methods if you have a "fancy" setup is to give everybody in the band earbuds, and the monitor mix will be broadcast to them via Bluetooth. My experience with Bluetooth is that it's unreliable and tends to malfunction right when you need it. (Plus I find it's hard to sing with headphones on.) The instrumentalists usually have their own amp which serves as a monitor, and this will either have an output to plug into the PA or they will put a microphone in front of it. The drummer doesn't need a monitor to hear himself, but he does need one to hear everybody else. Drums usually have a bunch of microphones: One for the kick drum, one for the snare, one for the hi-hat cymbal, others depending on the size of the kit and the number of available channels on the mixer. All of these mics have to be put on stands; the drum setup takes up a lot of space onstage. Microphones have to be placed carefully and levels adjusted so they don't feed back (i.e. squeal loudly because the mic is hearing one of the speakers and amplifying itself in a feedback loop.)
If there is no PA, then everybody just sets up their own stuff and hopes for the best. This is the low budget beginner method and you seldom get a good-sounding mix that way, unless you are playing jazz or folk music in a small, quiet venue. The mix that you hear on stage is never the same as what the audience hears out in the room.
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