Unfortunately, some of the popular sounds are achieved by intentionally driving a guitar amplifier(s) into distortion.
A 100-watt guitar amplifier is going to be awfully loud before it sounds “right.” So, number one on the list of ways to control guitar level is, “get a small amplifier!”
There are a variety of small solid stage or tube amplifiers that can deliver that warm sound at lower levels.
Now, it may not sound exactly like your Marshall stack, but again, the vast majority of the audience won’t know the difference.
If a guitar is still too loud, point the amplifier toward the back of the stage or into an absorptive block of material.
If the amplifier has an open back, make sure that there is an absorptive wall or a free-standing panel behind it.
Put a good omni condenser mic in very close proximity to the amp’s loudspeaker to get the sound into the house system.
Try some different mic placements, as long as all of them are very close to the amp – if it’s not touching the grill cloth, it’s not close enough!
Bass players generally rely less on the sound of their “rig” than guitarists do. As such, a small on-stage amp may be sufficient for stage sound, with a balanced feed sent to the house system for reinforcement.
Because bass is comprised of low frequencies and therefore very long wavelengths, it’s easy to be fooled when setting the playback level on stage.
Room modes can make certain notes louder at remote distances than up close, so it’s not unusual for bass players to be unable to hear themselves when everyone else can.
It’s also important not to confuse loudness with definition. Sometimes use of a pick rather than fingers will allow the bass to “cut through” more in a large space, allowing the playback level to be reduced.
What about keyboards? This one’s a bit easier. Electronic keyboards don’t have any acoustic output, so 100 percent of the sound comes from the PA.
A monitor is still needed, of course, but use a near-field unit to keep levels down. Or, because keyboardists are often stationary, a closed-ear headset can provide the monitor mix.
Monitor Myths
The key ingredient in keeping monitor levels under control is to consider what monitors are and what they’re for.
Musicians have to play in time and on pitch, and to do this they need to hear themselves and those around them. But they only need enough information to play in time and on pitch.
My experience has been that the better musicians can make due with less monitor level. Don’t let someone’s lack of experience force excessive monitor levels.
It’s a mistake to try to give a musician a concert experience on stage because it comes at the expense of the balance between the stage sound and the house.
The keyboard player may not need the background vocals in his or her monitor. And choir mics through monitors? I don’t recommend it. Music track only, please.
A key word in the vocabulary of a good sound operator is “no.”
Since monitors are all about balance, you can reach the same balance by turning things down rather than turning them up. Subtractive mixing is a powerful technique that simply achieves balance by reduction.
In other words, don’t tell me what to turn up, tell me what to turn down!
One of the most powerful and useful developments in recent years is the in ear personal monitoring (IEM) system.