I used to run sound for contradances. Everyone's a critic.
The only funny story I have from contradancing came from doing sound on a "Hell broke loose in Berkeley" night when I was running sound. Those nights are when the band changes every two dances, so you can imagine that it is a type of hell for a soundperson at least, with less than no soundcheck for each band.
So there I am, with a band I just set up for, a fiddle, a banjo and a something-else-probably-guitar, and I can't get any sound from the banjo to come out in the hall. I check that the mic switch is on, etc, everything should be working.
After the first dance is over, I go up to the band and say "I can't seem to get the banjo in the system." The banjo player gets this big grin on his face, flips over his banjo, and there is this huge sock ball, fixed against the skin of it with a wire across the back, that's deadening the whole thing to the barest banjo plinkyness.
He explains that he is too loud when the band is practicing (accoustically of course) and the fiddle player will kill him if he takes out the sock ball. I offer that this system has monitors, and if he wants to take out the sock ball, the fiddle player will be able to hear herself for this gig, but no, to maintain band peace, he leaves the sock ball in.
During the second dance, I just turn the banjo all the way up in the house so something manages to come out. I don't think it added too much to the musicality though.
Hugs -- Edith Started at 220, made goal 160 now I have to get there again :-)
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