![]() It’s about making it look cleaner onstage and making it easier to just play.” If they don’t go the modeling-amp route, adds Akers, “then they’re asking for small, single-speaker amps, like a ‘65 Deluxe Reverb or an AC-15.” “Now, that same idea is back with the modeling amplifiers. “A decade ago, the Line 6 and the Pods came along, and that began to happen, but it didn’t last,” she says. In S.I.R.’s Chicago location, office manager Joey Duchscher has also seen the Kemper amps come to the fore, as guitarists try and wean themselves away from the a maze of foot pedals and pedal boards in order to streamline their stage presence. “They want the interesting amps, the Kemper Profilers, and they want the really esoteric DJ gear, some of which is pretty hard to find.” “It’s definitely been getting more esoteric,” says Bryan Akers, owner of the Atlanta Backline Co., which has been outfitting touring bands from the region since 2005. That dynamic has also affected what constitutes the typical backline these days, too. The sound systems can now give them that - every rider-ready rig out there qualifies as hi-fi, as do an increasing number of others, all driven by the need to make the live show sparkle sonically. Audiences are expecting the equivalent of a studio-grade performance on stage. Now, the live show has to be perfect - and then some. After all, the tour was just what you did in between albums, right? Everything you really needed was waiting for you back in the studio. Toss in some mic stands and a few timbales for seasoning, and most bands were ready to go. Once upon a time, the stage backline was a few Fender or Marshall (or Sunn or Ampeg) guitar and bass amps coupled with a relatively generic drum kit and maybe a Fender Rhodes suitcase.
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