Letters to the Editor I can answer that guy (#1) Editor,

Regarding Jimmy James of Werewolf ["Can anyone answer this guy?" July 1991, letter to the editor]...

First of all, soundmen don't have any need to control a guitarist's sound. What they have is a desire to hear the full package, i.e. other instruments. Are you a solo artist? What about bass, drums, and vocals?

Some PAs in small clubs cannot compete with the standing wave (the actual volume) created by a loud onstage guitar or bass amp.

Also, club soundmen have pressures on them by club owners and law enforcement that, at times, may supercede individuals' rights of freedom. Would you rather the club be closed so no bands can play there?

I like Jimmy's analogy to Van Gogh. No one told him what paints to use, but had he decided to throw black paint on his work I hope someone would have stopped him.

Doing sound is a lot like painting—highs, mids, and lows are like colors. Drums, bass, guitars, horns, keyboards, and vocals are like layers on canvas—too much of one instrument can badly blacken what you and the audience hears.

Music is what we soundmen want! It doesn't matter if you're on 2 1/2 or 11, it matters how loud you are. If you're in an arena, play loud; but if you're in a small club, play with dynamics so everybody (induding record companies) can hear how good you and you band really are.

As to your hundreds of fans—true fans don't need to be driven deaf in order to appreciate your music. Or do they?

In short, we are on your side (most of us), and we don't want to impinge on your artistic freedom. However, there are certain parameters that we all, as professionals, have to deal with.

Also, to all the young guys in bands trying to make it—just because some of us don't have long hair doesn't make us your dads. We are musically hip and knowledgeable people who are there to help you. Use us, don't abuse us. Remember to not be so fucking serious...shit happens!

Work with us; both you and the audience may get woodies.

-Ira Malek, former house engineer at the Roxy Theatre, Los Angeles, and at the Stone, San Francisco (and a friend of Mick's at the Omni)