So you've practiced like crazy and you're ready for the show, here are some simple tips that will make the show go smoother and make you sound better.
1. Use a tuner.
Easily number one on the list. Tune right before you start to play. If possible, everyone should have their own tuner. If you all buy the same make and model, so much the better. There is absolutely no reason for not having a tuner. Guitar Center sells one for $13.
Tune up after every couple of songs. If you have instrument changes, have a friend or bandmate tune an instrument while it's not being used.
Seriously, tune your damn instruments!
2. Go easy on those electric guitars.
There is no need to play an electric guitar like an acoustic guitar. Barely moving the string is enough to create a note. Playing hard on an electric guitar will result in the strings slipping out of tune and/or breaking.
If you simply must pound away, then you should use a thicker gauge of string. If you play hard, I suggest switching to 11s right away.
3. Communicate with the sound guy/girl.
This goes back to the Sound Check entry, but sometime bands don't get a Sound Check. Even then, sometimes things change. If you need more vocals in the monitors, ask for more vocals in the monitors. As good as sound techs are, they can't read minds.
4. Be nice to the Sound Tech!
They might be obnoxious, but the sound tech has control over your sound; try to be professional. If there are serious issues with the sound tech, bring it up to the owner or manager.
5. Be nice to your drummer.
Sometimes the drummer gets left out when it comes to monitor levels. Banished to the back of the stage, alone and (usually) without a mic, drummers love it when you relay monitor requests to the sound tech for them.
6. Don't ask the audience if everything sounds alright.
This ties in to #3 and #4. If you've talked to the sound guy about your setup or how you want things to sound, you should trust that they're doing a good job. The guy who has parked himself in front of your guitar amp probably isn't getting the same mix as the rest of the audience.
Besides, there's probably a drunk old guy trying to explain to the sound tech that the mix isn't right until ears are bleeding from the volume of the snare drum.
If you're really that concerned with how the sound is mixed, you need to hire your own sound tech.
more later soon
Friday, January 9, 2009
Thursday, January 8, 2009
Band Tip #3 - Minimise Setup Time
Getting on stage and getting set up can be a time-consuming process, and if you're pressed for time, it can be somewhat frustrating. The person with the most setting up to do is probably the drummer, so saving time with the setup of the drums would be to everyone's advantage. So let's look at how we can do just that.
It hasn't happened to me very often, but I've seen drummers load their drums onto the stage still in their cases. They then proceed to unpack everything, littering the stage with empty cases while they put the kit together. Then the cases have to be taken off the stage. All of this keeps everyone else from setting up since there are dead (empty) cases in the way.
One drummer even brought all the cases back on to the stage at the end of their set and started tearing down the drums on the spot and loading them into cases.
I cannot stress enough how frustrating this can be for all involved, not to mention time-consuming.
So let's visit a technique that (thankfully) most drummers use.
As soon as load-in has been completed, the drummer should find a spot with enough room to set up the entire kit. Everything needed should be unpacked and the entire kit set up. Once set up, the kit can be pulled apart, with drums, cymbals, etc. still left on their stands. The dead cases and drum kit can then be put somewhere out of the way. When it comes time for the band to set up, the drummer can simply load all the drums onto the stage. Since everything is set up, the drums just need to be placed, saving lots of time.
To save even more time, each member of the band (and/or friends/fans) can pick up a piece of the kit and bring it to the vicinity of where the kit will be set up. The time it takes for the drummer to arrange the kit is usually about the same amount of time it takes for the other instruments to be set up, so it all works out nicely.
Once the set is finished, everyone should again pick up a piece of the kit and load it off to an area that's out of the way. The drummer can then take the kit apart without being in anyone's way and on his/her own time.
That's it for this entry.
more later soon
It hasn't happened to me very often, but I've seen drummers load their drums onto the stage still in their cases. They then proceed to unpack everything, littering the stage with empty cases while they put the kit together. Then the cases have to be taken off the stage. All of this keeps everyone else from setting up since there are dead (empty) cases in the way.
One drummer even brought all the cases back on to the stage at the end of their set and started tearing down the drums on the spot and loading them into cases.
I cannot stress enough how frustrating this can be for all involved, not to mention time-consuming.
So let's visit a technique that (thankfully) most drummers use.
As soon as load-in has been completed, the drummer should find a spot with enough room to set up the entire kit. Everything needed should be unpacked and the entire kit set up. Once set up, the kit can be pulled apart, with drums, cymbals, etc. still left on their stands. The dead cases and drum kit can then be put somewhere out of the way. When it comes time for the band to set up, the drummer can simply load all the drums onto the stage. Since everything is set up, the drums just need to be placed, saving lots of time.
To save even more time, each member of the band (and/or friends/fans) can pick up a piece of the kit and bring it to the vicinity of where the kit will be set up. The time it takes for the drummer to arrange the kit is usually about the same amount of time it takes for the other instruments to be set up, so it all works out nicely.
Once the set is finished, everyone should again pick up a piece of the kit and load it off to an area that's out of the way. The drummer can then take the kit apart without being in anyone's way and on his/her own time.
That's it for this entry.
more later soon
Band Tip #2 - Sound Check Walkthrough
Okay - so now that we know what a Sound Check is all about, what actually happens during one?
This post will walk you through a typical show for me - starting with my showing up at the venue, and ending with doors being opened.
Typically, I like to arrive 30 minutes to an hour before any of the musicians are due to show up. I power everything on (the subject of an upcoming post for Sound Techs) and set up the stage for a typical 4-piece rock band. For me, this consists of drum mics, bass DI, two instrument DIs up front, two guitar mics on short stands and four vocals up front. The fourth vocal mic has enough cable to reach back to the drummer, if needed. This setup will work for about 80% of the bands/performers that show up. By using the same setup and plugging in to the same channels, it's possible to have outboard gear already plugged in that will need minimal tweaking to get the best sound. Same goes for EQ and gain settings on the sound board. Some venues even leave the mics and cables set up on stage, so if you were a punk rock venue it's possible to have this setup and only have to adjust individual volume faders.
But back to the sound check. Typically, the headlining performers show up earliest and get the first sound check. If there's only time for one band to sound check, then only the headlining act gets a sound check, unless they specifically ask to forego it.
It's helpful to start a conversation with the band after they've loaded in their gear and before they've started to set it up on stage. I like to introduce myself and ask about the stage setup. Primarily, I'll want to know how many vocal mics are needed 'up front' (at the front of the stage) and if there are any other mics that I'll need to set up in addition to the basic setup that's already on the stage. Building up a good rapport at this stage will mean a better line of communication between the sound tech and the band, which in turn leads to a better sounding show.
After setting up the instruments, the mics are put in place and DIs connected. If additional mics are needed, those are plugged in and set up at this time. Then it's time to head behind the board.
It's time to listen to some mics! Most sound checks start with the kick drum. The drummer should give solid, steady quarter-note hits on the kick drum. They should be spaced so that you can hear the attack and the decay of the drum. No-one else on the stage should be making any noise if possible. The sound tech should be getting a good input level and setting any outboard gear, if needed (another future topic for the blog). This is repeated for each of the drum mics - sound techs should be aware that not only is the drummer likely to hit harder during the actual show, but bleed from the other drums will increase the sound hitting the mics. I would recommend leaving 3 - 6db of gain to allow for this.
Once each mic is checked for level, the drummer should be instructed to play the whole kit. At this time, levels can be adjusted for the front of house mix and EQ/effects can be further tweaked. Once the levels are good, I instruct the drummer to stop and get a level on the kick drum monitor. Some drummers like to hear other drums as well, this would be the time to get those levels.
That's it for drums at the moment. The instruments can be checked in a similar manner one by one. Then the vocal mics can be checked. It's a good idea to start with the performers hearing the vocal mics only through the monitors first to set a good level, then bring up the front of house level afterwards. The performers may want less vocals in the monitor if they start hearing a lot of the front of house sound reflecting back to them. Don't forget about sending some vocals back to the drummer!
It's also a good idea to listen to the effect of the monitors on the overall sound. If too much of the monitors can be heard, it will muddy the sound and can be difficult to figure out once everything gets going. Careful placing of the monitors and watching the monitor level can really help the overall sound, particularly in smaller venues.
At this point, the band may want to run through a song to hear how everything sounds for them on stage. I usually ask the band to play a verse and chorus of a song only so they can check how it sounds. It may be necessary for parts of multiple songs to be played if there are instrument changes. It's not the time for the band to practice a new song or run through their entire set - although that may differ depending on the time allotted or the popularity of the band. U2 can take all the time they want - the local band who sounds like U2 should make it snappy.
Once everyone is happy, it's important for the sound tech to make a note of all of the settings of all of the channels, effects, monitor sends, etc. There are tricks to make this easier, such as using splitters to use multiple channels for the same mics, which will be discussed later. It is also avisable to mark the position of mic stand and monitors as this may change by the time the headlining act hits the stage and will have to be reset.
Sometimes the bands share amps/drums/instruments, which makes things easier for everyone. For an all-day event, it's almost a necessity as the changeovers could take up too much time.
For a normal show, the headlining act may leave all of their amps, etc set up (backlined) and the opening bands would set up in front of their gear. For smaller venues, everything would be taken off the stage and the next band to soundcheck would set up. (Or the opening act if it's time to turn down the lights and open the doors.)
That's it for this tip - next up, how to minimise setup and changeover time!
This post will walk you through a typical show for me - starting with my showing up at the venue, and ending with doors being opened.
Typically, I like to arrive 30 minutes to an hour before any of the musicians are due to show up. I power everything on (the subject of an upcoming post for Sound Techs) and set up the stage for a typical 4-piece rock band. For me, this consists of drum mics, bass DI, two instrument DIs up front, two guitar mics on short stands and four vocals up front. The fourth vocal mic has enough cable to reach back to the drummer, if needed. This setup will work for about 80% of the bands/performers that show up. By using the same setup and plugging in to the same channels, it's possible to have outboard gear already plugged in that will need minimal tweaking to get the best sound. Same goes for EQ and gain settings on the sound board. Some venues even leave the mics and cables set up on stage, so if you were a punk rock venue it's possible to have this setup and only have to adjust individual volume faders.
But back to the sound check. Typically, the headlining performers show up earliest and get the first sound check. If there's only time for one band to sound check, then only the headlining act gets a sound check, unless they specifically ask to forego it.
It's helpful to start a conversation with the band after they've loaded in their gear and before they've started to set it up on stage. I like to introduce myself and ask about the stage setup. Primarily, I'll want to know how many vocal mics are needed 'up front' (at the front of the stage) and if there are any other mics that I'll need to set up in addition to the basic setup that's already on the stage. Building up a good rapport at this stage will mean a better line of communication between the sound tech and the band, which in turn leads to a better sounding show.
After setting up the instruments, the mics are put in place and DIs connected. If additional mics are needed, those are plugged in and set up at this time. Then it's time to head behind the board.
It's time to listen to some mics! Most sound checks start with the kick drum. The drummer should give solid, steady quarter-note hits on the kick drum. They should be spaced so that you can hear the attack and the decay of the drum. No-one else on the stage should be making any noise if possible. The sound tech should be getting a good input level and setting any outboard gear, if needed (another future topic for the blog). This is repeated for each of the drum mics - sound techs should be aware that not only is the drummer likely to hit harder during the actual show, but bleed from the other drums will increase the sound hitting the mics. I would recommend leaving 3 - 6db of gain to allow for this.
Once each mic is checked for level, the drummer should be instructed to play the whole kit. At this time, levels can be adjusted for the front of house mix and EQ/effects can be further tweaked. Once the levels are good, I instruct the drummer to stop and get a level on the kick drum monitor. Some drummers like to hear other drums as well, this would be the time to get those levels.
That's it for drums at the moment. The instruments can be checked in a similar manner one by one. Then the vocal mics can be checked. It's a good idea to start with the performers hearing the vocal mics only through the monitors first to set a good level, then bring up the front of house level afterwards. The performers may want less vocals in the monitor if they start hearing a lot of the front of house sound reflecting back to them. Don't forget about sending some vocals back to the drummer!
It's also a good idea to listen to the effect of the monitors on the overall sound. If too much of the monitors can be heard, it will muddy the sound and can be difficult to figure out once everything gets going. Careful placing of the monitors and watching the monitor level can really help the overall sound, particularly in smaller venues.
At this point, the band may want to run through a song to hear how everything sounds for them on stage. I usually ask the band to play a verse and chorus of a song only so they can check how it sounds. It may be necessary for parts of multiple songs to be played if there are instrument changes. It's not the time for the band to practice a new song or run through their entire set - although that may differ depending on the time allotted or the popularity of the band. U2 can take all the time they want - the local band who sounds like U2 should make it snappy.
Once everyone is happy, it's important for the sound tech to make a note of all of the settings of all of the channels, effects, monitor sends, etc. There are tricks to make this easier, such as using splitters to use multiple channels for the same mics, which will be discussed later. It is also avisable to mark the position of mic stand and monitors as this may change by the time the headlining act hits the stage and will have to be reset.
Sometimes the bands share amps/drums/instruments, which makes things easier for everyone. For an all-day event, it's almost a necessity as the changeovers could take up too much time.
For a normal show, the headlining act may leave all of their amps, etc set up (backlined) and the opening bands would set up in front of their gear. For smaller venues, everything would be taken off the stage and the next band to soundcheck would set up. (Or the opening act if it's time to turn down the lights and open the doors.)
That's it for this tip - next up, how to minimise setup and changeover time!
Band Tip #1 - Sound Check
This first band tip is to clear up the mystery that surrounds 'Sound Check' and how a band can make the most of one.
First off, what the heck is a 'Sound Check'? I did a quick Google search and one of the first hits was this one from a band web site:
I think that sums it up quite well. As the sound guy, I will point out that while it can be helpful for me to know the stage setup, the most important part of the sound check is setting the monitor levels. Most house sound techs are familiar with how a guitar amp or vocal mic is going to sound in the room - in fact, they probably have sound gear that is used specifically for these inputs, so it's almost a no-brainer. What we may not be familiar with, however, is what is needed in the monitors.
This gets to the point of this tip - the sound check is an opportunity to have everything sounding the way it needs to sound before there's an audience.
For the sound tech, it's a chance to find out what is needed as far as stage setup and monitor levels.
For the band, it's a chance to set monitor levels.
I can't tell you how many bands have done a monitor check thinking that it's to make sure the monitors are working. The sound tech knows that they're working - the point is to set them to the required levels.
While it is acceptable for musicians to not know what is needed in the monitors without running through a song, that becomes less acceptable after they have a few shows under their belts. After playing a few shows, musicians should have a good idea of what they need to hear from the monitors. The key then is to communicate that to the sound tech.
A few pointers on monitors:
There are a couple of things that 99% of the time will not be needed in monitors -
1. Drums
2. Amplified instruments
(An exception to this would be the drummer's monitor(s).)
There are a couple of things that are needed in the monitors 99.99% of the time -
1. Vocals
2. Acoustic and non-amplified instruments
3. Kick drum for the drummer
Beyond those guidelines, every setup is unique - a bass player may want to hear some kick drum, a singer may want to hear some bass, etc.
Again, the key for musicians is to have a good idea of what is needed in the monitors and tell the sound tech. Moaning about the fact that you couldn't hear the keyboard the whole time on stage doesn't sit well with the sound tech when you never mentioned it while on stage.
So that's what a Sound Check is - part 2 is a walkthrough of a typical check.
First off, what the heck is a 'Sound Check'? I did a quick Google search and one of the first hits was this one from a band web site:
"sound check” is that institution of necessity involving the setup and plugging-in of all the band’s instruments and microphones and such, ensuring that they all function properly and that the respective noises emitted are successfully making the journey to and through the speakers that the crowd will be listening to and also ensuring that these sounds are exiting the speakers that the band will be listening to as this will greatly aid the band in the victorious production of what will be met with the ear of those persons facing them.
I think that sums it up quite well. As the sound guy, I will point out that while it can be helpful for me to know the stage setup, the most important part of the sound check is setting the monitor levels. Most house sound techs are familiar with how a guitar amp or vocal mic is going to sound in the room - in fact, they probably have sound gear that is used specifically for these inputs, so it's almost a no-brainer. What we may not be familiar with, however, is what is needed in the monitors.
This gets to the point of this tip - the sound check is an opportunity to have everything sounding the way it needs to sound before there's an audience.
For the sound tech, it's a chance to find out what is needed as far as stage setup and monitor levels.
For the band, it's a chance to set monitor levels.
I can't tell you how many bands have done a monitor check thinking that it's to make sure the monitors are working. The sound tech knows that they're working - the point is to set them to the required levels.
While it is acceptable for musicians to not know what is needed in the monitors without running through a song, that becomes less acceptable after they have a few shows under their belts. After playing a few shows, musicians should have a good idea of what they need to hear from the monitors. The key then is to communicate that to the sound tech.
A few pointers on monitors:
There are a couple of things that 99% of the time will not be needed in monitors -
1. Drums
2. Amplified instruments
(An exception to this would be the drummer's monitor(s).)
There are a couple of things that are needed in the monitors 99.99% of the time -
1. Vocals
2. Acoustic and non-amplified instruments
3. Kick drum for the drummer
Beyond those guidelines, every setup is unique - a bass player may want to hear some kick drum, a singer may want to hear some bass, etc.
Again, the key for musicians is to have a good idea of what is needed in the monitors and tell the sound tech. Moaning about the fact that you couldn't hear the keyboard the whole time on stage doesn't sit well with the sound tech when you never mentioned it while on stage.
So that's what a Sound Check is - part 2 is a walkthrough of a typical check.
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