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Sound Checks - How to use the time effectively

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Admin (Pete)
kenny
Igor
Colin
drumman
9 posters

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boomer



Has anyone thought about this aspect of performance: 1. What are the objectives to achieve during this important period:
• When I focus upon my objectives during sound check it’s all about making sure that I will be comfortable with the way that my drum set is organized prior to the show. This means that I am sitting at the right height on my drum throne, and that I am comfortable with the “reach factor” as regards being able to access each element of my drum set during performance. I want to feel that the snare drum is set at the right height in relation to the tom toms, both floor and rack. I want to be sitting in the correct position so that I can effectively play my bass drums while using as little energy as possible. I want to have my cymbals set so that they are within a reach so that I ‘sting’ them as opposed to ‘beat’ them for tonal effect.
• Tuning or tensioning my kit so that it is in harmony with itself is also important to me. This depends upon the music that I will perform in the show and what pitches I choose to assign within my drum set on a given night. I assign a pitch to each drum as determined by the position of the drum within the drum set and the scales that become a staple of the band’s musical personality.
• For a long time, I would hang my drum stick bag from the 16” or 18” floor tom but, since I have decided to allow all of the drums to ‘sing’ without dampening the drum shells, I now place my stick bag next to my Hi-Hat stand and arrange it so that I have a certain number of utensils at the ready should I need a replacement for a dropped stick or a different tonal personality in the form of mallets or brushes.
2. Time and the use of it during sound check: Each musician should be prepared to make effective use of the short period of time he is afforded to play on an individual basis as well as being part of the band. This has a positive effect on many levels. Since there is a show to play later it is in everybody’s interest to conserve their energy for the performance so, you do only what is really musically and logistically required to make sure that everything and every responsible element is in sync for the show. Just that alone makes up a major part of the quality of the band’s performance.
• Where do you start as in who comes first to check their balance: You make a mental list and set goals for what is important and in line to be addressed with the technicians before you begin the sound check. I find that it is a mind and physical drain when ALL musicians are playing on stage at the same time and without purpose so, I set a time table plan to allow each musician to perform in sequence at a specific time. I will get my levels at the drums first then the bass is next, then keyboards and guitar as goes my rhythm section. When each musician is working everyone else will be quiet and sometimes just leave the stage to listen to what the band sounds like in the room. This type of cooperation with the sound technicians can go along way to sorting out problems technically while raising the level of interest in the performance to come for everyone involved. It is another type of discipline that I believe is required of individuals who choose to play as contributors to the musical group concept.

3. Front of House: The unsung heroes of the band are those who listen and balance the levels put out by the musicians on stage. Their support is at least as important as the music created for the public to absorb in performance and their observations and prescriptions to make the music sonically palpable must be based upon what we, the players present in order for them to obtain good balances throughout. It’s a to way street between the technical and musical sides and everyone involved should be set up to share their ideas so that the ultimate positive musical effect can be reached.

4. Monitoring levels: It’s great if you can work with a monitor engineer who has his own monitor channel and head phones so that he can sample what each player is receiving through his or her monitor device. I personally like to use ‘In Ear’ monitors as opposed to a monitor cabinet because my drums have so many open microphones and I don’t want the signal from the monitor speaker feeding back and causing a frequency loop that can be damaging to the ears. As you would work with the F.O.H engineer do the same with the Monitor engineer and keep in mind that these two people can decide the fate of your band performance so, the more you understand how and what they do the better your chances of enjoying a successful performance.

These are just four basic aspects of what to look for during the period leading up to the performance. Does anyone have any more points to add?

boomer

kenny

kenny

I always like to get the drums checked first too. it seems pretty universal. There are those gigs when sound equipment and people may be minimal or non existent. That's when you really have to make sure you hear each other and have to adjust your playing volumes with brushes or just a lighter touch. There are often certain instruments in a group that are difficult to hear and extra attention needs to be paid to the monitor mix. i just always feel like if we can hear each other well that is the main goal and they will make it sound good out front.
There are also really bad sounding rooms. I have played in the worst of them like a gymnasium etc.. In one of my bands the leader built a vertical array PA system from scratch just to combat these situations. Sometimes you have to provide your own sound gear for weddings etc..

i made a mistake at a large outdoor festival gig by telling the monitor guy i didn't want much in the way of monitors. When i sound checked the drums there was a huge 18 inch monitor right behind my back and that is why i did not want that sucker blasting me out. I went off and listened to the other stages while they sound checked the rest of my group. i came back and we started the show (a reggae act). i realized he took all my monitors and pointed them at the bassist. I looked up for the sound people to help but there was none in sight and had to power through the gig not being able to connect well. lesson learned! sound people will take you very literally! respect your sound engineers!! treat them with the utmost kindness!

http://www.balkanmusic.org

3Sound Checks - How to use the time effectively Empty Re: Soundchecks Fri Apr 20, 2012 9:02 am

drumman



All great points, also what I have found are some things you have no control over.

Acoustics of the room and what they do to the sound of your drums.
If the drums are miked and you have monitors, this is not as much of a problem, but if there is
only a few mikes and very little monitoring...adaptations have to be made.

Finding a way to communicate with the sound guy, when he is not close to you.
Many venues don't have a monitor guy on stage, just a sound guy in the back of the venue.


Colin

Colin

Great Points Bill.


Way Back in 1978, Great days of Sansui Jazz
in a Concert in New Orleans you had a bad sound man/woman
and what made it worse was your
solo was next but the Loud feedback
went on - not changing.


That recording is on the Internet
and your solo is a Power One but faster
due to the bad sound person.
You Shout at him or her in the end.
I think many of us would have run across the stage.


I assume it was going out Live onto local radio.


I still think the sound back then was better
due to quad and better sound systems.
Nowdays so many kids get music from worse quality mp3.

___________________________________

Outtasight
Colin.




Ted E. Bear

Ted E. Bear



All great points Boomer ! These are all leading up to what I feel is another important part of sound check : actually playing a song or two so the sound engineers can get an overall balance for the band as a whole.

As you mentioned, you're trying to conserve energy for the performance so you don't want to play the most demanding pieces during a soundcheck. I think it's wise to start with a mellower piece, if there is one in the set, and then follow that with one of the louder pieces so they can gauge the threshold you will be reaching. At this point if there are any audio issues like feedback or an inability to hear the mix , they can now be addressed.

Sometimes there might be a few problem parts that you might want to reinforce with the group or maybe you've decided to add a piece that's new or hasn't been rehearsed much prior to this performance. IF the time is available, those things can be worked on at this point in the soundcheck.




Peace, TED

http://www.drumminfool.com

Igor

Igor

I always ask somebody from the band to play my drums (alone or with the band) so i could have at least a minimal impression on how my drums sound in the room and how would i look onstage behind the drums.
Usually we would play a loud tune, a soft tune and a tune where there's something special soundwise in some of musicians' part.
We also are trying to adjust the stage's size to how we would place our instruments (closer to the edge or in the middle) so we can see each other ( and throw a word during the show )and simultaneously can "do a show" (run, jump,dance etc... :-) )
It's also a great time to present some new ideas to the band...
We always start the sound check from the drums , then add bass, we jam together with the bass, then add guitars and the keys and again jam together, and after all the instruments are ready we would play some of our songs without vocals and finally with the vocals.

kenny

kenny

Igor wrote:
It's also a great time to present some new ideas to the band...

Not so sure about that advice. I see what you mean to change a little arrangement or add something to a tune. I like to do things on the fly like that. but it seems like at the stage point you should have that stuff already covered.

http://www.balkanmusic.org

Igor

Igor

Kenny,
i didn't mean that those ideas should be immediately played. As i said, we like to jam before the gig, it brings fresh touch to our playing. But anyway, it's only our personal approach as a band. It's obvious that some things that suit one person will not suit another
Igor

kenny

kenny

No man I play completely improvised free jazz gigs with absolutely no rehearsals. I guess i was thinking in terms of a very tight kind of band like boomer's. I can't imagine him throwing out new ideas at soundcheck, rather than trying to tighten up existing material.

http://www.balkanmusic.org

boomer



It happens from time to time that we share some new thoughts that develop into musical documents and, why not? Wink You never know when you might win the lottery. affraid

kenny

kenny


I also want to start thinking about what the lights might be like. I hate those harsh lights from hell they snap on when you least expect it. I never really consider it but i am sensitive to blinding lights. i could always pack sunglasses and a hat for an emergency. also the sun can be a factor.

I'm working with a steel drummer now. Ever notice those steel bands are always covered? That's because the sun can detune a steel pan.

check out this amazing jazz standard ala steel pan player tony pan jumbie williams (the other Tony Williams)

https://www.youtube.com/watch?v=_KJRLLxHI8g

http://www.balkanmusic.org

Admin (Pete)

Admin (Pete)
Admin

Great points, Boomer.

The fact is that it has been my
experience to be almost totally
at the mercy of the board and
the sound engineer and especially
with the larger ensemble. As a
result, I look to take hold of
what I can influence.

1. I try to set up early, with an
hour, if possible, before the
other players arrive.

2. In the set-up, I address the
points of Boomer taking into
account where my body is and
the kinds of issues I am having
(I have a chronic arm situation).
I actually spend a little extra
time on cymbals, allowing for
the best lines of vision to the
other players (sometimes re-
quires last minute adjustment).

3. I always carry earplugs,
just in case. I do not like too
much monitor but you never
know where you will be in it,
if at all. I just am ready for
the worst case scenario.

I spend the most time on the
pedals, especially kick. I do
a tightening of the connections.
With the Tricks, I can turn the
dials with my feet, for any
quick change for comfort.

Hopefully, I have some time
to introduce myself to the
players on the gig and make
the air light.

Regards,

https://bcwtj.forumotion.com

Daveonskins

Daveonskins

I have recently been hired to be the Drummer and Musical Director at Ivan Kane's Royal Jelly Burlesque Nightclub at the new casino called Revel in Atlantic City.

My soundcheck situation is kind of different in the fact that the whole show runs on a sequence where the vocals are tracked, and the band plays live over the top.

I use In Ear Monitors (Futuresonics) and for my soundchecks before the show I'm sitting at my drumset on a rotating circular riser facing away from the house towards the backstage wall. There is a DJ right behind me seperated by a curtain. So while he's spinning, I'm on a talkback mic with the sound man, getting seperate levels for the clicks, and vocals, as well as other percussive sounds that are sequenced seperately, then once I have those levels set, I bring in the bass, then the guitar, then my drums.

It has to be comfortable because once the show starts, it runs without stopping. Because this is a highly choreographed show, I have to make sure everyone can hear well- there are certain counts that I have to execute to cue the girls, and it is all programmed to synch SMPTE with the lighting, and fog, confetti, etc.. it's quite involved, but the sound equipment is top notch, and I do have the luxury of playing in the same venue. However, there are glitches...for instance the sound man forgot to unmute the click tracks the other night so the band was literally playing by the seat of our pants affraid

But 99.999 percent of the time, it all goes off without a hitch.

14Sound Checks - How to use the time effectively Empty Awesome! Fri May 04, 2012 7:52 am

boomer



Dave:
I wish that I could come and witness that situation just for the experience. To me that is one of the most extreme performance platforms that I have ever encountered. Thanks for sharing.................... Smile

Boomer

Daveonskins

Daveonskins

Yeah it takes a bit of getting used to for sure. I have had experience playing to clicks and sequences live before, but not on this level with all the other elements involved.

This gig is a great experience for me, I'm learning a lot. There's no room for error on stuff like this, it's very exciting. Smile

Thank you for the encouragement!!

boomer



You are quite welcome, Dave.

Boomer

Ted E. Bear

Ted E. Bear



Hey Dave,

congratulations on the new gig ! Sounds like a pretty demanding gig, but I know you're up for it ! Somehow I picture you coming to work with a smile on your face every day ! LOL

Does this mean you're no longer with Surgeon, or are you doing both ?

Best of luck, and I'm tempted to come down to AC and see the show, but my wife would probably not be happy about it ! LOL


Peace, TED

http://www.drumminfool.com

Suss

Suss

For me, a sound check is synonymous with checking out the readiness of everyone on stage, in the wings with monitoring and certainly the audio engineer at the sound booth. Indeed there are many technical issues to be dealt with. However, the goal is to bring forth an inspired performance of whatever material has yet to be performed.

When Boomer was playing for “Dreams,” I picked up the Brecker Brothers and Barry Rogers (trombone) at Newark Airport in New Jersey. The destination was Woodstock (NY) for an outdoor concert. I was still in college back then.

When everyone safely arrived, Billy asked that I sit at his drum kit so that he could go to the audio booth and hear how each of his instruments sounded. So I played the instruments while noticing toms were out of place for me. Billy then spoke through the monitor system that I should just play the kit. He said, hit the drums, don't tease them, or something like that.

So I made a paradigm shift and did as requested - finding myself getting accustomed to the unusual configuration. The concert came off well, and while Billy was playing, my station of choice was at the sound booth – not because he told me, but because I wanted to hear what he had to hear.

I think one of the greatest keys in life is to listen first and then speak. I’d venture to say that the greatest key in life is to just listen without saying a word. Meeting Billy changed my whole approach to music as a drummer. Then some years later in New Haven, Connecticut, I filled in as the drummer for the Average White Band opening for Boomer’s Spectrum tour. Billy looked at me and said “What are you doing here?” I said I’m AWB’s drummer. I’m just pickin’ up the pieces! [1975]

We all have pieces in our lives to be picked up. The good news is that we can if, and only if, we have a mind to do it. Just be yourself and take courage. Someone you might meet along their way will depend upon you to follow through.

http://www.linkedin.com/in/johnsussewell  http://www.facebook.co

Daveonskins

Daveonskins

Hi Ted,
I am currently doing both, although I don't know for how long. My schedule gets flipped thurs-sun because my shows start at 2am--

So as long as I can pysically do it, I will.. Going to work is not too tough to take these days- haha Smile

Suss

Suss

http://www.thejazznetworkworldwide.com/music/playlist/edit?id=1974321%3APlaylist%3A136289

My Joy is to the world that I’m in but not of…

We all have desires and needs. Yet in the vacuum of religious sentiment, we tend to forget that our emotions don’t dictate an outcome to be checked out by another not involved with Process and patience.

Personally, I’m as sensitive as the next person – yet at once I cannot live by another person’s expectation. It is by Yeshua Hamasiach that I live, move and have my being as a sentient offspring. [Acts 17:28]. My savior (healer/deliverer) has pointed me to his Father Yehovah, who is “ God that made the world and all things therein, seeing that he is Lord of heaven and earth, dwelleth not in temples made with hands; Neither is worshipped with men's hands, as though he needed any thing, seeing he giveth to all life, and breath, and all things; And hath made of one blood all nations of men for to dwell on all the face of the earth, and hath determined the times before appointed, and the bounds of their habitation; That they should seek the Lord, if haply they might feel after him, and find him, though he be not far from every one of us…” {Acts 17:24-27; KJV]

So if I seem uneven or convoluted and obtuse to some, its only because I see myself in a mirror – not forgetting what manner of person I am when seeing my own self in His Light or another person’s shadow.

Herein is my Joy To The World when my webhosting firm is still suffering technical difficulties on their end. “For if any be a hearer of the word, and not a doer, he is like unto a man beholding his natural face in a glass: For he beholdeth himself, and goeth his way, and straightway forgetteth what manner of man he was. But whoso looketh into the perfect law of liberty, and continueth therein, he being not a forgetful hearer, but a doer of the work, this man shall be blessed in his deed. [James 1:23-25; KJV]

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