The most important thing is that your rhythm section is able to hold it together while still being able to tell what the rest of the band is doing. Matthew Wendler is a blogger and multi-instrumentalist from New Jersey. He specializes in guitar, bass guitar, and bagpipes, and is passionate about writing both professionally and for enjoyment. His personal blog can be followed on Twitter at ymiatvmi. Topics: Performing , Honing Your Craft.
Photo by Iain Smith via Flickr Whatever level your band is at, chances are you've experienced a volume war during rehearsal at some point.
The bass Position the bass speakers on one side of the drummer, and have them face the imaginary audience. The guitar A guitarist needs to stand where the bass can be heard best, on opposite side of the stage from the bass amp. The keyboard In a live gig, the keyboards will likely be projected to the audience via PA. The vocals For rehearsal, the vocalist is best off standing towards the front to try to get a good mix of the sound.
Search Search Blog The microphone converts sound pressure to voltage. Its magnetic force emits a small amount of voltage when someone produces vocal sounds into it. This voltage is then modified and equalized on the mixing console, then is amplified by a powered loudspeaker or amplifier. The higher voltage is dispersed by the speakers, which increases the volume of the sound for the audience. Sound Pressure Level SPL of speakers determines the volume of sound at given distances from the speaker.
Speakers usually work together to amplify sound in a trapezoidal configuration, which allows for easier placement than a square or rectangle arrangement. Each venue is different, and with time you will learn tricks to adapt to each one.
You will also develop a system that works for you, that can easily be modified to fit each new setting. A basic rule of thumb to remember is to keep the speakers in front of the microphones rather than behind to prevent feedback. Feedback is what happens when a microphone picks up too much of its signal.
The amplifier then outputs a louder version of the signal, creating a feedback loop that can only be interrupted by muting the speaker or microphone. Similarly, you will want to do your best to keep the main amplification away from the microphones.
Mixers are used to combine multiple audio sources such as microphones and instruments to then manipulate the volume, frequency, and dynamics of the sound source. In a PA system, audio signals are increased to line level in the mixer. Audio mixers come in different sizes. Larger audio mixers have several input channels that will accommodate more microphones and connections.
They can be analog or digital. Analog mixers balance the tonal sound and carve out space in the sound profile for each instrument in the band. Most have a three to four parametric EQ equalization , which changes the balance of different frequency components in an audio signal. Digital mixers tend to be best for touring bands, since most require less gear to operate, and can be controlled wirelessly through dedicated apps.
It can also adjust monitors from the stage while listening to the musicians play. To correctly use a sound mixer, you need to know the basics of mixing consoles , click the link to read an entire article that explains the ins and outs of audio mixers.
Microphones capture the sounds produced by vocals, guitar amplifiers, drums, and any other sound source. Mics come in different shapes and forms. Some are designed for studio recording, while others are tuned explicitly for live performances.
For live performing vocals, there are two main types of mics from which to choose: dynamic and condenser. Dynamic microphones are usually best for live performances because they are less sensitive than condenser mics.
Having low sensitivity means the mic is less prone to bleed and feedback during a stage performance. Even so, many vocalists and sound engineers prefer customized condenser microphones because they deliver superior sound quality and clarity when compared to dynamic mics.
Condenser mics pick up more details, including inflection and other nuances of the speaking or singing voice. With the conventional big band set up now addressed, some variations do occur from time-to-time with set-up and also with instrumentation due to the number of players in the jazz big big band. Where should the fifth trumpet sit and what part should they double on charts written for 4 trumpets? A: For five trumpets, I like the configuration, and suggest doubling the 4 th part.
NEVER double the lead part in any section. How do you suggest we set up? A: In contrast to marching bands, bigger is not always better.
If possible, start a second feeder band. The students will feel better because their individual roles become more important, and you will be able to teach and have the students experience correct sectional balance and blending.
Under no circumstances should you double rhythm section parts. Two pianists should not share one bench. If you have two bassists or guitarists, have one unplug while the other plays. As in sports, everyone has a specific role, and sometimes even the best players must take a turn sitting on the bench; otherwise, the playing field becomes a cluttered mess. Q: Where should amplifiers be placed?
One overhead. Vocal mic on boom stand. Monitor to his left. Guitar amp to the left of drum monitor. Also, DI for acoustic guitar. Peter- electric bass. Alice- 2 keyboards, both going into single keyboard amp with balanced out.
Also one vocal mic on boom stand that doubles as trumpet microphone. Email it to the booker, promoter, or talent-buyer the moment your gig is confirmed.
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