Tape of the Month
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This month's edition of Setting Levels is a follow-up to September's article entitled "What Do You Want?". In that article, we discussed two different strategies for running sound-Big Sound vs. Sound Reinforcement. "Big sound" is the term I use for stadium/concert sound-all the instruments and vocals are featured prominently in the mix. "Reinforcement" is the concept of running vocals, drums and some instruments through the mains, (using the PA to 'reinforce' the music being played) but relying on stage volume for the majority of the band's sound. Reinforcement is a common sound practice for clubs and small venues allowing for a reduced overall room volume and clarity of vocals.

Victor Manning responded with his comments on these two apparently different ways of creating a band's sound. A native of Texas, Victor migrated to the Bay Area in 1987 and is a member of jambands BlissNinnies and Old Dead Bug. He has a lot of experience from the perspective of a growing, experimenting member of bands without a dedicated sound engineer-playing clubs and developing a sound. Here is his response and a little Q and A regarding his background, equipment and thoughts on running sound.

"Hi Pro,
I read your article in JamBands with great interest. As a member of the BlissNinnies and Old Dead Bug for 9 years and 6 years respectively, we have explored a myriad of set-ups from basic reinforcement to VERY big sound (such as when your Carvin 16 channel mixing board takes up half the room). We had to learn this game from scratch- NO experience. After this long, and exploring several levels in between (including a brief period with headphone monitors), we eventually decided that reinforced is largely the way to go due to the logistics. If you don't have any dedicated roadies, or sound experts, and you're doing your own shows from the ground up, it's your back that finally determines your sound set-up. I am a loud guitarist, and I do my best to keep it down, but playing in the spirit of the moment, keeping the vibe high, and minding where you are in the music is quite a task.

We once had a long argument with a soundman who essentially believed that his job ended after the sound check. That is, except in the case of unexpected feedback or other problems, he had no responsibility for actually "mixing" the show. If my guitar wasn't loud enough during a solo, that was my problem- it wouldn't occur to him to turn me up a twinge in the house mix so I could be heard (this was during a "big sound" phase where I was experimenting with lower stage volume). Essentially, he expected the band to have dialed in all of their patches, and that he would just make sure the board and amplifiers were turned on for the show. He was never quite able to understand that the band onstage don't know if their sound can be heard correctly. In my case, I was using a personal guitar monitor next to my PA monitor, pointing back at me and then whoever was behind me.

So, to point out another problem with the "big sound" approach for smaller venue bands: You have to have a sound person you can trust to know what's going on. Sure, it looks great to have all that equipment, but as musicians, you have become completely dependent on your sound techs to know what they're doing, as well as to realize that the artists on-stage have no idea what's happening in the house. With a sound reinforcement setup, the musicians are responsible for the overall mix, and a sound tech's job is to get the vocals, and whatever other instruments dialed in (maybe a snare, kick, etc...), as well as being a general room monitor, giving feedback to the musicians to turn up, or down, add some lows or mids, take out some highs, and so on.

With dedication, resolve, and a little luck, we are all hopefully moving toward a "big sound" situation. But festivals, or larger venues generally already have sound technicians who only work in such environments. Those folks probably know more about how to make you sound BIG than you will ever need to. That's the situation where you can trust that, even if it sounds a little weird in the monitor mix, you know its still probably sounding awesome in the house- so you don't sweat it.

Anyway, that's my take on it. I'm sure it will probably change again. Also, as to taping, with reinforced sound one has to record from the house. Although the soundboard thing is the grail of tapes, that concept isn't useful for smaller bands in smaller venues who are still working out their act. Soundboard tapes, even in "big sound" setups, often lie about what the show really sounded like. If you are actively supporting a new, unknown band that you think is the hot shit, then beyond merely capturing the show for posterity, you can do the band a lot more good by taping the house so they can hear what it sounded like for the audience-not just the board. That allows the band to know what they have to do to improve their own skills at playing to various types of rooms. "

Victor Manning
Old Dead Bug
BlissNinnies

VM: Hmm, now that's what I call a loaded question!! OK, there are some briefhistories of each band at the websites. Both bands are jam-oriented, although we have largely let go of the mono-chordal riff-for-days approach.

BlissNinnies began as a Dead-cover band. The reasons were simple: The music was practically etched into our collective neural wet-ware over years of shows and various forms of chemical re-programming. We let the music sort of play itself, while we figured out what a PA was, what a stage was, how to tell if we could even hear each other, let alone actually listen. In other words, we were a mess for at least a good two years or so, not that we really noticed- what with nitrous tanks, and glo-stick juice all over the walls... Sure, we sucked, but we sucked ROYALLY!!

In the midst of this, members of what would become Old Dead Bug started drifting in, thinking "Shit, man!! Even WE could do this!!! And we'll even write our own shit!" Eventually Old Dead Bug would emerge from a certain night on a certain beach, with a certain spice added for extra texture...

A year later, as BlissNinnies underwent a brief meltdown, I was offered the position of guitarist in Bug, which I accepted without actually leaving the BlissNinnies, and this is still the situation today. BlissNinnies is largely an original band now, only touching upon the Dead very occasionally, and exploring covers from a myriad of sources, from the Jackson 5 to Fairport Convention. Members are University-trained, and familiar with music ranging the entire gamut of musical expression- rock, jazz, modern art music, classical, Indonesian gamelan as well as other World Music, blues, British psychedelic- ala Ozric Tentacles and Gong, British and American Folk-Rock and traditional. We are currently recording our first CD "New Ball Game".

Old Dead Bug is made up of Theater Artists, who got a hair up their ass to be rock stars, and proceeded with a vengeance. Their influences are more along the punk, new wave, rap, psychedelic, with the rather odd flavor of the Dead in the mix. However the Bug was always an original band growing out of the lyrical brilliance of Geoff Nixon, the band's singer. Geoff and I now write the bulk of the music in collaboration. In 1998, we released our first CD "Monkeys By Nature"

Pro: What lineups do you have in both bands and what equipment do you generally use?

Line-ups are:
BlissNinnies- drums, bass, keys, and guitar. Our previous second guitarist leaves in late '98 due to unreconcilable differences, and forms the band Mystery Train. He was probably the most informed about our sound issues, but I'll do my best.

Old Dead Bug- drums, Percussion, bass, lead and rhythm guitars, and a harmonica/synthesist.

Equipment-wise, we started small, got big, got small, got really big, then small again. We have no current permanent sound tech, and often run the sound from the stage, having a personal wireless setup to walk into the room and check the sound. We used a Carvin 16-channel board for years, then moved to an Allen and Heath, and now are using a Mackie.

Both bands have 3 vocalists, although the Ninnies used to have 4, all of whom might sing lead at any time. The Bug has one lead singer, and 2 backing. We were generally using Shure 58's for vocals, and 57's on the guitar and harmonica speakers, percussion and snare. I'm not sure what we used on the kick. The keyboards and bass usually go direct. Monitors are 3-4 EV 12" wedges, and we use whatever we can get for mains. Signal Processing is a Digitech effects unit, 2 30-band graphic EQs, and a Sabine Feedback Exterminator. There's probably some other stuff as well that I don't recall. I still use 2 small 10" cubes for guitar, one of which is pointed back at me and the band so they can hear what I'm up to.

Pro: When you go to shows, what are the things you listen for in the room mix? What are the show killers in a mix, or what makes specific mixes so much better than others?

VM: My own ability to judge a room mix at a show has improved over time as I came to recognize various frequency ranges. I'm now much better at hearing when there is too much lows or highs. Then, if the sound is reasonable, I generally pay attention to which musician is being featured at the moment, and if they can be heard well in the mix. Show killers for me is when a soloist is blazing away, and all I really hear is a lot of fill from the other instruments. So many factors can interfere, including musician's ignorance that they're walking on the soloist. Beyond that, I'm pretty reasonable if the sound is basically dialed in. We worked with one tech, who after the sound was checked, put a pink noise generator in the house sound. Pink noise is random frequencies at random amplitudes, with equal amplitudes per octave. The tech would set up a room mic in the center of the room, and run the signal he picked up from the mains into a spectrograph to see which frequencies stood out, and which didn't. He would then balance the sound with the house EQ. that's the first time I've ever seen someone use that technique to tune the room, but it works brilliantly.

Pro: Every band seems to have a different formula for monitor mixes. Some bands/guys like vocals only in the monitors, some individuals like very precise mixes of everything. The guys in my band want their instruments in front of them, + vocals and keys on a normal night-no drums and the drummer doesn't get a monitor. Of course, you have to keep the stage volume reasonable in smaller clubs. For a larger show, you have to have more in the monitors (maybe drums), but you can also turn up on stage. At our regular house gig, our bass player uses an additional EV1502 lined from his bass amp and then gets vocals/keys in the monitor.

If you could have whatever you want in your monitor mix, what would it be?

VM: Well, vocals first, obviously. Then it depends whose speakers are farthest away. In BlissNinnies I am usually opposite the keyboardist, so a small amount of keys helps me. Bass and drums are usually not added, unless we are on a big stage. I try to keep instruments out of the monitor mix as it takes away from my ability to hear the vocals clearly over the instruments. When that happens, the vocalists have to overcompensate, and the performance suffers. I am a generally soft singer, using a lot of vocal nuances in my songs. These get lost when I can't hear, so removing unnecessary sound is preferable. However in situations where there is only one monitor mix, you put up with what you have to.

Pro: Again, every band is different-how do you work soundchecks?

We developed a way to dial in our mix, beginning with the drums which begin laying down a groove. Then the Bass Player joins in, and we check with each other to make sure we all hear it ok. Then each other instrument falls into the groove, again making sure each other player can hear each instrument as it comes into the mix. This way, problems get worked out in turn, rather than everyone playing at once and trying to get the tech's attention at the same time.

Pro: How about a little on yourself and your musical influences?

VM: I was born in Texas in 1961, briefly moved to London England in 1970-72, then to Cleveland OH, until returning to Texas in 1975, moving to the Bay Area in 1987.

I was raised on big band music, and a lot of vocal jazz, ala Tony Bennett, and Singers Unlimited, thanks to my father. Although I didn't focus on Jazz early on, I found that I already had an ear for it in the school ensembles. I began playing piano at age 8, til I got bored of it at age 9. By then I had become familiar with the Keyboard as my primary means of thinking about music. I took up the guitar at age 14, teaching myself Beatles songs, and writing my own music from the new chords I would learn.

In High School, I was very fortunate to have met some older friends who turned me onto a lot of music that never would have found my ears otherwise. This was a combination of the English Folk-Rock of Fairport Convention (with the incredible Richard Thompson, Dave Swarbrick, Sandy Denny, and others), Lindisfarne, Al Stewart, and others; as well as a lot of German Rock and Electronic Music- Tangerine Dream, Amon Duul II, Klause Schulze, Guru Guru, Kraan, SFF, and others. Up to that point I had been a Beatle fanatic. Later, I was introduced to the Art Rock of Yes, Genesis, King Crimson, Eno/801, Floyd, Rush, etc., and with another guitarist friend, began to learn to play their music.

I first took acid December 31, 1979, and discovered the Grateful Dead at their Houston show on July 3rd 1981. Things changed.

I attended a couple of colleges, but began my academic musical training at North Texas St in 1982-1984. That was where I got my primary introduction to Jazz Theory, and Jazz Guitar. After leaving, and going through several brainwashings, I realized that I had to be present for more shows, and that wasn't going to happen living in Texas. So, in 1987, I moved to California and began my Grateful Dead musical training in earnest, simultaneously being trained in Electronic Music, World Music, and Recording at San Jose St. I had heard a lot of music, and had attempted to learn it for myself, but Jerry Garcia taught me how to "play" the music, not the songs.

In Texas, meanwhile, there had formed a band called the HighTailers, who had created a scene in Houston, my home town. Knowing the members, I was fortunate to be allowed to play with them when I visited. I realized that I didn't want to have to fly back to Houston yearly to be able to play live music, and in Sept 1990, began the formation of the BlissNinnies with another guitarist and our current Bass player. A few months later our current keyboardist and drummer would join, and the line-up was complete.

After joining Old Dead Bug in 1993, we met another band, now called Grampa's Chili, and proceeded to work together to build a mutual community of musicians, artists, and fans we collectively refer to as the "Vibe Tribe". The idea was to create a means of pooling resources, within reasonable limits, to allow for the growth of South Bay music scene outside of the headbanging, in-your-face, neo-punk thing that still pervades the area. "Vibe Tribe" bands often play shows together, bringing together people from various other communities.

Pro: Thanks for sharing your insight and giving us a glimpse into the process.

VM: Thanks for the interest.

There's some real-deal advice from someone that's been there and is doing that. As in anything, experience is the best teacher. Not knowing what you're doing when you're just starting out and pulling it off…troubleshooting mic problems during the set…suddenly losing the entire left main channel…bad cords…horrendous feedback bombs…CHS (Can't Hear Shit) Syndrome… it all happens and you've got to learn to EXPECT it enough to be able to deal with it when it happens. The trick is to keep on playing until you figure it out.

Please submit your articles, equipment reviews, requests and musings for a future "Setting Levels" column. If you are a sound engineer, fan, taper, or trade, your help is requested to continue to make this forum a productive resource. If you think you have some experience or suggestions for the rest of us, please email me with your words of wisdom. I'd love to see a column on taping gear, computer CD burners, techniques for improving club sound, troubleshooting tips, setting house and board equalizers, or anything else you can come up…

One common question for readers: What deck <$200 would you recommend for analog tape trading? email me your opinion

Here's hoping your New Year's Eve is crazy and wonderful at the same time!

"See you on the other side, Ray." -Ghostbusters

Pro

Comments? pro@jambands.com

Tape of the Month

.moe 7-18-98 Carbondale IL

Here's some '98 .moe to start you off...

Tape I
A: Threw It All Away, St. Augustine, Waiting For the Punchline, Happy Hour Hero, Backwoods
B: YOY, Recreational Chemistry, The Harder They Come

Tape2
A: Dr. Graffenburg, Havahnegila, Time ED
B: Water, Yodelittle, Rebubula

Source: Soundboard DATàAnalogàAnalog

SBDA2, yours will be SBDA3

The Rules:

1> You have to have LESS THAN 20 HOURS of jamband tapes total. Due to the volume of requests, this is strictly for newbies or people who have zero (0) .moe tapes.

However I'm willing to entertain submissions for next month's offer as trades-1 or 2 CD's from a band that has never been featured in "Setting Levels." What's your favorite spin right now? Send it to me…

2> You have to send me 2 90 minute tapes and postage (B&P) with an addressed return envelope.

3> You should be a kind trader and spread this tape around. Take pleasure in the fact that the bands allow you to freely trade their hard work. BUY JAM CD'S!!!!!!!!!!!!!!!!!!! Support the artists and help them make some cash along the way.

Email your request to pro@jambands.com

Site of the Month

Setlist.com is a recent find for me. Setlists of major jambands and other rock artists. Have a look!