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Setting Levels
"What do you want?"
September/October 1999
Edited by Paul L. "Pro" Pearson, Ph.D., (pro@strangepleasures.com)
Strange Pleasures-www.strangepleasures.com
Tape of the Month
Site of the Month"Guitar? In the monitor?"
-anonymous sound engineerMy standard question to a musician or band taking the stage is "What do you want?" as I point to the horns facing them. This month we're talking 'sound reinforcement' vs. (for lack of a better term) 'big sound' and what it means.
First I think you need to understand what I mean by 'sound reinforcement' vs. 'big sound' and why it's important. If you talk small venue/club shows, often you are dealing with a small room with nebulous acoustics. In this setting, 'sound reinforcement' is often used to project the vocals, drums, and direct-in instruments in the mix. The technique of sound reinforcement relies mainly on instrument stage volume to create the band's overall sound, adding just enough of whatever is necessary to the mains. The big advantage of reinforcement is the reduction in dB in a small room-giving you better vocal clarity. Especially effective for 'house' sound engineers dealing with a variety of bands of different style and maturity levels, sound reinforcement can yield wonderful results with a minimum hassle. Unfortunately, along with the minimalist approach in the mono mains, you will often discover a 'vocals-only' monitor situation. Go to any club in the country that holds 250 or less that has a house engineer and that's what you'll probably get-and it works very well.
On the flip, you have 'big sound.' Everything is running through the mains with the vocals and lead instruments on top of the mix, balanced with the other instruments. Call it stadium sound, arena sound, festival sound, or whatever-it's all there. Big sound is definitely a more strenuous occupation, relying on the venue characteristics, tight cooperation between the band and the sound engineer, and an especially good ear for balancing frequencies. My bias toward big sound begins with the quality of soundboard recordings, a quantity held especially dear in the jamband world. For those of us working our way up the lower rungs, a great soundboard recording is the grail.
The real challenge of big sound lies in the balance between stage volume, monitor mixes and main levels. Big sound in a small venue REQUIRES a lower stage volume. If one member of the band is too loud, the balance can be decimated and you will see me with a furrowed brow playing damage control. The trade off on stage volume REQUIRES trained listening by the musicians AND a monitor mix providing them with what they need to hear. From a soundman's perspective, this can be a daunting task. For those of us that aren't blessed with larger stages and separate monitor submixes, we have to conjure an adequate blend of monitor without feedback-usually during a limited soundcheck. A tough job, but one that's absolutely crucial to big sound. The creamy swirl that creates shudders and the character of the recording are worth the extra trouble in my world.
So what's the big deal? Talking strictly from my band's experience with 'big sound' in smaller venues, if you're used to instruments in the monitors, it's tough to go back. You can't hear your instrument-you turn up. (Well, ya got it turned up anyway because you aren't in the mains.) But ya gotta turn it up some more. Then the bass player turns up, and you turn up, and by the time the second set's underway the stage can fry eggs and you have to choose a suitable dance location to avoid a Stratocaster beheading. So much for keeping the overall volume down...
The upshot is that both philosophies are correct in their proper settings and be equally effective. But, when a 'big sound' band meets a 'sound reinforcement' engineer, it can be a struggle. The key, as always, is trust, listening, and working together to make it sound GOOD.
So, are you a 'big sound' band in a 'reinforcement' world, or are you a strict reinforcer? Kick me your opinion and techniques for doing your thing. Your feedback, ideas or contributions for next month's "Setting Levels" are appreciated and anything sound, taping or recording is fair game. Your crispy contributions for tape or site of the month are also welcomed with open ears.
Take care,
Pro
Widespread Panic-7/14/99, City Market, Kansas City, MO
DAT-->CD-->A-->ATaped by Charley Cioffero of Omaha, this set catches Panic on a great night. The opening jam kicks in where it was cut off abruptly by the Omaha Police Department at an outdoor show the previous night.
Set I: Tie Your Shoes Jam > Wish You Were Here, All Time Low, Fishwater >Sandbox > Help Me Somebody > Surprise Valley, Radio Child
Set II: Dying Man > Low Rider > Wondering > Weight Of The World* > Superstition* > Drums >Porch Song > No Sugar Tonight
E: Nobody's Loss > Makes Sense To Me
* w/ The Dirty Dozen Brass Band
If you'd like a copy of this tape, here's the rules:
1> you have to have less than 20 hours of jamband tapes total OR work out a trade with me for a crispy low-gen show you recently acquired. I'm particularly interested in regional jambands with a killer groove that I haven't heard.
2> you have to send me blanks and postage (B&P) in an envelope -the show is 2-90 min tapes.
3> you have to promise to be a good trader and spread this tape around.
Email your request to pro@jambands.com
Widespread Panic's recent release, "Til the Medicine Takes" is a great disc that has been getting heavy play on my system. I particularly dig "Climb to Safety," but there's a bunch of great stuff. (Have the boys from Georgia been listening to the Disco Biscuits?) Check out these official and unofficial Panic websites for setlists, tape covers, lyrics, chords and just about anything
Widespread Panic Homepage
http://www.widespreadpanic.comSpreadweb
http://www.netspace.org/WidespreadAn Honest Tune
http://www.anhonesttune.comPro's natural habitat is a rust brown La-Z-Boy. He finally took Brad Slate's advice and purchased his very own custom- fit hearing protection to keep those higher frequencies fresh for years to come...
(c) 1999, www.strangepleasures.com
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