[Dixielandjazz] Megaphones? Sound systems

[Ministry of Jazz]

Shalom Larry,

My story about teaching my players to blend goes like this:

When we first started rehearsing, before we had much performance experience
at all, the guys kept nagging me that we need a sound system because they
can't hear one another, or they can't hear this or that instrument. I
finally got fed up when one of them complained that he couldn't hear the
vocal. I asked him, "Do you know what that means?" "No," he replied. And I
jumped on him, "It means YOU'RE playing too loud!" I then launched into a
mini-lecture that has become my mantra whenever the subject comes up --
telling them that each player needs to reduce his volume until he can hear
everyone else. Once we get used to playing like that, we can start working
on bringing up the volume together so we don't drown one another out. It
seems to have worked, because we almost never play with any amplification,
except for a portable battery operated job for vocals if we're outside or in
a large venue, and we have learned not only to balance the sound, but to
adjust for when I change instruments (tuba to trumpet or bone and back) or
from an instrument to a vocal.

I have also managed to condition them to the fact that the music does not
need to always be the same volume. In fact, it's better if we vary the
volume during the songs, and from one song to the next. Here in Israel,
commercial music knows only 2 options -- full volume and off. There is
nothing in between, and you general go home from an event with a headache.
We have actually been hired by people who are searching for a band that
doesn't play loud.

One other peeve I have with my guys is that they often nag me during a song
if I start singing in a large room where people are also talking or at an
outdoor gig. In mid-vocal someone will say, "Don't sing, Elazar, they can't
hear you!" Well, after the song is over and I summarily execute the guy who
did that to me, I try to explain to the survivors that hearing less is not
the same as not hearing. A vocal doesn't have to boom across the room like
the voice of G-d. Worst case (I've been singing outdoors on the pedestrian
mall for 10 years now), they will hear that there is a vocal, but won't hear
the words clearly, and the vocal will revert to being like one of the
instruments. This happened last week, and I made the guy go to the other
side of the room while I sang another vocal in the next song. I told him if
he can't hear me, I'll stop singing. He went and listened for a moment, then
slinked back and said, "OK," and I proceeded to do vocals on the songs we
usually do them on. The problem is that this scenario will repeat itself at
the next gig. How quickly they forget.

Oh, sound systems and sound men? Don't get me started!

Elazar "all natural" Brandt
Dr. Jazz Dixieland Band
Tekiya Trumpet Ensemble
Jerusalem, Israel
www.israel.net/ministry-of-jazz
+972-2-679-2537


-----Original Message-----
From: Larry Walton Entertainment - St. Louis
[mailto:larrys.bands at charter.net]
Sent: Friday, November 17, 2006 6:49 PM
To: jazzmin at actcom.net.il; Kent Murdick; dixielandjazz at ml.islandnet.com
Subject: Re: [Dixielandjazz] Megaphones? Sound systems


I have been toying with the idea of using megaphones for some time.  The
only thing that has held me back is the need to carry more stuff.  I agree
it's a great stage prop.  I have been looking for the small ones that are
about 12" high with an opening of about 6".

In defense of sound systems.  There is a huge difference in ambient noise
today from lets say 400 years ago.  The recorder flute is a very delicate
sound especially in the bass recorders, yet they were used universally and
actually most string instruments are rather delicate in sound.  A good
example is the violin.  To fill a large hall with sound you need 30 or so of
them.  You can't even go to  a movie theatre today without whole groups of
people talking through the movie.  It's the same at concerts.

Today our venues are much larger and the people are infinitely louder.  I
know it might be a quaint idea but people used to actually listen to music.
You didn't need any sort of amplification.  Too often I don't think that's
true today.

A few years ago I was at an event that was going to start with an informal
dinner for about 300 people.  Some friends had a Dixie band and were
playing.  There was a guy who played clarinet with them who I particularly
admired.  I was about 50 feet from the bandstand and I couldn't hear but
occasional notes from the clarinet.  Now in some fairness this player wasn't
noted for his ability to project.  No one in the room seemed to be actually
listening to the band except me.  I would have appreciated a little
amplification.  The question rises why play if no one is listening and you
can't be heard anyway.  The answer is of course they were getting paid for
the gig.

There is another factor too.  I don't think the general run of the mill
musician has any concept about how to blend into the sound and volume of the
other players.  Too often it's every man for himself.  Sort of a volume
contest among the band.  It takes effort to make a unified sound and be
aware of what's going on around you.  Too often people bury their heads in
the music and just wail away.  It's so much easier to balance a band with a
twist of a knob.  Some bands have sound guys whose primary mission in life
is to even out the sound and of course make it louder.  Did you know you can
actually get a college degree in this stuff.  It's done every day when sound
guys do mix downs.  They take a group of people who haven't a clue how to
balance their sound and they do it in the mixer.  Presto instant
musicianship!!

I have a little exercise that I do with my band kids.  They will be playing
a passage and I will stop them and ask who has the melody.  Did you know
that the vast majority of the time no one knows, not even the kid that has
it will know.  They fail to know what is important and what isn't. They are
playing their part and to hell with the rest.  Yes that's my job to teach
them and I try but I don't think many band instructors do anything to get
kids to balance.

I went to a band concert that was professional level.  A couple of friends
were in the percussion section and the cymbal crashes were absolute
perfection.  The question arises how did that percussionist know how hard to
crash the cymbals to produce that perfect blend where I sat.  Well years of
experience helped but the real answer is that he was listening to the volume
of the band, (St. Louis Brass Band) making a musical judgment and applying
musical taste and finally making an effort to blend his instrument into the
other sounds.  What can I say, even cymbal players can play musically on
this most un musical instrument if they are listening and make an effort.
Larry Walton
St. Louis