[Dixielandjazz] A sound-man sounds-off

[Lowell Busching]

Gary Kiser wrote to the list with a copy to me. I have just returned to 
the list.

His comments and my response follow mine with my added comments. The 
post was addressed to Gordon, now my former supervisor or lead man at 
the Sweet and Hot festival. Totally coincidentally, I have tendered by 
volunteer services as a mixer in the so called "Hangover Club" room 
where I have either done or helped with the sound for about 24 years now.

My reasons for leaving are many, but Gordon is NOT one of them. He is a 
very conscientious and concerned sound engineer and a very good 
supervisor. His choice of the word "stupid" in describing the actions of 
some musicians was perhaps unfortunate as I know already Bob Ringwald 
has misinterpreted him. I am sure others have also.

Knowing Gordon for many years I know he meant to say only "stupid 
acting" musicians, or as I would put it, "unthinking" or "self centered" 
musicians. Some of them rightly or wrongly think they are the ONLY or 
premiere musicians on their instrument on the planet.  Even if they ARE, 
their actions as concerns the sound at the jazz parties and festivals 
does not help elevate the continued animosity between musicians and 
sound people. This needs to stop!  Good sound is seldom mentioned.

Ironically most organized groups today have at least one musician who is 
either a certified sound engineer or serves as such. This is out of 
necessity for some festivals, like Monterey for example. They do not, as 
they say, "baby sit" their systems once set up. In fact, they may not 
want the musicians to change anything after the initial setup! This can 
not help but lead to misunderstandings, and bad sound!  Every musician 
and every group is different and one setting does not fit all.

Granted there are some groups, often foreign bands, that feel they might 
have even more trouble communicating with the sound people. They want 
all controls set the same. Then the musicians themselves do their own 
mixing by moving in and out to the mikes. This works for some, but that 
is rare as all musicians are not equal in knowing how to use the mikes.
Particularly, I have found, clarinet players. As a sound person you do 
what the leader says, IF they even bother to talk to you.
>
Gary says to Gordon.
> I here ya talkin'.  What I hear the most is a request for a change at the
> beginning of a set, then nothing until the end of the set/concert.

Very true. Once on stage most musicians and singers stop communicating 
with the sound person totally/ even if they are a few feet away next to 
the stage. Not a best location, but necessary at many locations. Only if 
the sound is deafening to even the drummer is anything said until after 
the set, when the sound person is raked through the coals, cursed, and 
vilified.

   After
> the set/concert, the musician will complain that I raised or lowered the
> monitor too much.  Well, if you can ask for an adjustment once, do it again
> 'till its right.

Right.  And if no monitors, the musicians should wait until they have 
played at least one number before complaining about no monitors. Perhaps 
they can hear each other or themselves without monitors if the sound is 
done right or the acoustics are better then expected. I find monitors 
generally only cause dissension, especially if not really needed.
> 
>
> What the heck is a "poor inexperienced sound tech" doing behind the sound
> board at a major music event?

I have stayed away from the large sound boards for that reason. Even 
after 30 years or more working as a mixer, and over 50 as a techie, I do 
not feel qualified to handle them. Nor have I ever seen evidence of 
formal training, prior to a festival, for learning to operate them. On 
the job training as far as I know at most festivals. Sink or swim.

In my own opinion, even the largest venues for OKOM do not need these 
large studio consoles. The last couple of years at the Sacramento Jazz 
Jubilee I have been doing the very large Sheraton Ballroom, with a 
capacity of over 900, utilizing nothing more then the standard Jubilee
8 channel mixer/amp and 4 excellent, small, BOSE speakers on stands.

  I am very satisfied with that systems performance, and thank whomever 
is setting it up for me, if they happen to be on the list.  I have 
received no complaints from room managers, customers or musicians. Other 
then Igor of course. That is a given. :-)  Sorry Igor, but true. No 
monitors are used.  The stage is quite large. Never more then 8 mikes 
furnished.  It could not be simpler to use.

I am looking forward to reading the other comments on Gordon's posts, or 
mine.

Other DJML members are dealing with large outdoor venues or even larger 
  indoor venues. I would like to hear their sound experiences.

Sorry for the verbose comments.

Mad Dog.
>