In my (several) years of playing music at masses, weddings,
funerals, etc., I, like many of you, have had both great and not-so-great experiences
with sound systems. Sometimes it has to
do with the equipment, other times it has to do with the people using it…musicians
and techs alike.
At my parish, we do not have the time in between services to
sound-check everyone. We have a digital
board with separate presets for every liturgy. Every week we start out with the
same settings on the board for that particular
liturgy…exactly. This lets me know that we are starting with good, basic levels
all around. I’m no expert, but for me, I want to get a good vocal sound on my mic and then beg the soundman to leave it alone. J Here is why: I might be singing melody, or I might be singing a harmony part. That might change in the middle of a song. I will change my mic technique depending on what I’m singing. (See mic technique blog).
If you
are not on melody, the soundman might think they are doing you a favor by
turning you up every time you back off of your microphone, but instead they are
interfering with…rather than helping…the mix. As singers, it starts with us. It’s OUR
responsibility to know our place in the mix first.
Let’s
say you are singing a harmony part, so you back off of your mic. The soundman mistakenly turns you up and you
start backing off your mic even more. As
a result, the soundman turns you up again, and you back up even more. Now you’re
a foot away from your mic and it sounds thin and feedback is creeping in. So,
the soundman goes to the EQ to try and ‘fix’ it. (Dear God, no) All the time, you were just trying to blend
into the music. Now, however, we have a serious audio problem, and you’re in
the middle of mass.
Obviously, everyone involved here, soundman and singer,
are trying to do the right thing. This
exact scenario seems to happen a lot. (We, ourselves, resort to a lot of
'texting' from the piano to the soundbooth to resolve it. )
Yes, sometimes singers have poor mic technique and the slider
needs to be pulled back occasionally- or pushed forward. But it's really the singer’s responsibility, and it
may fall on the shoulders of the director to guide them in knowing where their
vocal part fits into the mix.
But soundfolks…relax and don’t feel like you need to jump
right to the sliders right away. Give
the singers a chance to adjust. That mic might be plenty loud, they just need
to lean in. THAT will solve the problem, not cranking it up to feedback levels.
While having a soundman is convenient, it is not always
possible, or even necessary. Countless
times I have played masses, weddings, funerals, etc, with just a piano and a
singer or two. There is no need for a sound person. As long as the levels are good to start with,
music will happen naturally by the performers. (If they make good musical
decisions.) This goes for larger groups
as well. I have even played with full bands with no sound person. Again, as
long as the levels are good to start with, everyone can play their instruments
musically, and the singers can use good mic technique. Rest assured…this can
work.
I’m not suggesting that we don’t use a soundperson. I’m
saying that we have to make sure we are all on the same page. Bottom line: we don’t
have time to rehearse and sound-check every measure of every song! We all need to trust that we will make the
right musical decisions.
Try a rehearsal where you just set the vocal levels
evenly and let everyone sing without someone moving sliders. Learn how to make
music and blend by using good microphone technique. Convey this to your soundman…get them on the
same page. Everyone will be happier in the end.
Especially the assembly. Don’t forget them.
Completely unrelated sidenote:
Below is a video of our entrance procession song on Palm Sunday. I wanted to choose a song people knew really well in case, weather permitting, we began outside. I really wanted something simple and easy to sing. "He Is Exalted" (Paris) certainly fits that description. I simply added two "Hosanna's" at the end of the song, then reprised the last line. I hope Twila doesn't mind, but it sure worked great!
April 28, 2013 – 5th Sunday of Easter
(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)
(Click on titles for links to their respective pages.)
10,000 Reasons (Bless the Lord) by Matt Redman (CCLI) – beautiful and popular song by Matt Redman. Take the time to choose the right key for you and your assembly.
Suggested use: Entrance, Offertory, Communion
Suggested use: Entrance, Offertory, Communion
All the Ends of the Earth by Ed Bolduc (WLP) – this
familiar psalm text is the Entrance Antiphon for this Sunday. It might be an upbeat
way to start the liturgy. Just make sure to sing the short refrain enough to
engage the assembly. From the CD Word for Word. Also found in the new
collection, More Voices As One, vol. 1.
Suggested use: Entrance, Dismissal
Be Glorified by Chris Tomlin, Jesse Reeves, and Louie Giglio (CCLI) – we’ve had a lot of
success with this song as a dismissal. It’s got some nice 3-part harmonies that
are fun and easy to sing. As always, be
careful not to go too fast. Break it
down and let the assembly hear themselves sing a refrain. You can find this song in Voices As One, vol.2. Instrumental parts are available as
well.
Suggested use: Dismissal
Give Glory by Jacob and Matthew Band (WLP) – a driving, high-energy song...great as a dismissal. Though the recorded key is high, a lower key is published. Also found in the new collection, More Voices As One, vol. 1.(From the CD Every Day.)
Suggested use: DismissalGlorify Thy Name by Donna Adkins (CCLI) – a wonderful hymn-like song. Starts low and builds high. Easy to sing and very memorable. The text incorporates the Trinity in the verse. It works well in many places in liturgy. Also found in Voices As One, vol.2. Instrumental parts are available as well.
I WIll Praise Your Name Forever by W. Clifford Petty
(WLP) – I think your assembly will start singing and praying this psalm setting
right away. Practice the rhythm of the
chord changes with the band. Note the ones that are 'on' the beat and which ones
are ‘off.’ There is plenty of room for improv
in the verses, soloists, just don’t get too carried away. (From the CD Touch Jesus.) Also found in the new collection, More Voices As One, vol. 1.
Suggested use: Responsorial Psalm, Offertory, Dismissal
Live In Me by Ed Bolduc (WLP) – fitting for today’s
Communion antiphon. The verses switch from God’s perspective in verse one (“I
am the vine”), to our perspective in verse 2 (“You are the vine”). The refrain still says “Live in me…” (From the CD The Face of God) You can find
this song in Voices As One, vol. 1.
Instrumental parts are available as well.
Suggested use: Offertory, Communion
Love Unfolding by Josh Blakesley (spiritandsong.com) –
very catchy refrain…simple and easy to sing.
The lyrics say “send us out” in the refrain, so obviously this is a good
song for dismissal…upbeat and driving. (From the CD Free)
Suggested use: Dismissal
No Greater Love by Matt Maher, Chris Tomlin, and Audrey Assad - bright, upbeat declaration: "we lift high the banner of the cross, there is no greater love than this..."
Suggested use: Dismissal
Suggested use: Dismissal
Ed,
ReplyDeleteI like to commend you on your posting and encouragement that the vocal blend begins with the vocalists. One of the things lost in the rush to add technologies is to compensate for bad musicianship with it. What you are describing her is that each vocal group should sing as an ensemble. When this happens it makes the job of FOH mix musician much easier. It also presents a better musical experience to the congregation.
One concern I have in your instruction to Sound system operators is that you have failed to differentiate between Monitor and Main. In a properly designed system the monitors on stage should not be effected by an adjustment on the faders. The Monitor mix should be set at sound check and not adjusted unless the musician asks for an adjustment.
Now if the adjustment of the faders is causing feedback issues there may be an acoustic/system design issue where the amount of gain before feedback and gain staging in the system does now allow for enough headroom to create a great mix.
Please keep this in mind when trying to correct these type of situations. Your backing off and using the mic properly may actually be too much and the FOH person is totally loosing you in the mix. Here is where communication is key.
Karl,
DeleteI hear you. You are talking about Pre versus Post fader settings on the Monitor/Aux channels, correct? When set to Pre-Fader the monitor level will not change if the FOH moves the fader.
I was referring to the actual Front-of-House mix. If a singer backs away from their mic in order to blend their part, the FOH shouldn't rush to move the fader to bring them up to their original level unless they absolutely need to. That should be a music director decision, not the sound person. Not all voices should be at equal volume in the house, necessarily.
Of course, singers need to know how to do this. When singing a harmony, they should usually back off the mic a little. When singing a lead, a closer proximity is better. Otherwise, the FOH needs to know who is singing melody, harmony, descant, lead, etc. I would think that decision falls more to the music director. Otherwise, it can seem like the sound person and singer are chasing each other.
I'm sure that you are a very talented and gifted singer, and you probably have great microphone technique, however what you don't have is a good perspective on sound.
ReplyDeleteHow do I know?
Well let's look at a couple of your statements shall we?
"While having a soundman is convenient, it is not always possible, or even necessary. Countless times I have played masses, weddings, funerals, etc, with just a piano and a singer or two. There is no need for a sound person. As long as the levels are good to start with..."
Who set those levels?
As matter of fact who chose the microphone you use?
Who plugged that microphone into the sound system?
Who selected the amplifier, the soundboard, and speakers you sound so wonderful through?
Who decided where to place all that equipment so that your voice might be heard equally and beautifully by everyone at the mass?
"As long as the levels are good to start with, music will happen naturally by the performers. (If they make good musical decisions.}"
Who adjust the balance of the singers who don't make those good decisions?
It is unfortunate that you really don't know what a sound person does and that you dismiss their service as unnecessary.
If you are having trouble with your sound person you might consider being a little less dismissive and try talking with them (not texting them from the piano) about what you are trying to achieve and then you might want to listen to that person about how that can be achieved or what is preventing them from achieving it.
Jon,
ReplyDeleteSorry, I guess I wasn't very clear on what I meant. It goes without saying that you need a good sound tech to design, implement, and maintain your system!!! In my opinion, you can't place ENOUGH value on a good sound person. No argument there.
Like anyone, I love it when there is a good sound person at the console…one that both knows the technical aspects and has an ear for mixing. They can adjust levels, eq’s, and compression, and create a mix for the room that is pleasant for both the audience and the performers.
Other times, however, there is the “knob twiddler” who feels that they must constantly adjust everything at the console. This scenario is more frustrating for me. I feel like I'm fighting the sound person. If I back away from my mic to blend, they feel they have to turn me up. Then I'm too loud when I lean back in, etc.
As I’m sure you know, with most digital consoles, a trained sound engineer can adjust and SAVE settings to be recalled later. Often times you can recall those settings and everything will function perfectly well without someone feeling like they HAVE to adjust sliders.
For many situations, recalling or setting the console and ‘leaving it alone’ can work well, and is preferable if either there is no budget to hire a sound person, or a trained, ‘good’ sound person is not available. But if there's a person back there that really knows what they're doing, you are right. That's always better.
I hope I better expressed what I meant. Thanks for the comment.