The Engineer’s Perspective
Another school year has begun and the city is once again full and bustling with the animated anticipation of thousands of students returning home. Because let's face it after spending a year here, you do consider it a second home. And while I detest the longer commute, and crowded streets, I can't help but get swept up in the excitement of all the students starting a new year. For me, part of that excitement comes from knowing that with the new school year comes new talent, and with that talent comes a new potential for a lot of great performances at the school. Working in the Performance Center, I have the pleasure of listening to some of the best performers Berklee has to offer everyday (Well... almost everyday). Being an engineer, there is nothing I enjoy more than mixing for a good concert. But as a musician it always disheartens me to see how few people come out to enjoy the talent that performs here. There is nothing sadder than a great show with no audience. And that is too often the case with recitals here at the school. Some of the best shows I've seen here were in the smallest hall with no one there except for the people working. And believe me, it doesn't make the concert more intimate when no one's there, just uncomfortable. So After five years of being here listening, watching and enjoying, I figure that someone should take the time to shed some light on some the school's hidden treasures. And who better to do some light shedding than that silent observer behind the board.
While I’m sure some musician’s would argue that the sound engineer is the last person you want giving their opinions on the quality of a performance, I would beg to differ. If anything the engineer is going to be the one person in the audience who is truly removed enough to be objective. And while I understand that in music, or in anything, true objectivity is impossible. There is some impartiality in someone who is at the performance to work. Objectivity aside a good critic needs to listen, and no one in the audience is listening more critically than the engineer. Often times I feel that people think we don't listen, or we don't care beyond our most minimal obligations. But engineers have an invested interest in the music, and listening is the biggest part of it. I promise we have more to offer in the form of critique than just to turn down your amp.
Since the school year is just beginning and their aren't many concerts to tell you about, this is a perfect opportunity to hand out some friendly advice to those who are interested in putting on recitals.
Tip #1: Consider the performance space when deciding on the size of your band
I often hear the complaint that the stage is too small. Unfortunately there isn't much we can do about that, but one thing you can do is to have a smaller band. Before you add that horn section go have a look at the hall you are performing in and think where will they go. I'm a firm believer that comfort weighs heavily in the quality of a performance. Cramming eight people on a stage that fits 4 is not conducive to the music making experience. Leave yourself some room to breathe.
Tip#2: Balance
It may be hard to believe, and it is a little hard to admit, but the engineer does not have complete control over the sound in the halls. I know, it's shocking. While I can guarantee that I will always do my best there are some variables that are out of my control, namely the musicians on stage. In a live setting the job of the engineer is to simply amplify what is happening on stage, if someone is playing too loud on stage my hands are tied. Let me demonstrate. Say the drummer is playing too loud, since I can't make him softer I must make everything else louder. Because he is playing loudly the other musicians can't hear themselves or each other over the drummer, now I must make it even louder on stage, which means I have to make it even louder in the audience. This goes on until I hear that inevitable feedback rumble (or ear piercing shriek, which ever it happens to be) and am forced to turn down the monitors on stage. The musicians are unhappy now because they can't hear themselves and they in turn don't play as well. What a dilemma. So how does one avoid this problem? Balance, if everyone on stage is playing at a level where they can all hear each other comfortably then there is no need for that disastrous chain of events to occur. Think about how it sounds when you rehearse. You probably don't use monitors when you rehearse, so here is a situation where you must balance to hear each other. Remember what that feels like when you perform. Have someone not in the group listen during rehearsal. An outside person will be more objective in their listening. Can that person hear all the players? Is the volume comfortable to listen to? Is any one instrument more prominent than another that shouldn't be? Being balanced and aware of each player on stage gives the engineer more room to work, and gives you a better sounding concert.
Tip#3 Practice, practice, practice
By the time you are on stage you should be ready to perform. The sound check is not extra rehearsal time it is a sound check, which is done for the benefit of the musicians. This is the time to make sure you are comfortable that you can hear everything well and that everything is to your liking. If you are running through songs that you didn't get to rehearse you are not paying attention to how things sound, and I'm sure you are not calm and comfortable. People get nervous when they perform in front of people, don't add to your nervousness by not being prepared.
Tip#4 Remember the sound guy is your friend
We are here to help you sound better. Anything we can do (within our power) to make you more comfortable, and more at ease we will. We are not the enemy and we do care. Trust our judgment, ask us questions, we are here for you.
I hope these tips are helpful and I look forward to hearing and seeing all your great shows this year.
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