More documents

Recommendations

Info

– DAVID A. BARBER T here is a reason why the most successful touring acts bring their own sound engineer with them. You never know what you’re going to get. Sound guys (and sometimes gals) run the gamut from terrifically helpful, to prima-donna assholes. If you’re touring around at the bar or club level, you’re going be at the mercy of whoever happens to be working sound board that night. Many of these people have college degrees in sound engineering, many more are former musicians themselves and they all have different personalities. If you’re lucky, you’ll get a pro who takes pride in his work. If you’re not lucky, you may get a tonedeaf overworked hack who’s nursing a wicked hangover from the night before––or worse, he may be killing that hangover by getting drunk early. Either way, you want to follow a few simple rules. to the sound engineer (even if he’s an ass to you). Treat him like a highly skilled professional (even if he doesn’t act like one). Do not treat him like a DJ who’s never run sound before and is in way over his head (even if he is). Never Piss-Off the Sound Guy that every room is different and the sound guy probably knows better than you what sounds right in his room. No, it won’t sound the same as it does in your rehearsal space––it’s not supposed to. It’s supposed to sound better than that for the audience, who are listening through speakers that are different from the ones that you are. you sound great, but if your volumes are wrong on the stage, there’s only so much he can do. If he asks you to turn your amp down, do it! Then, if you can’t hear your instrument, ask for him to turn it up in your monitor. This goes double during sound check (if you’re lucky enough to get one). ly take that as an insult. The same is true for going out on the dance floor or seating area to listen. You are responsible for what comes out of your instrument, let the sound guy worry about the rest of the room. Never tell him that it doesn’t sound right in the room, unless it’s a very serious problem. Overly sensitive sound guys will take this as an insult. Chances are, the audience will let him know if it’s really bad and obviously his fault. are bands scheduled to play after you. There’s only so much time al- about it, they may actually ask you to play a little longer to fill in the time. That’s the best way to be. If you’re the headliner, there’s still a sound can go home. Be nice to him. bottles, cigarette butts and snack wrappers all over the place. If you bring it on the stage, take it off with you. That includes the set lists you taped to the monitor or mic stand, too. especially true during sound check (if you get one), but is also okay to ask for between songs. You need to hear yourself and your bandmates in order to make sure you’re playing or singing right. Don’t be timid and then complain that you couldn’t hear yourself afterwards. That just makes everyone look bad. for suggestions. some good ones. Most sound guys take pride in their work and want you to sound as good as possible. If you have a good rapport with the sound guy, chances are he may go out of his way to make sure you are happy with the sound and that you sound great out in the room. We’ve even seen bands tip the sound guy, before the set! That’s not usually needed, but if you really want to keep him happy, an extra $20 isn’t gonna hurt. You might even get him to burn you a copy of the show afterward. Many sound guys record everything they mix. This could be a great way to collect material for a live CD or just a good way to listen to the band performing and get an idea of what does and doesn’t work or who messed up what parts of the songs during that performance. It can be a great tool for improving the band overall. Remember that every stage is different. No two sound systems will perform exactly alike. No two sound guys will mix you exactly the same and, most importantly: It will never sound the same as your rehearsal space. Do what the sound engineer asks and you’ll get the best results possible for your show. If you don’t cooperate, you run the risk of pissing him off and then you certainly won’t get his best effort. “Never ever ask the crowd, ‘How does it sound?’ The sound guy will likely take that as an insult.” while you’re doing that amazing solo. If you are unlucky and get a bad mix, play as well as you can and hope for the best. That’s what the seasoned pros do. So should you. DAVID A. BARBER is the author of Gigging: Everything You Need To Know About Playing Gigs (Except how to play your axe), co-producer of Band Talk of RockOnColorado.com, Board Member of the non-profit Colorado Music Business Organization and a seasoned professional who has worked at several Denver area music venues. 78 November 2013 musicconnection.com
“Producers have Pro Tools. Writers have Word. Songwriters have MasterWriter.” Rob Thomas Grammy Award winning songwriter and artist “MasterWriter will not only help you write great songs, it will make you a better songwriter in the process.” David Foster 14-time Grammy Award winning songwriter and producer “This comprehensive, user-friendly program streamlines all aspects of the creative process. That is why I never write without MasterWriter.” Kenneth “Babyface” Edmonds Grammy Award winning songwriter, producer and artist “MasterWriter is a tool that fits the times we live in and is essential for the modern songwriter.” Jimmy Webb Grammy Award winning songwriter, Songwriters Hall of Fame “MasterWriter is like having a co-writer with a photographic memory.” Kenny Loggins Grammy Award winning songwriter and Artist OTHER MEMBERS OF MASTERWRITER’S HALL OF FAME Kenny Loggins, Imogen Heap, Jeffrey Steele Gwen Stefani, Clint Black, Trent Reznor, Graham Nash, Carole Bayer Sager Lamont Dozier, Leon Russell Jamie Foxx, Steve Kipner, Leona Lewis, LeAnn Rimes, Amy Grant Go to MasterWriter.com and take the Tour FREE 10-DAY TRIAL 15
Page 4 and 5:
CONTENTS Photos by: Mike Marasco 36
Page 6 and 7:
E. Eric Bettelli PUBLISHER E. Eric
Page 8 and 9:
STEVEN KLEIN’S SOUND CONTROL ROOM
Page 10 and 11:
- BARRY RUDOLPH barry@barryrudolph.
Page 12 and 13:
- BARRY RUDOLPH barry@barryrudolph.
Page 14 and 15:
Pyramind Training Series Cash Flow
Page 16 and 17:
e are a four year college that take
Page 18 and 19:
BRIAN ULRICH Focusrite Showcases Re
Page 20 and 21:
PRODUCER CROSSTALK By Rob Putnam ro
Page 22 and 23:
- ANDY KAUFMANN Julien Mitelberg Ch
Page 24 and 25:
- BERNARD BAUR Audien, rockers All
Page 26 and 27:
LORDE Date Signed: NA Label: Lava/U
Page 28 and 29: John Titta New ASCAP EVP ASCAP has
Page 30 and 31: De La Torre Latin Pop from the Hear
Page 32 and 33: DROPS Actor, musical talent and ent
Page 34 and 35: Austin City Limits Comes To A Close
Page 36 and 37: 36 November 2013 musicconnection.co
Page 38 and 39: you’ll never see another Jay Z an
Page 40 and 41: BY BRIAN TARQUIN WE ALL WANNA GET P
Page 42 and 43: Videotape Supplemental Markets Fund
Page 44 and 45: - TOM KIDD Brian Tyler Scores for F
Page 46 and 47: EVNTLIVE INC. Partners With Bands T
Page 48 and 49: Big Wheel and Others Cass McCombs D
Page 50 and 51: The Brevet Contact: thebrevet@gmail
Page 52 and 53: Three Clubs Hollywood, CA Contact:
Page 54 and 55: The Roxy Theatre West Hollywood, CA
Page 56 and 57: 34th Annual Directory of Music Publ
Page 66 and 67: Annual Directory of Film/TV Music S
Page 74 and 75: The Rising Act “Music Connection
Page 76 and 77: For Advertising Info Call 818-995-0
Page 80: NEW 16.4.2AI NEW 32.4.2AI NEW 24.4.
show all

CONTENTS

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?