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Hints for Jazz Band Performers

Here are some common problems I have experienced while videotaping scores of Jazz Bands and other groups at the QCHS Auditorium and elsewhere:

Simple Mechanics:

1. Players are obscured behind music stands. Have all players double check that they can see the projection booth clearly. If they can't, then they will not be in the picture. The judges may not be able to see them, either. The music stands should be tilted as near to level and set as low as the players can tolerate, to maximize the audience's view of the players. Unused music stands out front will probably be blocking someone's view. Move them out of the way when you are done with them.

2. Players are hidden behind the speakers at the sides. (This is a particular problem to home video taken from the audience.) Try to get every player out in the open.

3. Players are obscured behind the piano. I have some shots of soloists where the only part that shows is their eyes and hats. It is most common with Middle School players who are still on the way up in height.

4. Players are hidden behind each other. (Occurs mostly with Concert Bands.) When players are seated in an arc, facing center stage, those on the end of the arc are in a straight line that points toward the projection booth. The second through the fourth players from the ends have a tendency to push their chairs back, creating more of a circle than an arc. This hides them completely behind those at the end of the row. (It sometimes looks like the First Chair Clarinet is playing two clarinets.) The rows need a slightly open curvature, don't have them all sit the same distance from the edge of the riser.

5 The Drummer is hidden behind his large elevated cymbals. Turn the drum set a bit so the drummer can see the projection booth.

6. The Pianist can not be seen, all I get is the back of a head. Try to position the piano so that a slight profile will be caught once in a while from the projection booth. It is nice to be able to zoom in on more than just the top two registers of the keyboard. This would require the piano to be somewhere between a 45 degree angle and the angle where the keyboard is in a straight line toward the booth. Unfortunately, when you turn the piano too far clockwise, those in the right side of the audience can't see the pianist. In deference to the live audience full of family and friends, I will give up some of this angle. But, when the number is over, the pianist must get up, purposely face the audience and take as long a bow as the scope of the solo and humility will permit, so I can zoom in on him. (This needs to be rehearsed so it becomes second nature.)

7. Waiting soloists line up in front of an active rhythm section soloist like the piano, drummer or guitarist. Choreograph those laying out to wait at the side so that the audience and camera have as clear a view as possible of all major soloists.

8. Some of these hidden players may be shy and could be hiding purposely. Make sure they know they are expected to stay visible when performing.

9. It is sometimes impossible to tell which keyboard player is doing the solo. It's a particular problem when there is a bass keyboard and a melody keyboard, and both are working. They look alike from the booth. Have other players who are laying out look toward the soloist to provide a visual cue. (They should develop this habit in practice, to avoid suddenly spooking the soloist.) Also, have all soloists practice getting animated with a little dance. The Director could also hold a palm outstretched toward the soloist, or just plain point, as if saying, "Take it away."

10. Certain kinds of solo instrument demand that you play out.

The lower saxophones come immediately to mind. The lower the sax, the deeper you need to stuff the mike into it* and the more you need to play out! (*I'm being figurative. I'm told that not all of the sound comes out the end of the bell.) Give that baritone sax solo two mikes if you can! Do some practice in a place that allows you to get comfortable hearing your sax really reverberate in a large space.

The alto sax solos also need to really wail when the context demands it. Sax section soli also need to really let it fly in some of those "Big Band" numbers.

Trumpets can be too harsh when you play straight into a mike, yet they are a little lost with no mike at all, especially if there is a large band backing them up. Use the mike mainly to achieve balance. Remember that the soloist should be the predominant instrument heard. Listen to yourselves!

11. Flute soloists need to adjust the sound level according to the pitch. That is, the highest notes are very penetrating, while the low pitched sections need extra boost (and sound great) when you move in on the mike.

12. The piano is usually not loud enough. When editing CD's, I usually have to boost the piano solos, sometimes as much as 9 db. This gets very tedious when there are numerous overly quiet solos between loud sections. (Bear in mind I work with just two mikes, and many camcorders have only one.) I have watched show after show where I was unable to hear the piano at all during many louder sections, even though the pianist was working furiously. I realize that any microphone you set up on the piano will also pick up the drum set, potentially causing unwanted effects. I also know it's good to keep the rhythm section positioned tight. After taking these issues into consideration, give that piano all the clearance and sound level you can spare, especially during piano solos. If you have the resources, it could be helpful to take an idle mike from out front or off another player, and just hold it in the piano for the duration of any significant piano solo, even if there is already a mike there. (It might take some advance practice to do this without adding naughty clicks and clunks.) Alert the live sound technician too, because if he also reads this, I'll be really socked with piano.

13. Minimize the sound level shift in the first measures of solos. Have all solo mikes positioned in advance or move them in place as quickly as possible. A big level shift really hurts the tape. (I'm no judge, but it can't be any good for your score, either.) Schedule some Microphone Movement Drills.

14. The QCHS Auditorium is famous for a devilish buzz. It is distressing and may make you think you have a bad piece of gear. Here's what causes it and how you can keep it from spoiling your performance: The power feed for the stage lighting runs in an electrical pipe just under the stage floor. The pipe enters the Auditorium at roughly the middle of the wall behind you as you face the audience. It runs straight toward the audience, then makes a right turn about ten feet from the edge of the stage, toward the big blue cabinet nearest the curtain. It ends in the bottom of that blue cabinet. The problem is a ground fault in one of the overhead lighting circuits. It causes up to 1-1/2 amps to flow through the pipe itself instead of through the wires inside the pipe. The cabinet and pipe thus become a big 60 hertz electromagnet. This is only a minor problem until you bring in an electric guitar, electric bass or other instrument with an inductive coil pickup. The coil is extremely sensitive to this magnetic field and dutifully passes the buzz along to the amp.

How the Band can minimize this effect:

Set up the amp where you can easily tweak it during the performance. Next, turn the amp on and walk your guitars around the stage until you learn the hot and cold spots. Once you pick your coldest spot, avoid moving around the stage during the performance. In theory, a standing player's guitar would have a bit less hum than a seated player's, due to the greater distance off the floor. (When The Brian Pastor Band performed here, their guitarist actually set up on the opposite side of the stage from the rest of his rhythm section! Their tape turned out great, too.)

If you have multiple single coils or humbuckers with 3-way or 5-way selectors, scan the positions looking for the best compromise.

If you have some form of non-inductive pickup device, give it a try. Some solid body electric guitars like Ibanez, Parker Fly and Godin have selectable piezo pickups built into the saddle in the bridge. Acoustic electric guitars usually have piezo pickups (although some may also have magnetic pickups). By selecting the piezo pickups, you may sacrifice that "electric" sound, but you may beat the buzz.

A clip-on ceramic mike may do the trick if you can adapt it. If there is still any hum, at least mute the guitars at the amp when they are laying out and between songs.

The Stage Crew can minimize the buzz by avoiding the offending light circuits and by helping you to be aware of the problem and the work around solutions.

(I'm told the fix is waiting until a renovation that's over the horizon.)

Artistically Speaking

1. Stay in character and stay in uniform. Your Band is always on display, even back stage, in the audience and in transit. If your band is rowdy or rude, it detracts from the total image people get of your band.

2. On stage, be as animated as you can. It improves the visual effect immensely. Move to the beat when appropriate. If you really feel the beat, you will play it better.

3. Cheer your fellow band members on by smiling and nodding approval during and after their solos.

4. Never make a face over any sour note, even if it's your own. When you do, you're just begging the judges to take a point off. The point you lose from a bad note can be somewhat recovered by good showmanship. Smile, take a big bow and move on as if you gave the show of your life. I watched a marching band rehearsal in which the whole trumpet section shook their heads in disgust over a poorly timed phrase. In a rehearsal scenario, that gesture acknowledged to the Director and other players that they know they goofed. However, this reflex should be resisted because it is liable to carry over into an important performance.

5. Don't be thrown off balance by a dead mike, the unexpected mike squeal, baby's wail or falling steamer trunk. Most of these problems are beyond your control. Play on, don't hesitate unless the Director stops you.

6. Make it look like the fun it is. Smile! No matter how badly you want to win top honors, you play your best when you are relaxed and comfortable with your situation.

7. Wait until the curtain is closed before you break form. The final applause is the camera's best opportunity to see you in a relaxed, smiling state, unfettered by instruments and facing the audience. I always try to zoom in, especially on any individuals I may have missed during the performance, including those elusive piano players. Even though the stage manager will want to hustle you away, don't be too eager to bend over and gather up your music and water bottles.

8. Applaud every band as a sign of respect and appreciation for their efforts.

Have a Great Show!