The Director’s Guide to Marching Audio Pitfalls
#1 DIY-ism
There is nothing wrong with going it alone, but sometimes some extra support can be a lifesaver.
I am assuming that you’re a band director, or that you work with a band. You being a director means I can also assume that:
- You are likely one of the busiest humans on the planet. Doubly so during marching season.
- Unless you’re under the age of 25, no one told you that electronic audio would play such an important role in the success of your marching band. And I bet they didn’t teach much about it in school, either.
Many directors attempt to make this leap into the electronic audio world on their own, or with the help of a staff member who already has duties of their own. (Every front ensemble instructor who ever was put in front of a mixer and told to “figure it out”…I feel for you).
A dedicated audio consultant can make or break the success of your ensemble. Someone local a couple times a week, or someone to come in a few times per season is all it takes to give you and your staff the break they need to focus on making the band great in other ways.
You don’t need to add another large and time-consuming task to your already-already-full plate. Find some help. You won’t regret it.
#2 Setting Yourself Up for a Wireless Nightmare
Many people find the prospect of using wireless to be nerve-wracking and associate it with potential amplification failure. There’s nothing scary about using a wireless system, as long as you have the right gear.
So often will a drill writer or visual designer decide that the middle of the field will be the perfect spot for a soloist to rack up that extra GE. If it all works flawlessly, it’ll be a beautiful moment. But what if the band has only dated or minimal wireless equipment, if any? The only two options now are either scrape up the money for a new system, or spend the rest of the season nervously sweating “that moment” and crossing your fingers
If you want consistent reliability with your wireless system, you need quality equipment and the right components. Simple as that.
#3 Running Your Electronics in Mono
What’s the fastest way to make your synths sounds flat and lifeless? Run them in mono.
Not to say that there are never times when it’s better to run electronics in mono but the choice to do so should either be an informed one, or the only choice…like if there’s not enough mixer inputs.
Running a single channel of audio (mono) instead of two to create a stereo image tends to flatten out and “de-sparkle” the sound. This is due to audio waveform phase cancellation. Read more about this here: [link coming soon]
#4 Not Backing Up the Gear
I’m sure I’m not the only one to spend hours working on my computer…an essay, a composition, a great sound effect…only to have the software crash, leaving me staring at a blank screen, nothing to show for my hours of work.
Save often, and back up your equipment. It’s as simple as that. A few extra minutes might save you someday when your mixer or sampler fails.
Digital mixers and some samplers allow for backups to USB drives, SD cards, and/or laptops. Utilizing this feature at least one a week or more is absolutely necessary, especially when in the process of finding the mix or making drastic changes.
If you depend on a DTX or similar sampler for important moments in your show, it might be worth it to keep a second one around, an exact clone. Travel to show with it. Bring it to rehearsal. It will save you time and stress if you run into issues
#5 Direct Cabling
Cascade cabling instead of direct will make a huge difference in set-up time.
Run your audio cables from instrument to instrument instead of having the students run them directly to the snake. For example:
Student 1 (S1) plugs their cable into S2’s instrument, S2 plugs their own cable and S1’s into S3’s instrument, S3 plugs S1, S2, and their own into S4 and so on. Voilà! No traffic jam around the snake with 20 seconds on the clock. You can find more details on this on the blog.
#6 Choosing the Wrong Microphone for the Job
Not all mics are alike…
This is far too big a topic to fully address here, but in short, there are two main types of microphones, dynamic and condenser, and several different styles to be aware of:
Shotgun: ideal for soloists or sideline mic’ing. Can be used at a distance (5-10 feet for best sound). Hyper-directional.
Cardioid: Most commonly used for front ensemble instruments. I prefer condensers for this job.
Lavalier: The wireless solo mic. There are several types of these, effective for certain instruments.
Choosing the right mic can make or break a soloist’s amplified sound. Check out the Marching Soundscapes blog for more detailed tips on this subject.
#7 Dated or Inadequate Equipment
It’s hard to reach someone on a pager these days…
If you want to be competitive, you need the right gear. There are plenty of people you can consult with to ensure that you are making the right purchases for your budget and needs (I’ve been known to make a suggestion or two). Reach out to them! I’m sure most will be happy to help.
#8 Outdated Samplers/Poorly Planned Sound Design
So you have great sound design…but how is it all going to be performed from that single DTX you have?
If your sampler storage is too small for the amount of samples you have, or if your laptop is struggling just to open the sample playback software without overloading the CPU (let alone play the samples), how do you expect to have consistent sample playback?
Make sure you have a discussion with your sound designer/audio consultant about what samplers you are using and the quality of them. It’ll save you headaches in the future as you try to sort through which samples are absolutely necessary, and which you can’t use.
#9 Not Enough Sample Adjustment Time
It’s not as simple as “mellos, play softer!!!”
When you ask the trumpets to take it down, they don’t need 2 minutes or so to sort through their notes, select the right ones, and manually crank down the volume. It happens instantaneously…at least, in a perfect world.
It takes time to make a sample adjustment, and sometimes a second or third listen to be sure it’s right. It’s just the nature of the beast. Remember this when asking for adjustments.