Beeston Big Band
Technical Guide
Songbird
Band Arrangement
Trumpets
Bass
Keys
Drums
19
4
5
3
6
7
Bones
18 Guitar
9
8
20
11
Saxophones
12
Leader
10
13
14
15
16
17
Vocals
1
2
Sound Tech
21
1 Male Vox
8 T’bone Bass 15 Sax Alto I
2 Female Vox
9 T’bone III
16 Sax Alto II
3 Drums
10 T’bone I
17 Sax Alto II
4 Trumpet II
11 T’bone II
18 Keys
5 Trumpet I
12 Sax Baritone 19 Bass
6 Trumpet III
13 Sax Tenor II
20 Guitar
7 Trumpet IV
14 Sax Tenor I
21 Tech
Band Members
1 Steve/Colin
11 Bob
2 Vick/Jeri
12 Trevor
3 Bill
13 Victoria
4 James
14 Tracy
5 Clare
15 Mal
6
16 Ken
Jim
7 Dave
17 Martin G
8 Mark A
18 Mark B
9 Brian
19 Les
10 Martin J
20 Craig
21 Mick/Lew
Wiring Guide
The proceeding pages are simple yet detailed diagrams
and instructions explaining how to set up, organise and
conduct a live sound set up for the Beeston Big Band.
All colour coding matches that of the equipment, designed
to provide a linear live sound platform which can be used
over and over, in all of the scenarios that the Beeston Big
Band may perform in.
PA Speaker
Monitor Speaker
Monitor in-Ear
Mixing Desk
Sub Mixer
Wirless Mic Box
N/A Band Member
Active Band Member
Cable
Wall Socket
Diagram Key:
Here are all of the symbols
used in the forecoming
diagrams.
Colour may vary, shape
is consistent.
Sub Mix Wiring
Bass
Keys
19
Drums
3
18 Guitar
20
Mixer Ch 1
Mixer input L
Mixer input R
Wall Socket B
20
Leader
10
18
19
12
3
14
Vocals
1
2
13
4
16
17
11
9
8
15
7
6
5
Power Wiring
Wall Socket A
18
10
19
20
12
3
1
13
?
2
14
4
16
17
11
9
8
15
7
6
5
Mic/Mixer Wiring
Tpt Solo
Bone C
Bone B
Comp/Bone A
Sax B
Sax A
Spare Vox
Fem Vox
Male Vox
9
8
7
6
5
4
3
2
1
10 Drums
11 Sub Mix L
12 Sub Mix R
18
10
19
20
12
3
2
14
Right Out
1
13
4
11
17
6
9
16
Head Out
8
15
7
Mon 1
5
PA Wiring
Mon 2
Left Out
Trumpet Mike Positioning
The distance between the
trumpet and the microphone
should be around 12 inches.
The trumpets play in a standing
position, with this in mind, it’s
important to position the microphone upward at a 45 degree
angle.
Don’t point the microphone
directly at the trumpet, the
sound is more natural when
pointed slightly off axis.
Sax Mike Positioning
The saxophones play in a seated
position, with this in mind, it’s important to position the microphone
horizontal, slightly off, focusing the
microphone just abover the bell of
the saxophone.
The distance between the
saxophone and the microphone should be around 12
inches.
Drum Mike Positioning
The microphone should be
placed below the cymbals and
above the skin of the kick drum.
It’s also important to avoid pointing the microphone at the snare,
as the snare will be too proThe drum microphone should
nounced comparitively to the
be placed 0-12 inches away from
rest of the kit.
the kick drum. Depending on the
drum layout it could be placed
ontop of the kick drum.
The key to figuring out the perfect spot is to have the drummer
play during sound check whilst
adjusting the distance, until a
satisfactory sound is met.
Vocal Microphone Techniques
Always sing asloud as possible
during sound checking, this is
far better for the engineer.
Never sound check with spoken word, it provides no use.
Give at least 4 inches
space between your mouth
and the microphone, this
provides clarity and transparency as opposed to dull.
Never stand in front of a
speaker. Ever.
Maintain equilibrium
with your microphone
position. Find where
sounds good and is comfortable and stick with it!
Sound Check Guide
This section will highlight in lamen’s terms, the process
of the Beeston Big Band sound check. Avoid deviation from
this guide at all times, it can cause a series of knock negative
effects, the more this process is completed, the easier it will
be for the band to settle into performance mode.
1 Steve/Colin
2 Vick/Jeri
Order of Sound check
18 Mark B
20 Craig
3 Bill
10 Martin J
Bone Section
Sax Section
Trumpet Section
Lastly, have everyone play
together and balance the
desk as needed.
Vocal Sound Check
The purpose of the vocal sound check is primarily to ensure
the vocal microphone is at the right volume level. This means,
not too loud and not too quiet with regards to the rest of the
band.
Step 1 - Pull Fader right down
Step 2 - Turn Gain to 12 o’clock
Step 3 - Vocalist to begin Singing
Step 4 - Pull Fader up until satisfied
Step 5 - Refer to recall sheet for EQ
Step 6 - Make minor adjustments to EQ
Step 7 - Add Reverb with FX fader
Pro Tip 1 - If the Vocalist sounds muddy, try adding a boost
to the HF dial. This will add brightness to the sound. However, if still too muddy, try adjusting the MF selector to
around 500hz and adding a MF cut. 500hz is often regarded
as the area that’s not quite bass but not quite mid range. It’s
simillar to the audio range you hear under water.
Pro Tip 2 - Male vocals and female vocals are different
pitches. You may find the females might require a boost
in the 500hz MF range, where as males may require a cut.
Vocal Recall Sheet
Gain - Initial Volume, don’t adjust.
HF - Hi Frequency Boost/Cut
MF - Mid Frequency Selector
MF - Mid Frequency Boost/Cut
LF - Bass Boost/Cut
FX - Reverb Boost/Cut
Fader - Volume Boost/Cut
Guitar and Piano Soundcheck
The purpose of the guitar and piano sound check is to add
just a slight amount to each of the speakers. The guitar and
piano are already amplified, however, they are to one side
of the stage. It may be ideal to add some of their signal, via
the sub mixer, to add a bit more depth to the overall sound.
It’s also imporant to note that there are two channels, in stereo. One for LEFT and one for RIGHT. Both channels should be
exactly the same. The only thing that should differ is the PAN
dials. Which should always be hard left and hard right. However, it may be beneficial to have the right fader up further
than the left, as they are already amplified left of stage.
Step 1 - Pull Faders right down
Step 2 - Turn Gains to 12 o’clock
Step 3 - Vocalist to begin Singing
Step 4 - Pull Faders up until satisfied
Step 5 - Refer to recall sheet for EQ
Step 6 - Make minor adjustments to EQ
Step 7 - Add Reverb with FX faders
Pro Tip 1 - One of the best parts about this set up, is you can
add lots of reverb to the piano and guitar, with out much volume. This will have the effect of blending the band together,
providing a backdrop of reverb for the piano and guitar. Using the mixer as more of an FX send rather than gain amplifier.
Guitar and Piano Recall Sheet
LEFT
RIGHT
Gain - Initial Volume, don’t adjust.
HF - Hi Frequency Boost/Cut
MF - Mid Frequency Selector
MF - Mid Frequency Boost/Cut
LF - Bass Boost/Cut
FX - Reverb Boost/Cut
PAN - Left, Centre, Right
Fader - Volume Boost/Cut
Band Leader/Tbone Solo
The band leader is also the trombone soloist! This means,
simply put, the microphone has two different functions.
As a Compère the settings need to be clean, crisp and
designed soley for communication. Fortunately, so do
solo trombones. The settings need vary little giving the
equipment provided. The only difference is the FX reverb
dial. When playing trombone this needs to be turned up,
when speaking to the audience this needs to be turned
down.
Step 1 - Pull Faders right down
Step 2 - Turn Gains to 12 o’clock
Step 3 - Vocalist to begin Singing
Step 4 - Pull Faders up until satisfied
Step 5 - Refer to recall sheet for EQ
Step 6 - Make minor adjustments to EQ
Step 7 - Add Reverb with FX faders
Pro Tip 1 - The Solo trombone is warm in the low mids 500hz
and crisp and raspy in the highs. If you find it to be too
much
of either of the things, try adjusting the HF to reduce crispness and with muddyness or not enough warmth, set the
Band Leader Recall Sheet
Gain - Initial Volume, don’t adjust.
HF - Hi Frequency Boost/Cut
MF - Mid Frequency Selector
MF - Mid Frequency Boost/Cut
LF - Bass Boost/Cut
FX - Reverb Boost/Cut
Fader - Volume Boost/Cut
Trombones Sound Check
The trombones are an acoustic instrument, their role within
the band is loud and powerful and as such, require little
amplification. The premise of them being miked up and put
through the PA is solely designed to add glue to the overall
sound. By no means are they to be as loud, or even near the
vocals. The greatest strength they play through the PA is with
low volume, EQ and FX reverb.
Step 1 - Pull Fader right down
Step 2 - Turn Gain to 12 o’clock
Step 3 - Vocalist to begin Singing
Step 4 - Pull Fader up until satisfied
Step 5 - Refer to recall sheet for EQ
Step 6 - Make minor adjustments to EQ
Step 7 - Add Reverb with FX faders
Pro Tip 1 - As the trombones carry lots of volume without
amplification. When applying the EQ, take out the bass with
the LF dial, set the MF selector to 300hz and begin to apply
a cut. When sending so many signals through the same FX
reverb, the low-mid frequencies can build up causing the
overall PA to sound dull, muddy and unclear. We really
only want the mid to high range of the trombones to be effected.
Trombones Recall Sheet
Gain - Initial Volume, don’t adjust.
HF - Hi Frequency Boost/Cut
MF - Mid Frequency Selector
MF - Mid Frequency Boost/Cut
LF - Bass Boost/Cut
FX - Reverb Boost/Cut
Fader - Volume Boost/Cut
Saxophones Sound Check
The saxophones are the quietest of the brass sections. Their
ability to project volume across the concert hall is limited
in comparison. The aim is to provide an extra boost through
the PA to achieve one of three things. So that the soloist can
be heard, as subtle volume boost to the section its self and
as with the other sections, an overall gelling of the band.
When playing together without solo, the gain is to be set low
with boosts in the mids and highs, much like the trombone.
However, when the soloist is playing, the volume fader is to
be pulled up, see the riding faders section for more information.
Step 1 - Pull Fader right down
Step 2 - Turn Gain to 12 o’clock
Step 3 - Vocalist to begin Singing
Step 4 - Pull Fader up until satisfied
Step 5 - Refer to recall sheet for EQ
Step 6 - Make minor adjustments to EQ
Step 7 - Add Reverb with FX faders
Pro Tip 1 - Saxophones have a broad range, try not to capture
the whole sound through the PA, focus on applying FX reverb
boost to the HF dial to add clarity and try to refrain from
pushing the volume fader up too much.
Saxophones Recall Sheet
Gain - Initial Volume, don’t adjust.
HF - Hi Frequency Boost/Cut
MF - Mid Frequency Selector
MF - Mid Frequency Boost/Cut
LF - Bass Boost/Cut
FX - Reverb Boost/Cut
Fader - Volume Boost/Cut
Trumpets Sound Check
There is only one trumpet with a microphone placed infront
of it, there is perhaps room for two to share, however. The
Trumpets carry across the concert hall more than any other
instrument in this ensemble. This sound check is to be focused on the soloist. The premise is so that when the soloist
plays, it is clear, defined and rich for the audience to hear.
The focus will be on getting the tight, high and crisp brassy
nature of the trumpet to stand out when the time is right.
Step 1 - Pull Fader right down
Step 2 - Turn Gain to 12 o’clock
Step 3 - Vocalist to begin Singing
Step 4 - Pull Fader up until satisfied
Step 5 - Refer to recall sheet for EQ
Step 6 - Make minor adjustments to EQ
Step 7 - Add Reverb with FX faders
Pro Tip 1 - A lot of the trumpet solos are intimate, often
lower down the register, with this is mind, try not to focus
too much on adding LF or MF with the MF selector set to below 1khz. Taking the HF dial and moving it up so there is
prescence and brightness coming through the PA is key.
Trumpet Recall Sheet
Gain - Initial Volume, don’t adjust.
HF - Hi Frequency Boost/Cut
MF - Mid Frequency Selector
MF - Mid Frequency Boost/Cut
LF - Bass Boost/Cut
FX - Reverb Boost/Cut
Fader - Volume Boost/Cut
Drums Soundcheck
The drum soundcheck is important. The drums are the
rhythm and groove of the band. The microphone is not
only designed to allow the audience to hear the band,
but just as, if not more importantly, the rest of the band
to hear the drummer. We’re looking to achieve a clean,
focused and balanced sound, with one well placed
condenser microphone.
Step 1 - Pull Faders right down
Step 2 - Turn Gains to 12 o’clock
Step 3 - Vocalist to begin Singing
Step 4 - Pull Faders up until satisfied
Step 5 - Refer to recall sheet for EQ
Step 6 - Make minor adjustments to EQ
Step 7 - Add Reverb with FX faders
Pro Tip 1 - The drums will require quite precise EQ
adjustments. As the point of the microphone is to
hear the drums in all of their crisp and complex glory, take
down the bass drum sound using the LF dial, push up the
MF selector to around 2khz and start adding MF boost. This
should bring out the clicks, taps and snaps of the snare drum.
Particularly if the toms and kick are over powering. If the
cymbals are too loud, apply a cut to the HF dial.
Pro Tip 2 - To apply FX reverb or not to apply FX reverb?
Subjective, however, a small amount may provide useful
when gluing the overall sound together. However, take note,
the hall has plenty of reverb already. Use it seldomly, if at all.
Drums Recall Sheet
Gain - Initial Volume, don’t adjust.
HF - Hi Frequency Boost/Cut
MF - Mid Frequency Selector
MF - Mid Frequency Boost/Cut
LF - Bass Boost/Cut
FX - Reverb Boost/Cut
Fader - Volume Boost/Cut
Games and Exercises
18
20
19
Backline
3
4
5
7
12
13
14
15
16
Saxophones
Conductors
6
Trumpets
The Conductors
17
8
9
10
11
Trombones
Overview
This exercise is to put the conducting role in to the hands of one section member.
To begin with the section leader [in the example to the left this is the saxophones] is to play whole
notes within a given pentatonic scale at any desired tempo.
All other members of the section are to play any whole notes within the same scale whilst trying
to follow the section leaders dynamic range and tempo.
If the leader speeds up, the other members must try to stay in time, if the leader plays louder, the
other members must try to stay at the same volume as the leader.
The leader is encouraged to perform a variety of articulations. Making use of volume, transitions
and dynamic expression.
Focus
Dynamics, Tempo, Composition, Improvisation, Listening Skills, Team Work.
Articulations Diminuendo, Crescendo, Legato, Slur, Sforzando, Morendo.
Feedback
Exercise to be over seen by band leader, engineers and workshop leaders. Once all sections have
completed the task separately, the band is to come together for peer demonstration and review.
Discussion encouraged, highlighting any flaws, success, general critique and impressions of the exercise. Feedback will be delivered verbally in open forum-peer review setting.
Learning Outcomes
Improved section awareness. Understanding tonal qualities of each individual instrument. Group
improvisation skills. Team work. Constructive awareness of strengths and weaknesses of section
members.
Variation Tip 1
one section member may only be able to play
second and fourth notes, one member may
only play first notes and another only third
notes whilst the section leader plays as they
wish.
Variation Tip 2
Try giving three section members including the
section leader only whole notes, one section
member the ability to only perform crochets
and the final section member the freedom to
improvise in which ever way they see fit.
Follow The Leader
Saxophones
13
15
16
12
17
14
Section Leader
3
18
20
4
5
6
7
19
1
2
10
8
9
11
21
Observing Band Members
Overview
This exercise is to put the conducting role in to the hands of one section member.
To begin with the section leader [in the example to the left this is the saxophones] is to play
whole notes within a given pentatonic scale at any desired tempo.
All other members of the section are to play any whole notes within the same scale whilst trying
to follow the section leaders dynamic range and tempo.
If the leader speeds up, the other members must try to stay in time, if the leader plays louder, the
other members must try to stay at the same volume as the leader.
The leader is encouraged to perform a variety of articulations. Making use of volume, transitions
and dynamic expression.
Focus
Dynamics, Tempo, Composition, Improvisation, Listening Skills, Team Work.
Articulations Diminuendo, Crescendo, Legato, Slur, Sforzando, Morendo.
Feedback
Exercise to be over seen by band leader, engineers and workshop leaders. Once all sections have
completed the task separately, the band is to come together for peer demonstration and review.
Discussion encouraged, highlighting any flaws, success, general critique and impressions of the
exercise. Feedback will be delivered verbally in open forum-peer review setting.
Learning Outcomes
Improved section awareness. Understanding tonal qualities of each individual instrument. Group
improvisation skills. Team work. Constructive awareness of strengths and weaknesses of section
members.
Variation Tip 1
Variation Tip 2
One section member may only be able to play
second and fourth notes, one member may
only play first notes and another only third
notes whilst the section leader plays as they
wish.
Try giving three section members including
the section leader only whole notes, one
section member the ability to only perform
crochets and the final section member the
freedom to improvise in which ever way they
Composition Crossroads
6
10
12
Group 1
7
15
8
5
14
17
16
Group 2
11
Group 3
4
9
18
20
3
13
19
Group 4
Group 5
1
2
21
Overview
This exercise is designed to get musicians composing and improvising with one another in groups they
have never been in before.
Groups will be formed of one saxophone, one trombone, one trumpet or combinations of a similar
nature. The backline will also form a group.
The task is for the groups to separate into different rooms and compose a unique piece of music their
choice using a single word as inspiration. The piece can be traditional, linear, conceptual, experimental,
there is no restriction with regards to the makeup of the composition.
Splitting of the groups is intended to allow each member to study and hear the individual qualities of
their own and the others instruments when in small sections.
Focus
Theme
Composition, Improvisation, Listening Skills, Team Work.
Seasonal, Scary, Joyful, Love, Regret, Upbeat, Relaxed, Passionate.
`
Feedback
Exercise to be completed independently in private among groups. Once all groups have completed the task separately, the band is to come together for peer demonstration and review.
Discussion encouraged, highlighting any flaws, success, general critique and impressions of the
exercise. Feedback will be delivered verbally in open forum-peer review setting.
Learning Outcomes
Improvisation and composition skills. Understanding tonal qualities of each individual instrument and their relationship in small ensembles. Team work. Constructive awareness of group
members
Variation Tip 1
Variation Tip 2
One section member may only be able to
play second and fourth notes, one member
may only play first notes and another only
third notes whilst the section leader plays as
they
Try giving three section members including
the section leader only whole notes, one
section member the ability to only perform
crochets and the final section member the
freedom to improvise in which ever way they