JAD
2015
Convention
Manual
A Guide to
Convention
Planning
The Johnny Appleseed District
Revised 2015
FORWARD
This manual was originally penned by the 2006 – 2007 JAD Events Team, and is an adaptation
of the Central Ohio Prelims Committee Manual jointly written by John and Bob Sommer.
The intent of this manual is to guide a JAD Chapter through the process of bidding, planning,
and hosting a JAD Convention / Contest.
Hosting a JAD Convention can be a gratifying experience for your chapter in addition to being
profitable, and offering some great local PR opportunities.
It is the hope of the JAD Events Team that your chapter, after reading over the materials in this
manual, will consider hosting a JAD Convention in your city in the near future.
THE KEY to a GREAT CONVENTION is GOOD PLANNING!
2015 JAD Events Team
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Greg Swann, District VP Events
Steve Sommer, Convention Manager & Housing (Hotel and Event Venue Contracting)
Nathan Miller, Back Stage and House Manager
Ken & Sharon Stevens, Registration Chair, and Program
Brad Scott, District Audio / Video Technician
Nathan Miller, Awards Chairman
Carl Taylor, Director of Non- Contest Activities
David Rubin, District VP Contest & Judging
The Johnny Appleseed District of the Barbershop Harmony Society
Hosting JAD Conventions
A Chapter wishing to host a District-sponsored convention
should contact the District Events Team through the District
VP of Events.
The Chapter should be ready to bring a lot of enthusiasm and
excitement to hosting a convention. Hosts are encouraged to be
creative and innovative while preserving the essence of
fraternity as well as the value of the contest site itself. Both
competitors and non-competitors are valued as convention
plans are made.
JAD Spring International Quartet Preliminary Convention
 The contest venue should have 800-1000 seats
 Ten classroom-size rooms are needed for warm-up and dressing rooms.
JAD Fall International Chorus Preliminary Convention
 The contest venue should have 800-1000 seats
 Ten classroom-size rooms are needed for warm-up and dressing rooms.
All other venue specs are approved on a case by case basis by Events once someone finds a venue
that has the required number of seats. These specifications include the cost of the convention site,
the number of hotel rooms available, cost of rooms, distance from hotel to convention site, etc.
The Chapter will provide a significant number of volunteers during the
convention to assist in various aspects of hosting the event. The
specifics of volunteer responsibilities are found in the District
Convention Planning Manual.
TABLE OF CONTENTS
District Committees and responsibilities (District Events Team)
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District VP Events & Conventions
Manager Events & Conventions
District Housing Chairman
District Stage Manager
District Registration Chairman
District Audio & Video Technician
District Awards Chairman
District VP Contest & Judging (C&J VP)
Host Chapter Involvement and Job Responsibilities
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Host Chapter involvement (general)
Local Chairman
Stage and Judges Pit Chairman
Judges Services Chairman
Transportation Chairman
Registration Chairman
Advertising & Marketing Chairman
Barbershopper's Shop (Past District Presidents)
How to Get Started
Once Your Chapter Has been Approved to Host
Committee Check List
Materials & Supplies
Facilities
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The Stage and Auditorium at a Glance
The Headquarters Hotel at a Glance
Stage and Judges pit set-up
Appendix
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A – Regisstration
B – Event Check List
C – Stage and Judging Panel Set Up
D – Materials and Supplies List
E – Microphone and Sound System Guidelines
Duties and Responsibilities of the District Events Team
District VP Events and Conventions:
 Reports to District President
 Responsible for the effective planning and budgeting, site selection, and
operation of all events held within the district, including conventions, music
festivals, alternative to competition, music and leadership training schools,
joint events with other a capella organizations, etc.
 Approves all convention expenditures before payment
 Interpret all Society regulations as they apply to District contests
 Assure that District convention manuals are up to date and used, and
Society contest sound and lighting system guidelines are followed
 Maintain a comprehensive convention history file on past and
potential convention sites
 Liaison with the Society Events Committee and, when necessary, the
Society External Affairs Committee
 Participate in training carried out by the Society Events Committee
 Report three times a year to the District president and Society Events
Committee on progress toward achieving Society and District work plans
 Attend all District board and House of Delegate Meetings
Manager Events & Conventions:
 Reports to District VP Events and Conventions
 Communication link between the local chairman, his team, and the local facilities
Staff
 Oversees all convention operations from planning stage to implementation
District Housing Chairman:
The Housing Chairman evaluates the venue site and hotels, through a personal visit
with the host chairman, after host bid has been submitted.
 Reports to District VP Convention and Events
 Negotiates final hotel rates, comps and meeting space with hotel sales
manager, after host bid has been submitted
 Secures contracts for hotels and venue after JAD Board acceptance of
bid, for Events VP review and signature
 Sets up District Master Bill for headquarters hotel
 Secures rooms for judges, C&J VP suite, District President suite/hospitality
room, dignitaries, and events team members.
 Sends hotel information (rates, address, web site, etc) to Events VP for print in
Cider Press
 Designates what District rooms will be comp
 Arranges meeting space for District meetings and AHSOW
 Contracts with "Hotel Sales and Catering" of special setups, meals and
beverages
 Supports Events VP and District Events Manager in setup on day of contests
District Stage Manager:
The responsibilities of JAD's Backstage Manager expanded in 2007 to include supervising
the following local committees: 1) Stage and Judges' Pit Set Up, 2) House and Ushers,
and 3) Contestant Hosts. Many of the duties are completed by the host local chapter, but it
is the responsibility of the JAD Backstage Manager to see that they are all completed
properly.
Stage and Judges Pit Set-Up:
 Provide for the safety of competitors and backstage visitors at all times as well as be
aware of safety concerns in the judges' pit
 Meets with ushers/door personnel prior to contest to train and review procedures
 In conjunction with JAD-VP Events and the contest CA, directs and assures
proper seating & pit accommodations (per contest manual) for judges' tables,
chairs, lights, extension cords, table coverings, water, pencil/pens, candy, trash
can(s), etc. as well as separate seating for Contest Administrator(s)
 In conjunction with JAD-VP Events, assure the stage is properly set for contest,
including microphone taping, riser lines, curtain function, etc.
 Assist in hanging JAD banners and other memorabilia
 Set podium for MC and set up JAD's "ready light" system
 Secure choral risers (at least seven 6-foot sections) for stage and the same for
the ready room(s). Also secure choral risers for photography needs.
 Obtain any required rental items (tables, sound system, monitors, choral shell,
etc.) and coordinate delivery and return
 Provide JAD Sound & Audio Technician with manpower to help move equipment (3
- 4 men needed as some is heavy equipment) to stage/auditorium area
 Provide space as needed for practice panel
 Assist JAD-VP Events in marking off "secured seating" in front row area of the
auditorium for VIP's
 Provide for copying of contest results after each session and getting copies to all
hotels and JAD registration table
 Manage stage breakdown and cleanup after the final session
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Supply registration table with copies of room assignments, floor plan of venue,
and competitor timeline
Coordinates all backstage help (runners, ready-room monitors, etc.) and
establishes competitor timelines
Provides local hosts with district 2-way radios (4) for communication purposes in
dressing and backstage areas
Secures MC's for each session - check with Events VP about intermission break
Provide for an MC dressing room
Receive all written announcements & communication for MC
Greet each competitor at inside stage door, escort them to the front curtain area,
and switch the backstage light to "ready" when competitor is prepared
Assist staging choruses and talk with director about when to open and close the
curtain - communicate this to curtain puller.
Listen intently for MC announcement to send competitor to microphone
Coordinate cleaning of all competitor dressing rooms after each session
House and Ushers:
 Provide for the safety of the audience while entering and exiting the auditorium
 Coordinate signage for venue as needed - parking, tickets & registration,
restrooms, "Quiet Please", dressing rooms, etc.
 Coordinate printed program from JAD Registration Chairman with local
advertising insert sheet
 Monitor ushers at door for opening/closing at MC's directions for each session
 Monitor clean up of auditorium at the conclusion of the contest
Contestant Hosts:
 Obtain a list of singing contestants from JAD-VP C & J
 Plan and direct competitor rotations for all sessions
 Coordinate with local hosts assigning of dressing/ready rooms for competitors
District Registration Chairman:
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Responsible for all non-competitor registrations
Maintains a list of all JAD personnel that should receive complimentary
registrations
Responsible for any early non-competitor registrations
Sets up and manages registration tables during the convention for competitors
and non-competitors
Designs and prints the program (host chapter may choose to do program and sell
ads to be printed in the program)
Prints and distributes competitor badges
Keeps account of all monies taken at the door for non-competitor registrations
Ensures all monies from the door are given to the District Treasurer
District Audio & Video Technician:
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Prepares and coordinates non-contest on-stage programming to include member
recognition and awards
Coordinates with VP Events, VP C&J and District Convention Manager to assure
sound requirements for competition sessions are met
Evaluates competition venue, formulates plan for sound reinforcement. May use
installed system, if adequate, or may provide for separate equipment
Supervises setup and teardown of sound equipment for competition. Works with
local Convention personnel and hall staff to prepare sound for competition
In a Union hall, coordinates with Union staff regarding sound reinforcement and
recording requirements and proper operation.
Provides (or arranges for) audio feed to District competition recording equipment
Is on hand for Judges' Visit and pre-contest sound check. Works with Asterisk
Judge, Contest Administrator and panel to insure satisfactory sound
Provides sound reinforcement support for other District functions subject to
availability of personnel and equipment
Awards Chairman:
 Prepares and coordinates non-contest on stage programming to include member
recognition and awards
District VP Contest and Judging:
Responsible for all matters concerning the running of the contest sessions
 Receives and validates all competitor registrations
 Make decisions concerning the running of the contest based on communications
with the Contest Administrator
 Maintains a hospitality room at the headquarters hotel for the judges' use
 Answers all questions concerning the judges' activities
Director of Non-Contest Activities
Responsible for the planning, implementation, and oversight of all organized activities at
the convention that are of a non-contest nature. The intent is to kindle a “convention”
environment that is fun and encouraging to contestants as well as our non-competing
members and guest.
The Director of Non-Contest Activities reports directly to the DVP Events & Conventions.
Host Chapter Involvement
Every member of your chapter will need to be involved, working under the direction of a
chapter committee chairman, who will work directly with members of the District Events
Team.
The following pages outline the required committees and a brief job description for each
of those committees.
Solving the puzzle of Hosting a JAD Convention
Host Chapter Committees and Responsibilities
Local Chairman: Reports directly with the District Events VP and Convention Manager.
However, he may communicate and work with other members of the District Team as
directed by the District Events VP or District Convention Manager.
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Assists in the selection of the venue and the Head Quarters Hotel
(Often times the hotel and venue will have been selected prior to full chapter
involvement).
Selects a staff of Committee Chairmen from the ranks of his chapter
Convenes meetings of Committee Chairmen
Sets calendar for meetings and agendas for meetings
Keeps and publishes minutes of meetings and distributes to participants and the
District Events VP
Appoints Chairmen of Committees
Coordinates with JAD Events VP and the committees
Coordinates with District Awards Chairman on timing and other activities, e.g.
Saturday evening show
Assures committee chairs are prepared to report at meetings and gets necessary
information to support and complete their assignments
Manages process for planning and execution
Writes welcome remarks for the contest program
Establishes an information (announcement) list for MCs prior to the contest
weekend, to be given to the District Stage Manager
Coordinates with the District Presidents for the International Representative's
needs (Spring Prelim only)
Keeps an ongoing distribution, email list and phone numbers, of all Chairmen,
selected District personnel, MCs, and any other support personnel.
Develops outline of duties and actions for each meeting, including key timelines.
Approves and submits expenses to the District (pit modification, judges' meals,
snacks and beverages for judges' room, printing of score sheets)
Equipment, Information, and Manpower Needs:
Chairman for 8-10 committees
 Member support to volunteer for all tasks
 Judges travel itineraries and numbers, including number of Contest
Administrators, where there will be a practice panel, and whether the judges'
panel is a double or triple panel.
 Needs to know any special requirements for judges, guests, or JAD officers
 Needs agendas for contest sessions, shows and awards, preferably at the time
of marketing
 Coordinates with District VP of Events on any special offerings needing coverage
in the Cider Press, e.g. family events, local attractions
 Cell phone or contact numbers for all District and Local Committee Chairmen
and District VP of Events, Contest Administrator, and District VP of C&J
 Assures that all local committee chairmen have cell phones throughout the
contest weekend and all are in silent mode while at the contest site
Housing and Hospitality Chairman - coordinates and works with:
District Events VP & District Convention Manager
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Secures possible HQ hotel(s) and requests to hold dates
(Host Chapter is NOT to contract with hotels or attempt to negotiate with hotels on
behalf of the District)
Names of hotels and contacts are turned over to District Events VP and
Convention Manager for negotiation of rooms and rates.
Coordinates with District Events VP for special needs of the District
officers
Arranges to have hotel room keys ready for the Contest Judges upon their arrival
so the Judges will not have to check-in at the hotel front desk.
Equipment, Information, and Manpower Needs
 Need number of judges, officers, contestants expected to attend three months in
advance
 Sound system for Chorditorium, contact District Audio Visual Technician
 Cell phone or contact numbers of all Committee Chairmen
Stage and Judges Pit Chairman - Reports to: District Stage Manager
 Assures stage is properly set and marked for contest (includes mic lines, riser
lines, back-drop lines)
 JAD banners hung and placed on stage
 Set up podium with microphone for MCs (co-ordinate with Sound Chair)
 Obtain choral risers (Seven (7) 6' sections with 4th step and back rail for stage
and seven (7) sections or equivalent for each ready room
 Obtain any required rental items (tables, chairs, etc.) and coordinate deliver and
pick-up
 Provides for riser setups and re-sets as required and curtain changes
 Provides manpower to assist District Audio Visual Technician in setup and
takedown. Coordinates with District Audio Visual Technician for times needed.
 In conjunction with Events VP, directs and assures proper seating and pit
accommodations, per contest manual specifications, for judges including chairs,
tables, lighting, extension cords, electrical outlets, table clothes, pencils, pencil
sharpener, water, candy, trash can, and seating for Contest Administrator.
 Manages stage breakdown and cleanup Saturday evening after contest and
show
 Provides space, materials and equipment for practice panel
 Provides for copying of contest results after each contest when released by
Contest and Judging VP, assures distribution to the registration table and
convention hotels
Equipment Information and Manpower Needs
 The number of judges, administrators and practice panelists attending the event
four weeks in advance
 District supplied banners, signs, judge's pit lights, electric cords, surge strips,
tablecloths, etc.
 Timing of the judges mic/sound system test as coordinated with Convention
Manager, preferably four (4) hours or more before Judges sound check
 A skilled lighting and stage technician for all sessions
 Needs to attend judges sound check and mic testing sessions
 Needs to secure mic tester quartets for Friday night sessions
 Source of high speed printing and or copying of contest results, (BOO/session
min). Set up with District for payment of copies. The Contest Administrator needs
20 copies of score sheets and recap sheets immediately following contest
 Toolbox and other miscellaneous items (duct tape, masking tape, extension
cords, etc.)
 Cell phone or contact numbers of all Contest Committee Chairmen
Judges Services Chairman - coordinates and works with District C&J VP
 Communicates with judges prior to contest week (in conjunction with District C&J
VP)
 Coordinates with Housing and Hospitality and transportation Committee
Chairmen and District C&J VP
 Coordinates judges gift
 Secure judges travel schedules and special food or accommodation needs at least
four weeks in advance of contest
 Obtain completed judges badges from Registration and Ticket Chairman
 Secure room at venue for judges to take breaks
 Provide snacks, food, and beverages, as required, for the judge's break room for all
sessions
 Supplies bottles of water and candies for the judge's pit (2/person/session)
 Cleanup of pit after each session and reset
 Works with District Events VP to secure dinner reservations for judges,
administrators, practice panelists, and their wives ($17 per diem for judges and
administrators) Resolve payment issues with district personnel and practice
panel
 Coordinate transportation with the Transportation Chairman, to and from airport
to HQ hotel
 Coordinate transportation to and from venue, dinners and hotel
 Arrange for one person to sit near judge's pit during entire contest to handle any
requests of the Contest Administrator
 Send names and numbers of contacts to judges, in case of delayed, cancelled or
missed flights
 Supplies panel with information and outline for the weekend, including dinner and
pick-up times to the venues
Equipment Information and Manpower Needs
 Judges names, travel schedules and cell phone numbers at least 6 weeks in
advance
 Lap desks for candidate judges, if required
 Room at venue for judges, administrators and practice panelist(s)
 Judges per diems ($7 lunch, $17 dinner)
 2-3 men to assist
 Misc. Items: cart, cooler(s), ice, cups, plates, napkins, paper towels, spray
cleaner, trash bags, coffee pot, carafe, cream (not fake), sweeteners, coffee
(Starbucks or equivalent), etc.
 Cell phone or contact numbers of all Committee Chairmen
Transportation Chairman
 Provides vans/cars for transporting judges, JAD officers, and contest officials
from airport to HQ hotel, from HQ hotel to and from venue
 Provide judges, administrators and practice panelists, transportation to and
from dinner reservations
Equipment Information and Manpower Needs
 Obtain judge's travel schedules from the Judge's Services Chairman
 3-4 men to drive vans or cars
 2 vans/buses/cars
 All travel schedules, contest schedules, dinner schedules and any special
requests for transportation at least four weeks before the contest
 Cell phone or contact numbers of all Committee Chairmen
Contestant Host
 Obtains dressing room assignments and schedule from the Back Stage
Chairman
 Greets and meets competitors as they arrive to the convention
 Works as contestant liaison for the weekend (Mr. Answer Man)
 Communicates any last minute changes to contestants and vise versa
 Has various information and maps/directions available for contestant's needs
 Available to contestants throughout the weekend
 Develops J IC (just in case) List
Equipment Information and Manpower Needed
 May need an extra person for help
 Needs program from Registration Chairman or list of competitors from District
C&JVP
 Needs list and locations of nearest tux shops, 1-hr. cleaners, pharmacy,
department and shoe stores
 Misc. items: Safety pins, sewing kit, etc.
 Cell phone or contact numbers of all Committee Chairmen
Registration Chairman – Reports to: District Registration Chairman
 Provides local staff to work registration table
 Inserts welcome letter, any advertising, maps, site layout, room assignments,
emergency numbers, and JIC (just in case) List into contestant packets
 Establish centers for distribution of competitor registrations and sale of noncompetitor registrations at both HQ hotel and the venue.
 Coordinate a timeline through the District Registration Chair for sale of noncompetitor registrations
 Set up cash box of about $300, coordinate breakdown of money with District
Registration Chair
 Collect and account for all monies received
 Turn monies over to District Registration Chair at the end of Friday and Saturday
evening contests
Equipment Information and Manpower Needed
 3-4 people/session and at HQ hotel to assist
 Non-competitor registrations from District Registration Chair
 Competitor registration packets
 Competitor badges from District Registration Chair
 Cash box
 Change for $200
 Receipt book
 Tables and chairs and signage at both the HQ hotel and venue
 Welcome letter, ad handouts, maps, information, room assignments, and JIC
(Just In Case) List, from respective Chairmen
 Pens, notepads, etc
 Cell phone or contact numbers of all Committee Chairmen
House and Ushers Chairman - coordinates with: District Stage Manager
 Acquires signage for venue, such as: Parking, registration, restrooms, quiet
please, dressing rooms, etc.
 Obtains programs from District Registration Chair and inserts from the
Advertising and Marketing chairman
 Staffs and monitors ushers at doors of venue to disperse programs, control
entrance and exit to theater during contests
 Assigns one person just outside of auditorium to maintain quiet during
performances
 Assists in clean up of theater and venue after each session
 Develops and distributes timeline for arrival of personnel
 Sets up meeting with personnel and District Stage Manager to explain duties and
any changes
Equipment Information and Manpower Needs
 Typically 8-10 people for doors including side doors, and balcony (venue
dependent)
 Signs
 Programs at least one week in advance
Advertising and Marketing Chairman - coordinates with: District VP Events
 Writes articles for Cider Press and local newspapers at least three months in
advance, clears all articles with District VP of Events
 Sells ads for program or program insert to local merchants and restaurants
 Prints programs or inserts if obtaining program through District Registration Chair
 Arranges areas, including tables and chairs, at contest site and hotel for District
display, Barbershopper's Shop, and any other chapter displays
Equipment Information and Manpower Needs
 All contest and show information at least three months in advance
 3-5 people to help solicit advertising (2-3 months in advance)
 Sample of previous year's program and inserts
 Place to print inserts
 Agreement on cost per ad
 List of local restaurants and merchants
 Cell phone or contact numbers of all Committee Chairmen
Chorditorium Chairman - coordinates with District Housing Chairman
 Coordinates with District Housing Chairman for all hotel, food, or bar needs.
 Coordinates with District Audio Visual Technician on sound system
 Obtains risers if required
 Sets up room
 Acquires MC(s) and helpers to schedule quartets and/or choruses
 Acquires coordinator(s) to greet and schedule quartets and/or choruses and work
with the MC
 Coordinates with the District Audio Visual Technician for the pick-up of sound
system and risers if used
Equipment Information and Manpower Needs
 3-5 people (MC, set-up, coordinate, cleanup)
 Sound system - coordinate with District Audio Visual Technician
 Risers, if required
 Cell phone or contact numbers of all Committee Chairmen
Convention Emergency Coordinator
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Will respond and have contacts to deal with any type of emergence that might arise
during the Convention to include: Medical emergencies, Facilities emergencies, or
Natural Disaster. If your chapter has a member that is a doctor, nurse, or county, city
Emergency Responder, those types would be a good selection for this position.
Barbershopper's Shop Chairman
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The Babershopper’s Shop is run by the JAD Past Presidents
Equipment needed at Contest Venue
3 – 6ft. tables and 3 – chairs
HOW TO GET STARTED (5 SIMPLE STEPS)
1. Read this manual!
2. Meet with your chapter leadership and members to determine their desire to host a
JAD Convention.
3. Make a list of possible hotels and contest venues in your area.
4. Contact the District Events VP or Convention Manager to inform them of your
chapters desire to host a JAD Convention.
5. Follow directions from the District Events VP or Convention Manager.
ONCE YOUR CHAPTER HAS BEEN APPROVED (5 SIMPLE STEPS)
1. Select chairman to chair each team listed in the preceding pages.
2. Sets up an accounting process for the Convention with the Chapter Treasurer.
3. Make sure system includes accounting of expenditures, petty cash for registration ,
and nightly cash deposits.
4. A date will be established for a meeting with representatives of the JAD Convention
Team and the chairmen of your chapter team. At that meeting an action plan check
list will be covered. The District Team will want to do a walk-through with your
chairman of the contest venue if possible.
5. Schedule progress meetings with your committee chairmen. Meetings should be
more frequent as convention date nears.
6. Cover the check list as part of each meeting.
7. Forward copies of the minutes of all Host Committee meetings to the: District
Events VP, District Convention Manager, and District Stage Manager.
8. All Chapter Team members must be flexible both in time and job duties for the
entire Convention Weekend.
The JAD Events Team will be on hand to help you put the peaces together.
Auditorium Requirements at a Glance
There are a great number of variables that dictate the suitability of an auditorium to be
used as a contest venue. However, there are a few minimal requirements that must be
met before it is given any consideration.
Minimal Requirements:
800 – 1,000 seats (padded)
Air-conditioned
Handicap accessible (both stage and auditorium)
10-12 feet of open space at floor level between front edge of stage and first row
of seating. Possible modifications to this space may be considered.
5. Stage curtain.
6. Minimum stage width 40’
7. Minimum stage depth from back side of closed curtain to back stage wall 29’
8. Minimum stage depth from front edge of stage to front of closed curtain 5’
9. Stage lighting and spots that will flood the entire stage with light.
10. Two rooms large enough to hold 9-sets of 4-step risers for chorus warm-up
11. Lobby area large enough to set up Registration, Barbershpper's Shop, and
other display tables.
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2.
3.
4.
Additional rooms and area a plus:
1. Third room large enough to hold 9-sets of 4-step risers to be used as a picture
room.
2. 10-rooms large enough (typical classroom size) to be used as chorus dressing
rooms.
3. Concession area or area large enough to be set up for the sale of snacks and or
prepared foods.
Note:
All negotiations and contracting will be handled by the District Housing
Chairman.
Hotel Requirements at a Glance
The hotel stay is often what our members remember long after the ringing of all the
great chords have faded. Just as with the auditorium, there are a great number of
variables that dictate the hotels suitability. Pricing and willingness to negotiate is only
part of the story. It is important however that the Headquarters Hotel meet these
minimal requirements:
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6.
Be full service (meeting rooms, hospitality space, and at least a breakfast bar.
Clean with modern amenities.
In a safe well lighted area of the city or town.
Ample parking space.
Friendly staff
Within a reasonable driving distance from the contest venue.
Note:
All negotiations and contracting will be handled by the District Housing
Chairman.
Contest pattern procedures:
Running the backstage at contest (the ‘pattern’) may be the most important aspect of our
Conventions to the competitors. The pattern must serve two – sometimes conflicting –
purposes:
1. Keep the contest moving efficiently
2. Help the competitors be as prepared as possible for their performance
To that end there are a few things the organizers must balance as they move competing
groups through the pattern:
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There should be one person designated as the overall controller of the pattern. This
is usually a member of the Events Team and that person has the final call (unless
the Contest Administrator or JAD VP C&J get involved) as to when groups should
move and if the pattern is considered ahead or behind and by how much. That person
MUST be on the radio system and should control the overall flow
The backstage workers and runners should have the next competitor ready to come
backstage as the previous competitor is leaving the stage
Getting slightly ahead in the pattern is ok, but getting too far ahead can throw a
competitor off of their preparation schedule.
Getting behind is ok – but notify upcoming competitors as soon as possible so they
can adjust their preparation
The pattern is designed to both keep the contest moving along efficiently and prevent
competitors from having too much down time at any one ‘station’ (sitting around for
too long can break a competitor’s momentum and concentration)
The printed schedule is a guideline and should not be considered as carved in stone.
The workers must adjust to local conditions (perhaps travel time between stations
takes longer than allowed for on the schedule) as well as overall changes (delays or
otherwise)
All backstage workers should know the details of the pattern – what order the stations
come, how to get from one to the other, etc. etc. Common questions are: which side
of the stage do we enter from/exit to? Where do we leave our water bottles? Where
is the nearest bathroom/water fountain? Best practice is do a walk-through of the
pattern with all of the workers before the contest begins
The most important aspect to remember while working the pattern is that the competitors
are very focused on their upcoming performance and we must be nice to them, as well as
gentle and discrete. Rushing them, berating them, or intruding on their prep time
unnecessarily can be distracting to the competitors and may affect their performance and
enjoyment of the convention. But we also must be clear and firm about where and when
they are supposed to be.
The pattern should be thought of as a bucket brigade system. When a competitor leaves a
station (or is about to leave a station) the runners should be on the radio asking for the next
group to be brought up. Competitors should not be ‘stacked up’ at a station waiting for their
turn. For example, if a competitor is still with the photographer even though the next
competitor’s photo time has come, the next competitor should be held in their previous
station (probably their warm-up room) until the current group is finished at the photographer.
The person organizing the stage entrance should call for the next group to be brought up
sometime around when the current competitor is starting their second song. This can be
adjusted for unusual situations (like if there is a longer travel time than usual, or it’s a bigger
chorus that needs more time to move, or a group with mobility issues).
The most common situation is when the pattern falls behind, or if a previous competitor
takes an unusually long amount of time. This backs up the pattern and the workers must be
very clear with the entire team on how far behind the pattern is. There should be regular
communication over the radios to all of the workers to the effect of “we are now 10 minutes
behind the printed schedule, so add that to every time”. And each worker/runner should let
the competitors know if they are behind or ahead, and by how much. An often overlooked
aspect of this would be to inform groups back at the hotel (if possible) if things are running
particularly late. They can then time their travel to the venue such as to prevent a long wait
time before they get into their warm-up rooms or other station.
The most critical station for a competitor is the Ready Room right before going on-stage.
This is where focus, nerves, and emotions run the highest – and organizers must be at their
most diplomatic. Key things are to let the competitors know – AS THEY ARRIVE –
approximately how much time they will have in the room. If the pattern has been
appropriately flexed to accommodate changes (running ahead or behind, or intermissions)
then the amount of time in the Ready Room should be as expected, even if it started earlier
or later then printed. Telling the group the amount of time, and the expected departure time
is a good process. Giving a warning before they are called to the stage helps the group wrap
up their preparations. This can be a 2 or 5 minute warning, and can be as simple as catching
the group’s eye and raising the correct number of fingers. It’s also a good thing to let the
group have their privacy as much as possible as it can be a bonding moment for many of
the competitors. Be discrete and non-intrusive, but be available for any questions. And if
something changes (like there is an unexpected delay) find a time to inform the group of
where they stand – even if it is as ambiguous as “there has been a delay, not sure how long
yet, but let me find out”. Usually if you enter the room and are obviously waiting for them
they will find a good stopping place and look to you for whatever you need to tell them.
Common problems:
An unexpected delay has pushed the entire pattern back: everyone should be listening to
the radio for the amount of delay and the overall impact on the pattern. Inform competitors
of the effect on their individual schedule
A group is missing: get on the radio and inform the main pattern organizer. If it’s a group
that has not shown up to the venue yet there can be efforts to contact them to make sure
they are not a scratch (usually the VP C&J or the Contest Administrator is most
knowledgeable of scratches). If they have been seen at the venue they may have either
gotten lost or wandered away on their own. Workers/runners should keep track as much of
possible of the groups IN the pattern just for these situations
Something is delaying travel time to the venue (especially problematic if there are no warmup rooms at the venue and groups are expected to show up and go right into photos or the
Ready Room). Rush hour traffic on a Friday night is a common cause. Get on the radio and
make sure the whole pattern team knows of the issue, and see if there is a communication
channel back to the hotel to let the competitors know to allow more time. Often the VP of
C&J will have all of the contact info for the competitors and can make phone calls or send
emails to try and warn the groups
A group is resisting moving: it is fair for a group to have their entire amount if time allocated
in the Ready Room. If the pattern has gotten ahead of published times we should try to
move everyone ahead, but the full amount of ready time is expected and many chorus
directors will (rightfully) push back against cutting that short and rushing to the stage. If a
group is proving to be exceptionally stubborn or clearly running over time by more than a
minute or so, get on the radio and contact someone on the Events Team to come deal with
it. But be NICE! Getting in a spitting contest with a competitor backstage is a ‘bad thing’
Last thoughts:
Running the pattern is a little bit like herding cats. You must know where all of the
competitors are, know what time they are expected to be somewhere, and balance getting
them to their station on time against rushing them or getting them there late
The radio is your friend – when in doubt, get on the radio and ask questions or provide
information (such as the group you are working with is running slower than expected)
There should be one designated person in charge of the overall pattern (usually a member
of the Events Team)
Runners/workers should be visible and available to answer competitor’s questions as
needed
Communication is key: between runners and the rest of the team, and between
runners/workers and competitors
Finally – remember that the contest is for the competitors! Help them enjoy it as much as
possible, and thanks for your hard work.
Appendix A
Below you will find an outline of the procedures to be followed by the Registration
Team.
1. Competitor Registrations/Name Badges
a. Chorus
i.Paid by Chorus, fees to C&J VP prior to convention
ii. By Chorus Name, picked up individually
iii. Sign in sheet in case someone else picks up a badge
iv. Sheet also verifies if they were on the list originally
v. If no badge is available, add name to the list and give them a badge
b. Quartet
i.Paid by Quartet, fees to C&J VP prior to convention
ii.In a packet with holders and lanyards
iii.Sign in sheet 1 quartet member may take all badges
c. Past District Presidents
i.No Cost
ii.All past District Presidents, Spouses/Significant Other, Children under 18
d. Judges
i.No Cost
ii.Judges, Judges Guests, Candidate Judges
e. President’s Council and Ambassadors of Song
i.Follow normal fee schedule for competitors and non competitors
ii.Match list with competitors, attach appropriate ribbons to badges
f. Events Team
i.No cost
g. Local Team
i.No cost if working the majority of the contest otherwise follow regular fee
schedule for non competitors
ii.For any person that the local chairman would like a badge
h. Non-Competitors
i.Early registrants from Website
ii.Print badges on site using label maker, helpful to have a laptop to connect
label maker to
2. Non Competitor Registrations
a. All Events – look like name badges, print names using label maker
b. Single Session – small, ticket like forms
c. Prices
i.All Events $35
ii.Single Session $20 each
iii.Students, College (Through age 24) $15 (all events) MUST BE A
STUDENT
iv.Students Through High School $5 (all events)
3. Items Needed at Registration Table
a. Money box – start with $300 seed money, all in 5s, may need to get more 5s for
Saturday (Local Team)
b. Tablet or smart phone with credit card information loaded (JAD)
c. Maps to and from Headquarters hotel and venue (Local Team)
d. Information on local restaurants (Local Team)
e. Information on local stores (Local Team)
f. Pattern for all contest sessions (JAD)
g. Room assignments and directions for all contestants (JAD)
h. Scores from each contest asap (Local Team)
i. List of prices of non-competitor registrations (JAD)
4. Hours for Registration
a. Friday
i.at Hotel beginning at noon going to 2 hours prior to start of contest
ii.Shut down at hotel 2 hours prior to start of contest, open at contest site 1
½ hours prior to start of contest
iii.Shut down at venue on Friday after the end of the contests
b. Saturday Morning (Chorus Contest)
i.1 ½ hours prior to start of contest
ii.Shut down after contest is complete
c. Saturday Afternoon (Quartet Contest)
i.1 hour prior to start of contest
ii.Shut down after contest is complete
d. Saturday Evening (JADAQC Show )
i.1 hour prior to start of show
ii.Shut down approximately half way through show
5. Volunteers
a. Registration Area MUST be manned by Local Team at all times during the
weekend (minimum of two people)
b. Volunteers must be aware there will be down times and times that are
exceedingly busy. Some volunteers may be excused after the first hour of the
competition depending on amount of activity
c. Volunteers MUST be able to
i.Multi task well
ii.Use technology
iii.Hear well
iv.Have excellent communication skills
v.Have excellent vision
d. Friday afternoon 4-5 volunteers
i.2 for name badges
ii.1 or 2 for credit card and printing badges (MUST be good with technology)
iii.1 for selling non competitor registrations
e. Friday evening 5-6 volunteers
i.2 for name badges
ii.1 or 2 for credit card and printing badges (MUST be good with technology)
iii.1 or 2 for selling non competitor registrations
f. Saturday Morning 3-5 volunteers
i.1 for name badges
ii.1 or 2 for credit card and printing badges
iii.1 or 2 for selling non competitor registrations
g. Saturday Afternoon 2-4 volunteers
i.1 or 2 for credit card and printing badges
ii.1 or 2 for selling non competitor registrations
h. Saturday Evening 2 volunteers
i.Credit card and selling non competitor registrations
Appendix B
EVENT CHECK LIST
2013 /14 JAD Spring & Fall Convention & Contest
Personnel
All personnel assigned to auditorium and back stage duties:


Should possess the physical ability to handle the job requirements for the job
assigned.
Be able to work independently following the directions of their team chair or
authorized JAD Events Team member.
Stage & Auditorium Set-Up
Personnel required: (an individual may serve in more than one capacity as long as the job
time requirements don’t conflict.
 Sound System: 3 – 4 Men capable of lifting moderate to heavy equipment to
assist with loading (in and out) audio equipment. Will need to be available Friday
morning for (load in) and Saturday night following the event for (load out). Will
report to Brad Scott.
 Hanging Banners and any Signage: 2- Men to hang JAD banners. Will report
Friday morning to install banners and any necessary signage required to give
direction to contestants, members and guest. Will report Saturday night to remove
banners, all signage and assist in clean up at conclusion of event. Report to Greg
Swann.
 Judging Area Set-UP: 4 -Men to set up tables and chairs for judging area. Will
report Friday afternoon for set up, and Saturday night at conclusion of event for
clean-up. Report to Greg Swann.
 Riser Set-Up: 4-Men to set up risers. Must be capable of lifting, and following
instructions. (May be same crew as used for audio equipment load-in and out). Will
report to Steve Sommer Friday evening following the Friday night quartet contest
for riser set up, and Saturday night following event to take down risers and load as
needed.
 Door: Will need enough personnel to cover all public entrances to the auditorium
with 2 at each door. Must be able to control traffic flow in and out of auditorium
making sure all people entering the auditorium have proper registration. They need
to be diligent in following direction from the MC as to when doors are to be closed.
Will maintain a quiet environment around the auditorium entrance while contestants
are on stage. Friendly but firm personalities are well suited for this job. Will need to
report an hour before the advertised start time of each event. Will report to Greg
Swann
 Runners: Will need seven (7) runners to move the contestants to and from stage.
Personnel selected for this job must have the ability to follow a schedule of
performance matrix, stand for long periods of time and walk at a brisk pace. Two
runners are to move contestants from warm-up room to ready room. Two runners
to move contestants from ready room to stage door, two will be placed at stage
door, and one to lead contestant off stage.
 Judges Host Drivers: Will require one or two persons (depending on size and type
of vehicle chosen) to transport judges to and from the contest venue, and to and
from meals.
 Judges Contest Site Hospitality: Two (2) persons will be required to set-up and
maintain judges’ hospitality (break lounge) at contest site.
 Registration: Will need four persons to assist Ken and Sharon Stevens at the
registration desk. This is one of the most important job duties to be filled. The
Registration desk is most often the first exposure our membership has at the
convention, and is often times where the good or bad impressions are formed as to
how well the convention is being run.
*Special note concerning advertising event “tickets” to the general public:
We do make available the purchase of single event convention registration,
but NOT ticket sales. This might sound like splitting hairs, but in some
venues the contract wording is such that selling tickets to our events can
become very costly to the JAD. Just keep it on the safe side and offer All
Event or Single Event Convention Registrations.
 Qualifications Required for Registration: Those selected to work registration
must have good communication skills. They must be good listeners, and able to
hear in high noise levels. Those with hearing aids will have a problem in this area.
They also need to be capable of handling and processing credit card information,
handle money, and excel in problem solving. Remember, those working the
registration table are the first people that every convention attendee will come in
contact with. They need to be sharp and reliable!
 General Stage Hands & Runners: (2-3) General Stage Hands and Runners are
an important addition to the team. They need to be hard working, self-starters, and
know how and when to improvise. They need to know how and where to get those
last minute things, form getting material to make a repair or adjustment, to finding
and getting special items needed by a judge or contestant. They may be called
upon to fill in any of the above positions if needed.
 Curtain Puller: May be one of the “General stage Hands” but must be designated
for the job task and briefed on responsibilities. Should be back stage at least 30
min. prior to the start of the Chorus Contest. Individual needs to be alert and follow
directions.
Appendix C
Appendix D
MATERIALS & SUPPLIES
Item
Tables / 6’ x 18”
Quantity
Location
6
Scoring Judges Area
Tables / 4’ x 18”
2
C.A. Location
Tables / 6’ x 36”
3
Registration @ Venue
Tables / 6’ x 36”
4
Barbershopper's Shop
Tables / 6’ x 36”
4
Display Areas
Chairs (folding padded)
24
Judges, Registration,
Back Stage, B.S.S. Areas
Place on C.A.s Table
Trash Can
1 – Ream
8-1/2 x 11
2
Bottled Water
6 – Cases
Chorus Risers
9 – Sec
4 – Step
9 – Sec
4 – Step
9 – Sec
4 – Step
9 – Sec
4 – Step
Printer Paper / white
Chorus Risers
Chorus Risers
Chorus Risers
Remarks
May need additional
tables for larger panels
Actual # determined prior
to convention
This number will vary
Standard printer paper
Judges Area
Judges Area, Judges
Green Room, Back Stage
Stage
May need as 11 – sets if
requested
Ready Room # 1
Ready Room # 2
Chorus Picture Room
*If the Host Chapter has problems furnishing or obtaining any of the above items,
contact the District Convention Manager ASAP.
*Materials and Supplies requirements will vary, however the above list is a good
reference starting point.
Appendix E
SPEBSQSA
Microphone and Sound System Guidelines
Written by Glen Glancy and Bill Lightner
Edited by Doug Maddox
December 11, 2009
This document establishes a common source of microphone and sound system guidelines for
the members of the Society. These guidelines provide
•
A level of understanding and confidence for discussing microphone and sound system
requirements for quartets and chorus groups with venue and contract sound
engineers. You will know why to ask for specific equipment and setups as well as what
to ask for.
•
A consistent microphone and system design technique to be used at local, area, and
district level events.
The Microphone
The beginning of the sound system chain is the microphone. No sound system can make up
for poor microphones, and no show—whether it is held in the local grange hall or on the
international championship competition stage—will provide a fair representation of the
talents of the performers to the audience without good microphones.
Microphone Recommendations
Any reasonably large city will have an audio rental company that will provide – via UPS if
necessary – rental microphones of studio quality. Rental rates vary, but you can expect to pay
between ten and twenty dollars per microphone per day of usage. You do not pay for the
time during which the microphones are in transit, only when they are in use.
The following lists provide the names of commonly available small diaphragm cardioid
condenser microphones, which are suitable for use with both quartets and choruses. We do
not recommend large diaphragm condenser microphones – the choice for vocal recording –
for SPEBSQSA events. When floor monitor speakers are used at the singing position, the
typical loss of pattern control at low frequencies in these microphones results in feedback. In
simple terminology, the monitors cannot be loud enough to be of benefit to the performers
before the sound from the monitors is picked up by the microphones and re-amplified,
causing what is known as feedback. Small diaphragm microphones provide better low
frequency pattern control and therefore can be used successfully with floor monitor speakers.
Recommended Microphones
“A” List
“B” List
Sennheiser MKH 40
AKG
AudioTechnica 4051a
AKG C460-CK61 or 480-CK61
Schoeps MK4
AKG C451E
Neumann KM140
Shure SM81
C391B
Neumann KM 84
Neumann KM 184
Quartet Microphone Setup
A pair of the same microphones, such as two Sennheiser MKH40’s, should be mounted to a
single mic stand using a device called a “stereo bar.” A stereo bar is a simple flat bar that
attaches at the center of a standard mic stand and has a slug at each end for attaching a
standard mic clip to the bar. Microphones attached in such a manner can then be aimed by
adjusting the clips to point the capsules in relationship to the performers.
Choosing a Mic Stand
If the stage is a permanent one, we recommend an Atlas Soundolier MS25 stand with a boom
attachment. This is a heavy-duty stand with a tripod-shaped heavyweight cast iron base. It is
capable of supporting the microphones on a boom without additional weights to hold the
stand in place. The boom attachment places the vertical portion of the stand out of the way
of hand gestures by the performers. Straw hats, canes, and other props have a knack for
finding their way against a mic stand.
If the stage is a temporary one, we recommend an Atlas Soundolier BS36 stand placed on the
solid floor in front of the stage, weighted if necessary, and extended to place the
microphones on a boom at stage height. You have seen this method used for the past several
years at Internationals. It keeps the stage noises caused by performer movement from being
picked up mechanically through the stand.
Aligning the Microphones
The microphones should be at mid-chest height for a “standard” six-foot barbershop singer or
higher. The microphones should be adjusted so the capsules are at the same point in space,
perfectly aligned vertically with one atop the other, and as close as possible without the
microphone bodies touching each other (Figure A). Since you can actually see the capsules on
most of the microphones we recommend, this should be easily accomplished before placing
the windscreens on the mics.
When viewed from the top, looking down at the mics (Figure B), the capsules should create a
pickup radius of about 180 degrees horizontally. So, if you begin with the capsules 90 degrees
to each other and increase that angle by moving the capsules another 15 degrees each, you
should be close to correct. The capsules should appear to crossfire and aim at quartet singing
positions one and four. Only mic tests, which are described later, will confirm the accuracy of
the alignment.
FIGURE A
FIGURE B
Marking the Toe-Line Radius
The next essential step – critical in competition but proper for shows as well – is to mark a
standard radius on the floor that the performers are not allowed to cross. This “toe-line”
radius should be approximately 36 inches from the center point of the microphone setup.
Mark the floor with white tape or some other highly visible method that the performers will
be able to see even with stage lights in their eyes.
Placing the Floor Monitor Speakers
Floor monitor speakers should be placed behind the microphones, between the lip of the
stage and the rear of the microphone array. Place the speakers as close to the vertical mic
stand as possible, angled out to face the performers. One speaker should serve performers
one and two, and the other should serve performers three and four.
The speakers should project sound toward the least sensitive area of the microphone pattern.
With cardioid microphones, the least sensitive area is the backside of the capsule; therefore,
you would aim the speakers at the tail of those microphones. Slight adjustments may be
necessary to find the best sound gain before feedback, but generally this location will serve
the needs of the performers. Adjustment of monitor EQ will be necessary to maximize
available gain before feedback.
Testing the Microphones
The off-axis pattern variations of the microphones are sufficiently different to require the
following steps, although the setup may appear to match the preceding instructions. Perform
the following steps to test the microphones:
1. A single person, a talker, should alternately stand at quartet singing positions one and
four, speaking directly on axis to each of the microphones, while the sound system
operator adjusts the signal levels to match when heard in the house speakers. An
appointed listener should be in the house to confirm this matching process.
2. The talker should stand exactly between the microphones and, while speaking, move his
head within a one-foot side-to-side distance to assure that no coloration of the sound
occurs between the pickup of the two microphones. This sound variation is caused by
“phasing,” which is a time domain problem between the two capsules.
To fix a phasing problem, move one microphone along its own axis, in towards the other
microphone or out away from the other microphone, until no “seam” in the coverage
area can be discerned. It is important to retain the angle of the capsules to each other and
move only the relationship of the capsules in the horizontal plane. The mechanical center
between two microphones and the acoustical center between them may not be the same
due to the physical makeup and construction of the particular microphone model. This is a
result of construction techniques employed to tune the pickup pattern to the
manufacturer’s design criteria.
3. Confirm that this pair of microphones picks up all four voices with equal level. The talker
should speak into the mics while moving around the toe line through the four singing
positions. The listener should perceive no apparent level difference for those four
positions.
To verify the mic levels
•
If the two outside singers appear to be louder than the two center singers, reduce the
angle of the mics from the 110-120 degree setup to a setup closer to 90 degrees.
•
If the center singers are too loud, increase the angle of the mics beyond the
120degree point. This is a subtle adjustment. A couple of degrees will make a
difference. Be sure to re-check the center pickup point if you have to make this
change.
Proper setup and testing will result in a microphone array that will provide an accurate and
sonically awesome representation of the quartet’s barbershop sound that will both interface
with a mono sound reinforcement system and also provide an excellent stereo pickup for
recording.
Quartet Sound System Setup
We recommend that you bring a quartet or chorus recording with which you are very familiar
to the venue and play it back over the system. To adjust the sound system, perform the
following steps:
1. Walk throughout the seating areas and listen to how the system reproduces the music.
This procedure is also advisable for selecting a venue for a barbershop performance.
2. After comparing the sound of the disc as you know it to how the music sounds in the hall,
ask the sound system operator to make any necessary equalization adjustments – bass
and treble control changes – on the CD input modules of the mix console until the
recording sounds correct. Explain to the system operator that you want the live show
sound to have the same tonal qualities.
3. Find a willing and capable quartet to test the mics. Have them take the marked positions
and sing while you and the system operator fine tune the sound. Take your time doing
this. Make small adjustments until you are satisfied.
4. Make it clear to all concerned that the system is not to be further adjusted by anyone
before showtime. Final system tuning is best done when the hall is full, as described next.
5. When the audience is in place, you may find that the overall sound level control will have
to be increased to compensate for the changes in acoustics that result from the hall being
full of people. Small changes in equalization may also be necessary.
6. While you have a quartet on stage to sing, you should arrange to have either the Contest
Administrator or his designated representative involved in the final system tuning process.
This cooperative effort should assure that the panel will accept the competition mic tester
performance with little or no request for further adjustment of the sound system.
Chorus Microphone Setup and Sound System Tips
The microphones listed earlier in this document also can be used for reinforcement of a
chorus.
Placing the Chorus Microphones
Three to five microphones should be used, depending on the size of the chorus. These mics
should be hung six to eight feet in front of the front edge of the first riser step, and in an arc
matching that of the risers. Proper hanging height places the capsule slightly above the heads
of singers standing on the top row of the risers. The axis of the microphone should be aimed
down at the mouths of singers on the middle row of risers.
When choruses perform all or a portion of a selection off the risers, we recommend that
microphones designed to be placed on a flat horizontal surface, such as the Crown PCC 160,
be used at the lip of the stage. For example, when choreography is part of the stage
presentation, these microphones will assist in retaining the full choral sound while the group
is away from their riser positions. Place three microphones at the lip of the stage, one in the
center and two others spaced eight feet on each side of center, all three placed eighteen
inches upstage from the lip.
Testing the Chorus Microphones
Follow the same guidelines as for the Quartet Microphone Setup.
1. Make sure that a talker walks the risers from end to end while a listener helps the sound
operator adjust the microphone levels until they are matched in the house.
2. Listen to a known CD source and adjust the sound in the house so the sound system
operator knows your goal for finished sound.
3. Proceed with a thorough sound check with a mic tester chorus. Take the time to make the
adjustments required.
4. Arrange for the Contest Administrator or his designee to be present and to assist in the
final settings.