My festival strategies

Jay Barracato

Jay Barracato

Graduate Student
Jan 11, 2011
1,528
4
38
Solomons MD
I have been thinking about this... and then Dave Rat went and published an article before I could write it up. Well I figured I would write it up anyways.

One of my current bands uses a nonstandard stage arrangement for bluegrass festivals. Typically I will have 10-15 minutes to get it onstage and setup to the point where I can check levels. Here is my current strategy.

1. Advance, advance, advance: make absolutely sure everyone knows what I am bringing and how I plan to get it on stage and off.

2. Show up with stage plot in hand so the stage crew knows exactly what is going on. Extra input list to FOH. Confirm the location of the stage box and power drops.

3. The band is on IEMs with self contained split and monitor board for onstage. This includes our drop snake at center stage and the tails to the stage box.

4. I carry my own complete mic package so I have basic gains/eq the same from show to show. I also carry mic stands and two cable looms. Basically if we need it onstage I have it.

5. Prior to changeover I set up the six mic stands with the appropriate mics. 3 of the six also get side arms for instrument mics. The mic stands are numbered by position corresponding to the stage plot. I have two cable looms (one for SR and one for SL). Both ends of the loom are labeled. At the female end, the labels correspond to our input list. From there on, everything is by channel number. The male end is labeled with a channel number where it goes into our drop snake, which goes to the same number in the splitter which comes out on the tail to the stage box. All the FOH has to tell me is the first open channel I can use and everything is in numbered order from there.

6. Each musician brings their instruments and stands onstage (6 people play 14 different instruments). I patch the mountain dulcimer, each musician with a DI patches their own.

7. At this point, I get to run to FOH. Hopefully everything is zeroed. One musician gives me a level check. I can set all the other levels relative to that (that is the beauty of using the same mics show after show). I then run a sequential line check where I set gain and eq for all 16 channels.

8. The band soundchecks one song (verse and chorus) so I can check relative level of instruments vs vocals and double check channel dynamics where I am using them. Usually after the first song the band leader tweaks their monitor mix (which is also very consistant from show to show because of the consistancy of the stage setup and the mic package). During a second soundcheck song I usually check vocal effects. At some festivals this soundcheck is done with headphones, but at manybluegrass festivals it is done with the system live. Being successful at this requires a tech who is familiar with the band and for the band to practice how they are going to soundcheck. The band opens live with a short intro instrumental to give me a final level check, before ripping into the first song.

9. After the band finishes playing, each musician removes their instruments and instrument stands from the stage. The mic looms are unplugged as are the tails and drop snake. Everything can then be wheeled off stage, and cleaned up at my leasure during the next act.
 
Re: My festival strategies

Get there early.

Make sure that the stage tech has the correct stage plot and input list.

Hang out at mix position (without getting in the way). Introduce yourself to the house tech.

How does it sound at mix? Step off the riser, walk the venue, and see how it sounds. What would you change? Check out the house eq, see what's being done. If something sounds really off, see if you can, without getting in the way, find out why.

I can't emphasize enough the importance of checking it all out before you walk out to mix your band. Have a strategy for what you want to change.

If there is another guest engineer, ask him how it went after his set. If the system tech has a set where he is not mixing, ask some questions.
 
Re: My festival strategies

My festival strategies involve extra socks, plenty of gold bond powder, and lots of fluids, and one of these......

images
 
Re: My festival strategies

Good plan so far. We've talked a little about this but here are a few things to add to the fail-safe list.
What to do when:
there aren't enough available channels for your normal configuration
fest sound person has territory problems about channel strip eq/stage mics
the festivals has mic stands numbered but don't number the cables at the snake head. What plan do you have for replacing their mic cables?
your loom is too short.
 
Re: My festival strategies

Jason Raboin said:
Get there early.

How does it sound at mix? Step off the riser, walk the venue, and see how it sounds. What would you change? Check out the house eq, see what's being done. If something sounds really off, see if you can, without getting in the way, find out why.
Click to expand...

All good advice Jason, but I really wanted to highlight this one. I am perpetually early for this exact reason. When walking the venue, it is also important to look at the configuration of the system. Where are the mains, where are the subs? Are there any fills or delay? I try to coorelate what I hear in different places with what I see on house graphics. Is FOH sitting in a null or addition zone for the subs?
 
Re: My festival strategies

mark anderson said:
Good plan so far. We've talked a little about this but here are a few things to add to the fail-safe list.
What to do when:
there aren't enough available channels for your normal configuration
fest sound person has territory problems about channel strip eq/stage mics
the festivals has mic stands numbered but don't number the cables at the snake head. What plan do you have for replacing their mic cables?
your loom is too short.
Click to expand...


Mark,

I see you have run into some of the same promoter/providers I have. The problem of not enough channels, whether it be on the board, or on the snake seems to be fairly common. This one comes down to the advance. My rider says very specifically 14 channels. I highlight that in my initial contact. That doesn't mean a "12" channel board where a couple of them don't have mic preamps. It doesn't mean a 14 channels board where "sorry channel 1 and channel 8 aren't working". My common solution is just to bring my own board and hand off L/R to the system instead. Lack of snake channels may leave me mixing at side stage, but that is not an overly critical problem.

I don't know of any bluegrass band that has ever turned down a decent paying gig for technical reasons, but sometimes it comes down to meet my rider and get our greatest show; don't meet the rider and I will use my knowledge and experience to do the best we can but at the end of the day the pay is the same and we will be on to the next gig.

My rider has no brand names on it. Anything that is brand critical (like the mic package) I will provide. Most of the words on it are actually stage and electrical safety items.

Of course, even after advancing a show, we arrived at one show earlier this year where they had no clue where on stage they were going to put 6 people with instruments. We did end up with a bad compromise but that one was almost pay us and let us go without playing.
 
Re: My festival strategies

Graham C Mellor said:
Wow, someone else out there knows what a mountain dulcimer is????? I think I landed on the right thread tonight!
Click to expand...

I get to work with one band occasionally where the lead singer switches off between a Chapman Stick and a mountain dulcimer - that he plays standing - kind of brings some of the Stick techniques to the dulcimer. Add a second Stick and some Congas and Bongos, you have the band. Ever try to mix two Chapman Sticks from stage side - it is really tough to see who is playing what when.

But I digress...

Jay - great write up - Thanks!
A lot to learn there even if one is not the BE.
 
Re: My festival strategies

These are some great tips. Festival season is exciting times for all.

What I'd love to see, is some input from my monitor brethren out there and their approaches to mixing in festival fashion. I know half the time it's just throw up the faders and hope for the best but I know there is more to that and you have huge festivals like Coachella and Bonnaroo that go down without a hitch and leave the performers happy. (I don't see how that can always happen, but you get my drift). I've done festival style work, but never on a level like that, but one day.

Care to share any secrets anyone?
 
Re: My festival strategies

John O'brien said:
These are some great tips. Festival season is exciting times for all.

What I'd love to see, is some input from my monitor brethren out there and their approaches to mixing in festival fashion. I know half the time it's just throw up the faders and hope for the best but I know there is more to that and you have huge festivals like Coachella and Bonnaroo that go down without a hitch and leave the performers happy. (I don't see how that can always happen, but you get my drift). I've done festival style work, but never on a level like that, but one day.

Care to share any secrets anyone?
Click to expand...

I'll assume we're talking about wedges. First, for each act, I mentally block off each setup into what I would call "hearing zones". I try to think what the performer in that zone hears of their own instrument in comparison to the other instruments around them. After setting my gains (conservatively, of course) I make my mixes an even balance of each instrument/vocal, with a little more of the lead(s) in each mix. I always try to talk to the group while they wait in the wings (if possible). I use "thumb up" for "more me", "thumb down" for "less me", and if they want more/less of someone else, they motion or down for that person's mix number (1, 2, 3, etc.). Even if they forget, I can usually figure it out by how they motion to me. The only person I set certain things in stone with is the drummer since they can't usually signal to me.

Hope that helps.
 
Re: My festival strategies

Jay, I love how your game plan! FYI, here is ours:

We are a 12-piece folk band, 22 inputs (no drums) and 2 sound techs. Most festivals we play, we do get decent time for a soundcheck in the afternoon but change-overs need to be fast.

Our strategy is based on two key principles: our mixing is performed wireless using a tablet and ipad on a IDR-32 we bring and we bring our own stage cabling, microphones, stands, etc.

With our strategy, we only use the house PA and monitor wedges. The IDR is connected to the house system using an XLR snake with channels: Main L, Main R, Monitor 1, 2, 3 and 4.

Stage cabling is provided in three boxes, each with a snake and the XLR cables already connected to them. Everything is labelled and the band is able to setup the stage within minutes.

Of course, the IDR already contains our preset, so the soundcheck is mainly used to set the monitor levels. This is easy since the tablet allows me to walk on stage while setting levels.

One day, I hope we'll also switch to in-ears to eliminate the wedge-dependency.

Frank
 
Re: My festival strategies

This past weekend, the festival I originally had booked was cancelled about a month ago. Despite knowing the weekend was free, I really did not get around to thinking about plans until the last minute. I wasn't up for the idea of tempting traffic after school on Friday, but I did wake up on Saturday and think "What the hell, go to a festival". I did end up seeing a couple of important examples of what I think is an important rule for mixing festivals:

Be agressive in getting to your mix... this is no time for the meek.

On a side stage, I watched an act that I am extremely familiar with breaking in a new young BE. Most of the line check was spent with 2 vocal mics (KSM9's) that should be extremely predictable. It was clear that this tech was most comfortable with a methodical approach. It was tweak and listen, then tweak again, but with one channel at a time. As a result, he was working on minor details on one channel before addressing major problems on others. By the fifth song when I walked away, he was just starting to balance total vocal level with instrument level.

Basically, if it takes one song per channel, and you have 5 instruments and 4 vocals, your set is over before your mix is set. Sometimes, it is far better to make a couple of big steps than a whole lot of little steps. If the step is for the better, most of the audience won't even notice.

In contrast, I wandered over to the main stage to see a band I have heard about but never heard. Mixing the band was an extremely competant engineer (I have seen him do a large number of shows, and I rarely have any complaints about his mix style). All three of the lead instruments had level problems, and the mandolin was obviously distorted. The mandolin was plugged in through a pickup system and also had a instrument mic. Watching the "JumboVision" showed the player was all over the place with the distance to the mic. I am not sure but there may have also been a boost pedal on the pickup channel. The experienced tech reached over and grabbed a fader (my guess is the one for the instrument mic) pulled it totally down, listened for about 2 seconds and then pushed it back up part way. Since I had the visual clue of what he had done, I could hear the slight change, but I guarentee no one else did, or if maybe 1 in 20 knew that something changed, I am sure they didn't know what it was.

Thats the lesson, make the needed change and make it quick.
 
Re: My festival strategies

i think jay hits a really important nail on the head here. festival mixing is about speed, and then, if you're lucky, precision. dive in, get it close and listenable fast, and then take the time if you have the luxury to make it sound great.

i used to do an outdoor orchestra show series every summer. picture band shell with giant scaff towers left and right. pa had to cover 10 - 15 thousand people without delays, so close miking was the only option. most shows i had at least 60 inputs. for some i had over 70. used a PM4000 and a sidecar. and since it was hot and the orchestra was union, there was NO sound check. we line checked it all, and at showtime i had to dial in a 70+ input mix in front of a few thousand people. in that situation you learn to work quickly, get it close in 2-3 minutes max, and then spend another 5-10 dialing it in. after that, since it was an orchestra, i let the conductor do the mixing and i just sat back and listened along with everyone else. some of the best experience i ever had. makes doing festival work with bands seem like child's play... :)
 
Re: My festival strategies

I think this weekend I drew to an inside straight.

Had a festival Friday in Kentucky and my only advance contact was a dead end. After several no responses, I showed up early on Friday to make sure I could get what I needed because the printed schedule only had 10 minute changeovers. When I arrived at the stage the rig looked extremely familiar and sure enough the tech that I was referring to in my last post showed up with crew. Like I feared my technical advance had never been forwarded through the festival staff. I explained my needs with the mic package, split and in ears and found out that the other two evening bands were set up similar to me (one with split and iem monitors on stage and one with iem run from FOH).

Since I trusted the FOH tech, I thought the easiest thing was for me to supervise the patching on stage and have him rough in my gains while we worked. His stage crew had no problem with my patching instructions and everything went right up. I got to FOH and found my exact layout on a custom layer on a LS9 with high passes on everything but the bass, eq's flat, compressors dialed in with the thresholds all the way up, and both instrument and vocal effects ready to bring up to level. I quickly added a little of my standard starting eq for my vocal mics and instrument mics, dialed in the compressors, and we were into song one within a couple of minutes. With the scene saved, we got patched and into set 2 even faster. As I would expect from any competent system tech, none of my board eq's were more than 3 db from flat and I never even looked at the system eq. It is so nice to be able to use board eq for creating space in a mix for each player rather than being forced to use it for damage control.

One thing I know I have to work on is the effect level on the 01V/LS9/M7 series. It always seems like it goes from not really there to too much on me. I seem to be able to get what I want from the same effects on a SPX900, but the built ins still seem a little elusive to me. I also picked up a good simple trick of pulling back the instrument group between songs to help eliminate the resonant mud from the stageline stage during the spoken word parts. Probably something I did know from some point in my experience but had not been thinking about recently.

As a study in contrast, we were hanging out with another band that had played the main stage the day before and was scheduled to play a side stage just after dinner. So I went to tell the FOH tech where I was going to be and since I knew the band he asked if I would mix them. It turns out the side stage was not being provided for by the main company but by a local band who brought in their own stuff. it turns out, the band member who was meant to be mixing the side stage was also scheduled to be performing on the main stage. The FOH tech had told the festival promoter that he would cover it with his crew, even if it made him a little thin on the main stage. My covering it for him seemed easy payback for how easy he made our main stage sets, and it was a first opportunity for me to work with a band that it is likely I can get some future gigs from. The promoter was extremely happy and seemed to think we had pulled off something amazing.

I went over to the side stage and found an absolute mess. Most of the mics were early 1970's vintage. The powered mixer had an 1/8 of an inch of finger oil and dust fur stuck on it. There was no way on the mixer to tell if a channel had a signal or relative level. I went back to my truck and ran into the band leader and told him "say yes", so he said "yes, what is the question?" . The question was "Since I am going to mix you, do you mind if I dip into my personal mic box and put up something that might actually sound decent." Even so several things in the stage patch were tangled, and I could not figure out where the banjo was. We never did a sound check, just walked up and started playing. In the small tent, the stage volume of the banjo was close to the amount in FOH so I ended up turning up three different channels: the one that matched the label at the stage, the one that matched the label at the board, and the last remaining channel on the board that had something plugged into it that I had not identified. After the set was done, it took us all of 5 minutes just to strip all the cabling down and re-patch it in a way that matched the labeling.

There were some other odd things from the festival but they weren't tech related, so thanks to Jason and crew for making that part run the way it should. It was the good part of a weekend that went from bad to worse quickly. I blew a spark plug out of the head in my truck on the way to Saturday gig, was towed into a dealership after the service department was closed, and then only managed to rent the last car available in town 1/2 hour before they closed. It was the fourth place I had tried. I still managed to beat the band to the next venue, they were dragging even more than me. Since I had to go from my F250 down to a Corolla, I had to leave behind my FOH processing rack which I could have really used for Sunday's show. Sunday was going to be a performance "under the stars" that got poured on just as we started setting up so we moved into a tent with all that involves. After adding in rapidly changing temperatures and 100 percent humidity, it was a good thing the system tech had a good ear because there was something my tired ears just couldn't identify. I guess that was the last lesson of the trip. Driving, even with the radio off, is not really resting your ears.
 
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