Canadian Musician - January / February 2020 | Page 60

LIVE SOUND
Jacob Hamayda is a live production specialist with over a decade of experience. He has worked as an FOH
engineer, tour manager, technical director, venue owner, and currently calls the rental desk at
Apex Sound & Light in Pickering, ON, home.
By Jacob Hamayda
Be Stage-Ready
Do’s & Don’ts for Artists from a Live Sound Pro
Part 2
P
icking up where we left off in part one in the Nov./Dec.
2019 issue, here are a few more do’s and don’ts of the
stage from the perspective of a small venue set-up for
an opening artist on a multi-artist bill.
Do: Get your monitor mix right.
Don’t: Assume the sound guy can hear what your hearing.
Monitors are speakers placed in front of the performers to allow
them to directly hear back their desired mix of inputs. In most
venues with a smaller capacity, monitors will be overseen and
mixed by the same tech who’s mixing for the house. While this is
common, it is not an ideal situation for anyone. Since the techni-
cian can’t hear what you’re hearing on the stage, they’ll be relying
on your communication for both volumes and tones.
Knowing what to ask for and how to ask for it will help you
to present a great show. Proper sound checks should make this
very achievable. It’s helpful to have a very basic understanding of
frequency and to communicate if there are any general overtones
or trouble spots in your monitors. (In a perfect world, this would
be dealt with before you hit the stage.)
If you’re doing a line check, the easiest and most direct way
to get everyone’s monitor mix dialed in is to simply provide your
sound tech with a visual cue for “more in my mix, please.”
While working through your input list one input at a time, put
your hand up if you want it in your monitor. Then take your hand
down when you have enough in your monitor. This provides a
clear, non-auditory cue for the sound tech to follow. Simple but
effective.
Do: Kit-share.
Don’t: Hire a drummer who can only play his/her kit.
If you’re not headlining, you’ll often be asked to “kit-share” to save
space on stage and time in change-over. One of the opening
artists will typically provide shells and cymbal stands while each
subsequent drummer will provide their own breakables. Break-
ables include but are not limited to: drum throne, cymbals, sticks,
kick pedal, and a hi-hat clutch.
Tip: Though the clutch is often included with the hi-hat stand,
they tend to walk away during set changes, so be prepared and
travel with your own.
60 CANADIAN MUSICIAN
Do: Have a set list
Don’t: Play beyond your allotted time
In what seems like a total contradiction to the last handful of hours
you spent in the venue, once the doors are open, there is a rigid
schedule to adhere to. Know your song lengths, your transitions,
and your total set length and plan accordingly. Make sure your
band members can see a copy of the set list and that this set is
rehearsed and timed so that it will not exceed your allotted time.
Do: Tune your instruments ahead of your start.
Don’t: Leave dead air.
Nothing makes or breaks a set like the transitions between songs.
Often overlooked by the novice artists, this is a key stagecraft skill
for performers. Five seconds of dead air while you stare at your
guitar tuner can kill the buzz in a room like someone pulled the
fire alarm. Work with your bandmates to plan your song transi-
tions, your tuning times, and your conversation points. Knowing
who tunes, who can lead-in on other songs, and how to hold the
audience’s attention during those changes is key.
Do: Clear equipment after your set.
Don’t: Go for a beer.
Nothing will irk a band or sound tech more than an opening band
finishing their set and then immediately disappearing for the next
15 minutes. Once your set is done, clear your equipment, break
down your drums, and if your amps are staying on the stage,
make sure to push them to the back.
Do: Remember it’s a small world, and personal connections
make a huge difference.
Don’t: Overestimate your ability to put bums in seats.
You’ll never guess who just got signed… Bands and techs move up
in the world. Making and maintaining relationships is an integral
part of your future success. Don’t underestimate the power of
kindness and karma; it’s got a funny way of working out.
Do: Be polite and professional.
Don’t: Be that guy.
At the end of the day, it’s about being approachable, polite,
and prepared. It’s okay to be new and to be uncertain; you can
ask questions and request clarifications. In the end, a good and
professional attitude will go a long way to advancing your career
in the arts.