Stagecraft
Being involved with many concerts and those who can already play but sometimes struggle with the demands of performing on a stage, I've become aware of the need for advice on stagecraft. It's one thing being able to sing and play an instrument. It's another matter to ensure that those noises you are making, turn into a beautiful sound that the audience can appreciate. The article below represents my own personal opinions, based on personal experience. So as a precautionary measure, please accept the opinions expressed as purely my own viewpoint, you are entitled to disagree.
STAGECRAFT FOR MUSICIANS
by José Garcia, Feb 2014
Who needs stagecraft?
Anyone who has to get up a stage in front of others will need to have some understanding of stagecraft - the technical aspects of public performing. The level of complexity will depend upon your act and to what standard you're aiming for.
Typically the sound engineer and/or master of ceremonies (MC) will worry about most aspects of the signal chain that is created between you and the audience and you will not have to worry about all the complexities. However, if you wish to take more ownership of your sound and to work more closely with the setup and assist with problems that might be encountered, it pays to have some technical understanding.
For a musician, the primary aspect of stagecraft is to ensure that your sound is delivered to the audience. Other aspects include: ensuring the audience can see you and that your position and movement on the stage is engaging; that the stage is free of clutter and is safe for easy movement; that transitions between songs and other acts are as smooth as possible. This article will examine the essential aspects of stagecraft, stemming from my point of view. I am not a professional sound engineer and so these comments are from my own personal experience, not from professional training or research.
Sound Engineer & PA System
In contrast to small unplugged performances, in large venues there is usually a Public Address (PA) with large Front of House (FOH) speakers up on stands, broadcasting your sound. If your sounds are not being collected through the right microphones with the right settings, the audience will hear nothing. This is where the sound engineer steps in. It is this person who determines your audio mix, especially when there are multiple sound sources, such as those in a band. You need to know his/her first name, as you will often be trying to attract his attention. You need to be able to work with him and not 'boss' him around. It's a tough job getting the sound right for any venue and the efforts that go towards this objective are often underestimated, so it's important to acknowledge the "sound guy".
Sound Requirements
The first thing the sound engineer will need to know is what your sound requirements are - what needs to be amplified. It may be as simple as a guitar and vocals or as complex as 16 plus inputs including a drum kit. Determining what the sources or inputs are, will in turn determine the best way to amplify these sounds. The methods for this vary greatly, depending on instrument type or vocal style (e.g. choir, solo, side-by-side harmonies). Know what these requirements are and communicate it clearly to the sound engineer before the event.
DI Boxes, Microphones and Positioning
Typically instruments will be connected to a Direct Injection (DI) box and then connected to the mixing desk with XLR (microphone) cable. Generally speaking, active DI boxes (with batteries) can be used with any type of instrument but are compulsory for passive instruments (without batteries). Passive DI boxes (without batteries) can be used with active instruments (with batteries) but tend to be not so good with passive instruments. I say typically, because some performers prefer to have microphones placed in front of their instruments. DI boxes are essential to provide an appropriate signal to the mixing desk. Without it, you have very low volume levels and unwanted noise collected from the environment and introduced into the sound mix. For short runs where the distance between the instrument and mixer is limited, and for some particular mixing desks, you can bypass a DI.
Generally the microphones used for instruments have what is termed "flat frequency response", meaning that they capture an even sound across the frequency spectrum. In contrast, many vocal microphones contain a slight boost in some frequencies. This deliberate manipulation in how sound is reproduced, can be beneficial in providing a "better" sound for vocals. However, they can also make instruments sound unnatural.
Instrument microphones pointed near where the guitar neck joins the body tend to produce a more manageable sound than those pointed directly at the sound hole. The latter method whilst producing a louder sound, can often be accompanied by excessive boominess in the lower frequency range. Some musicians, like to blend the instrument sound from two or more sources (popular in studio settings).
Understanding how microphones work, their polar patterns (areas where they collect sound) and limitations, will aid in helping produce your best sound. It is all too common to see performers singing and not hear their voices, because they are singing into the wrong part of the microphone. How you use a microphone or 'Microphone Technique' is an important aspect of stagecraft that all too often is neglected.
This article won't cover all the points of microphone technique, but the main things are to know the 'sweet spot' of your microphone and adjust your vocals accordingly. When using microphone stands, establish your performance position first and then adjust the microphones, not the other way around. Your position needs to be in a location where the public can see you with minimum obstruction. A music stand, if used, needs to be in a direct line between you and the microphone. If not, your head will constantly be turning to see your notes and will create unnecessary stress during the performance.
Be aware of exit and entry points to the stage. Sometimes a particular side will be designated as the entry or exit point. This is particularly true for busy stages with multiple acts and lots of gear. 'Stage Left' refers to the left of the stage from the perspective of the performer, it is the same as 'House Right', the reverse applies for the right hand side. Avoid approaching the stage from the front, it's easy to damage equipment and yourself from that approach.
Using a seat
Sometimes I use a seat, but for the vast majority of performances I stand. Standing allows you move around and respond dynamically to what's going on. If seated, it's better if the chair has no arms, to free your arms to play an instrument and stop you from reclining into a relaxed position. You want to engage, not spectate. High bar stools are ideal, particularly for venues with no stage. Using a short seat means the audience will have problems seeing you.
Foldback Speakers
Foldback or monitor speakers help performers hear themselves. These speakers generally sit on the stage floor and point back towards you. Some performers, particularly quieter ones don't use them at all. If you use particularly sensitive microphones such as condenser microphones, the chances of problematic feedback increase with the use of monitors. It's important to note that what you hear on monitors as a performer, can be completely different from what the audience hears through the FOH speakers.
Ideally cardioid pattern microphones have foldback speakers directly behind them and hyper-cardioid microphones have foldback speakers behind and slightly to the side. These will then sit in the "null' zones of the microphone and help reduce feedback. When conducting soundchecks, you can tell the engineer how much of each input you want in the foldback mix.
Bringing Your Own Gear
For some venues, it is best to use the equipment they already have setup. This is particularly true for open mic concerts where multiple performers are moving on and off the stage. When you can, consider using your own microphone(s) and instrument leads. These two steps ensure that you work with familiar tools and helps produce a consistent sound. There is also the side-benefit of having a healthier piece of equipment next to your mouth, free of flu viruses. Alternatively, carry a foam pop filter that you can slip on the microphone.
Foam pop filters are essential for outdoor performances as they minimise wind noises and also reduce 'plosives' and undesired breath sounds when singing. Instrument leads are notorious for working with some instruments and not others, due to small tolerance differences in the physical construction of sockets and 1/4" jacks. Even if the venue carries equipment leads, always bring one that suits your instrument. Carry a spare DI box, just in case it is required and spare batteries. Label all your gear.
Preparation
Have fresh batteries in your instruments, microphones (if required), stomp boxes, DI boxes and other ancillary equipment. Carry spare batteries. Generally (not always) have the volume of your equipment at about 3/4. It is usually best to provide a strong signal to the mixing desk but not at full volume. The reason for this is that for a lot of audio equipment, there is a tendency to distort at full volume, so having it backed off a little, avoids that problem. Arrive with plenty of time to do a soundcheck if one has been arranged. If you're using a guitar strap, loop the guitar lead through the strap before plugging into the guitar. This helps reduce the strain on the guitar lead and reduces the probability of the lead falling out of the guitar.
Tuning
Tune up your instrument before performing and then quickly just before going on stage. You don't want to get on stage and the first thing you do is tune. Save your audience from this fate! Instruments are notorious for going out of tune when there are temperature differences, right in the middle of a performance. Allow your instrument time to 'breathe' when arriving at a venue. Bring a stand for it or place it on top of your instrument case half an hour or so before your performance, allowing the wood and metal to settle into its new environment.
Some people can tune an instrument by ear. I can't and so use an electronic tuner. It's fast, consistent and reliable. Ideally the audience doesn't hear any tuning, so a pre-amp on an instrument with tuner is ideal which cuts the noise to the mixing desk when used. Alternatively, a pedal tuner on the floor can do the same thing. Intermittently during a performance, check your tuning. Ideal times are during conversation breaks, in-between songs and whilst others are at the forefront in their music.
Before major gigs, put on a fresh set of strings (a few days before to give them time to bed in) and only have three to four wraps of string around the tuning pegs. Fewer wraps means less variables that can affect the sound.
Soundchecks
Getting a successful sound check is a key part of having a good performance. Everyone does it differently, depending on the number of people and instruments on stage. Typically, checks will work from one end of the stage to the other, commencing on vocal microphones and then instruments. The sound engineer should control this process but you as a performer can help and sometimes perhaps "nudge" the engineer in this process. The engineer will have allocated a channel strip (a dedicated input on the mixing desk) for every microphone and instrument on his mixing desk and will be aiming to create a "gain structure" that is appropriate for you. Along with these settings, he will also make equalisation adjustments to take into account the type of instruments, the size and shape of the room and other factors such as audience and preferred tone of the music. All these settings are different for every act, every venue and these settings can change dynamically for the same act in the same venue.
Start with setting the quietest instrument first, those without a pre-amp or volume control. This approach ensures that the gain structure avoids boosting up weaker signals and introducing unnecessary noise. Talk to the engineer and let him know what you are hearing on the foldback speaker. He can't tell from where he his standing and is relying on you to let him know what is going on. Use gestures as well as verbal cues and this will help simplify the process. Hand gestures are especially useful in noisy environments, when there are microphone problems and adjustments made on the run, during a performance.
Sing something into the microphone at a loud volume, at a distance you would use during the performance. Singing loudly allows the engineer to adjust the optimum gain before "clipping" or the point at which distortion of a signal occurs. If you are going to share a microphone, do this test at the typical distance used, otherwise the settings will be considerably out during the actual performance. Once all vocals and instruments are done, conduct a full sample sound check of a song, using all vocals and instruments as a final check before performance. This will allow the engineer to check the overall balance of all inputs. Most engineers will then mark the settings at this stage as their reference point, labelling the channels and marking the gain and volume levels. On digital systems, these settings can be stored electronically.
Notes
Sometimes I use music on a stand. For almost all solo performances, I memorise all the songs and have nothing, except the microphone, between myself and the audience. I often write up a setlist on a sheet of paper and put it on the floor for reference. On the rare occasion, where I have a new song and I feel a little "shaky" I will write the lyrics in small print and have this, along with any other notes, taped to the top of my guitar with gaffa tape. I use these notes as prompts, rather than as a reference to read. Whilst often I already have a prepared selection of songs to perform, I have sometimes made up a setlist 'on-the-fly', particularly when visiting a new venue. I'll watch the audience and then decide on a final set and write it up there and then, at the venue. I like to use hand-written system cards for the setlists, containing information on things such as: venue and date, song number, song title, key/capo position, tempo, notes and include a list of spare songs at the bottom. Having those columns helps in song selection, avoiding excessive types of songs in the same tempo or key. Sometimes I throw away all of this and just play.
Conclusion
Having an awareness of stagecraft can enhance your performance by ensuring that all technical considerations work for you, rather than against you. Live music always carries with it elements of unpredictability and even in the best live concerts, roadies and sound engineers regularly run themselves ragged, trying to fix sound issues. As a performer, you can help make this process run more smoothly and with less stress, by working with the system and making appropriate preparations.
Finally, have fun. As I was once wisely told, the audience will reflect the feelings you have up on the stage. If you are having fun, chances are the audience will too. The microphone stand may collapse (it's happened to me), the batteries may stop working (it's happened to me) and you might forget the words (it's happened to me) but the show must go on. You as the performer set the scene and are responsible for the atmosphere being created at the venue. Set a positive tone and even with unexpected glitches, your performance will be the better for it.
José
Feb 2014
by José Garcia, Feb 2014
Who needs stagecraft?
Anyone who has to get up a stage in front of others will need to have some understanding of stagecraft - the technical aspects of public performing. The level of complexity will depend upon your act and to what standard you're aiming for.
Typically the sound engineer and/or master of ceremonies (MC) will worry about most aspects of the signal chain that is created between you and the audience and you will not have to worry about all the complexities. However, if you wish to take more ownership of your sound and to work more closely with the setup and assist with problems that might be encountered, it pays to have some technical understanding.
For a musician, the primary aspect of stagecraft is to ensure that your sound is delivered to the audience. Other aspects include: ensuring the audience can see you and that your position and movement on the stage is engaging; that the stage is free of clutter and is safe for easy movement; that transitions between songs and other acts are as smooth as possible. This article will examine the essential aspects of stagecraft, stemming from my point of view. I am not a professional sound engineer and so these comments are from my own personal experience, not from professional training or research.
Sound Engineer & PA System
In contrast to small unplugged performances, in large venues there is usually a Public Address (PA) with large Front of House (FOH) speakers up on stands, broadcasting your sound. If your sounds are not being collected through the right microphones with the right settings, the audience will hear nothing. This is where the sound engineer steps in. It is this person who determines your audio mix, especially when there are multiple sound sources, such as those in a band. You need to know his/her first name, as you will often be trying to attract his attention. You need to be able to work with him and not 'boss' him around. It's a tough job getting the sound right for any venue and the efforts that go towards this objective are often underestimated, so it's important to acknowledge the "sound guy".
Sound Requirements
The first thing the sound engineer will need to know is what your sound requirements are - what needs to be amplified. It may be as simple as a guitar and vocals or as complex as 16 plus inputs including a drum kit. Determining what the sources or inputs are, will in turn determine the best way to amplify these sounds. The methods for this vary greatly, depending on instrument type or vocal style (e.g. choir, solo, side-by-side harmonies). Know what these requirements are and communicate it clearly to the sound engineer before the event.
DI Boxes, Microphones and Positioning
Typically instruments will be connected to a Direct Injection (DI) box and then connected to the mixing desk with XLR (microphone) cable. Generally speaking, active DI boxes (with batteries) can be used with any type of instrument but are compulsory for passive instruments (without batteries). Passive DI boxes (without batteries) can be used with active instruments (with batteries) but tend to be not so good with passive instruments. I say typically, because some performers prefer to have microphones placed in front of their instruments. DI boxes are essential to provide an appropriate signal to the mixing desk. Without it, you have very low volume levels and unwanted noise collected from the environment and introduced into the sound mix. For short runs where the distance between the instrument and mixer is limited, and for some particular mixing desks, you can bypass a DI.
Generally the microphones used for instruments have what is termed "flat frequency response", meaning that they capture an even sound across the frequency spectrum. In contrast, many vocal microphones contain a slight boost in some frequencies. This deliberate manipulation in how sound is reproduced, can be beneficial in providing a "better" sound for vocals. However, they can also make instruments sound unnatural.
Instrument microphones pointed near where the guitar neck joins the body tend to produce a more manageable sound than those pointed directly at the sound hole. The latter method whilst producing a louder sound, can often be accompanied by excessive boominess in the lower frequency range. Some musicians, like to blend the instrument sound from two or more sources (popular in studio settings).
Understanding how microphones work, their polar patterns (areas where they collect sound) and limitations, will aid in helping produce your best sound. It is all too common to see performers singing and not hear their voices, because they are singing into the wrong part of the microphone. How you use a microphone or 'Microphone Technique' is an important aspect of stagecraft that all too often is neglected.
This article won't cover all the points of microphone technique, but the main things are to know the 'sweet spot' of your microphone and adjust your vocals accordingly. When using microphone stands, establish your performance position first and then adjust the microphones, not the other way around. Your position needs to be in a location where the public can see you with minimum obstruction. A music stand, if used, needs to be in a direct line between you and the microphone. If not, your head will constantly be turning to see your notes and will create unnecessary stress during the performance.
Be aware of exit and entry points to the stage. Sometimes a particular side will be designated as the entry or exit point. This is particularly true for busy stages with multiple acts and lots of gear. 'Stage Left' refers to the left of the stage from the perspective of the performer, it is the same as 'House Right', the reverse applies for the right hand side. Avoid approaching the stage from the front, it's easy to damage equipment and yourself from that approach.
Using a seat
Sometimes I use a seat, but for the vast majority of performances I stand. Standing allows you move around and respond dynamically to what's going on. If seated, it's better if the chair has no arms, to free your arms to play an instrument and stop you from reclining into a relaxed position. You want to engage, not spectate. High bar stools are ideal, particularly for venues with no stage. Using a short seat means the audience will have problems seeing you.
Foldback Speakers
Foldback or monitor speakers help performers hear themselves. These speakers generally sit on the stage floor and point back towards you. Some performers, particularly quieter ones don't use them at all. If you use particularly sensitive microphones such as condenser microphones, the chances of problematic feedback increase with the use of monitors. It's important to note that what you hear on monitors as a performer, can be completely different from what the audience hears through the FOH speakers.
Ideally cardioid pattern microphones have foldback speakers directly behind them and hyper-cardioid microphones have foldback speakers behind and slightly to the side. These will then sit in the "null' zones of the microphone and help reduce feedback. When conducting soundchecks, you can tell the engineer how much of each input you want in the foldback mix.
Bringing Your Own Gear
For some venues, it is best to use the equipment they already have setup. This is particularly true for open mic concerts where multiple performers are moving on and off the stage. When you can, consider using your own microphone(s) and instrument leads. These two steps ensure that you work with familiar tools and helps produce a consistent sound. There is also the side-benefit of having a healthier piece of equipment next to your mouth, free of flu viruses. Alternatively, carry a foam pop filter that you can slip on the microphone.
Foam pop filters are essential for outdoor performances as they minimise wind noises and also reduce 'plosives' and undesired breath sounds when singing. Instrument leads are notorious for working with some instruments and not others, due to small tolerance differences in the physical construction of sockets and 1/4" jacks. Even if the venue carries equipment leads, always bring one that suits your instrument. Carry a spare DI box, just in case it is required and spare batteries. Label all your gear.
Preparation
Have fresh batteries in your instruments, microphones (if required), stomp boxes, DI boxes and other ancillary equipment. Carry spare batteries. Generally (not always) have the volume of your equipment at about 3/4. It is usually best to provide a strong signal to the mixing desk but not at full volume. The reason for this is that for a lot of audio equipment, there is a tendency to distort at full volume, so having it backed off a little, avoids that problem. Arrive with plenty of time to do a soundcheck if one has been arranged. If you're using a guitar strap, loop the guitar lead through the strap before plugging into the guitar. This helps reduce the strain on the guitar lead and reduces the probability of the lead falling out of the guitar.
Tuning
Tune up your instrument before performing and then quickly just before going on stage. You don't want to get on stage and the first thing you do is tune. Save your audience from this fate! Instruments are notorious for going out of tune when there are temperature differences, right in the middle of a performance. Allow your instrument time to 'breathe' when arriving at a venue. Bring a stand for it or place it on top of your instrument case half an hour or so before your performance, allowing the wood and metal to settle into its new environment.
Some people can tune an instrument by ear. I can't and so use an electronic tuner. It's fast, consistent and reliable. Ideally the audience doesn't hear any tuning, so a pre-amp on an instrument with tuner is ideal which cuts the noise to the mixing desk when used. Alternatively, a pedal tuner on the floor can do the same thing. Intermittently during a performance, check your tuning. Ideal times are during conversation breaks, in-between songs and whilst others are at the forefront in their music.
Before major gigs, put on a fresh set of strings (a few days before to give them time to bed in) and only have three to four wraps of string around the tuning pegs. Fewer wraps means less variables that can affect the sound.
Soundchecks
Getting a successful sound check is a key part of having a good performance. Everyone does it differently, depending on the number of people and instruments on stage. Typically, checks will work from one end of the stage to the other, commencing on vocal microphones and then instruments. The sound engineer should control this process but you as a performer can help and sometimes perhaps "nudge" the engineer in this process. The engineer will have allocated a channel strip (a dedicated input on the mixing desk) for every microphone and instrument on his mixing desk and will be aiming to create a "gain structure" that is appropriate for you. Along with these settings, he will also make equalisation adjustments to take into account the type of instruments, the size and shape of the room and other factors such as audience and preferred tone of the music. All these settings are different for every act, every venue and these settings can change dynamically for the same act in the same venue.
Start with setting the quietest instrument first, those without a pre-amp or volume control. This approach ensures that the gain structure avoids boosting up weaker signals and introducing unnecessary noise. Talk to the engineer and let him know what you are hearing on the foldback speaker. He can't tell from where he his standing and is relying on you to let him know what is going on. Use gestures as well as verbal cues and this will help simplify the process. Hand gestures are especially useful in noisy environments, when there are microphone problems and adjustments made on the run, during a performance.
Sing something into the microphone at a loud volume, at a distance you would use during the performance. Singing loudly allows the engineer to adjust the optimum gain before "clipping" or the point at which distortion of a signal occurs. If you are going to share a microphone, do this test at the typical distance used, otherwise the settings will be considerably out during the actual performance. Once all vocals and instruments are done, conduct a full sample sound check of a song, using all vocals and instruments as a final check before performance. This will allow the engineer to check the overall balance of all inputs. Most engineers will then mark the settings at this stage as their reference point, labelling the channels and marking the gain and volume levels. On digital systems, these settings can be stored electronically.
Notes
Sometimes I use music on a stand. For almost all solo performances, I memorise all the songs and have nothing, except the microphone, between myself and the audience. I often write up a setlist on a sheet of paper and put it on the floor for reference. On the rare occasion, where I have a new song and I feel a little "shaky" I will write the lyrics in small print and have this, along with any other notes, taped to the top of my guitar with gaffa tape. I use these notes as prompts, rather than as a reference to read. Whilst often I already have a prepared selection of songs to perform, I have sometimes made up a setlist 'on-the-fly', particularly when visiting a new venue. I'll watch the audience and then decide on a final set and write it up there and then, at the venue. I like to use hand-written system cards for the setlists, containing information on things such as: venue and date, song number, song title, key/capo position, tempo, notes and include a list of spare songs at the bottom. Having those columns helps in song selection, avoiding excessive types of songs in the same tempo or key. Sometimes I throw away all of this and just play.
Conclusion
Having an awareness of stagecraft can enhance your performance by ensuring that all technical considerations work for you, rather than against you. Live music always carries with it elements of unpredictability and even in the best live concerts, roadies and sound engineers regularly run themselves ragged, trying to fix sound issues. As a performer, you can help make this process run more smoothly and with less stress, by working with the system and making appropriate preparations.
Finally, have fun. As I was once wisely told, the audience will reflect the feelings you have up on the stage. If you are having fun, chances are the audience will too. The microphone stand may collapse (it's happened to me), the batteries may stop working (it's happened to me) and you might forget the words (it's happened to me) but the show must go on. You as the performer set the scene and are responsible for the atmosphere being created at the venue. Set a positive tone and even with unexpected glitches, your performance will be the better for it.
José
Feb 2014
ADDENDUM
Just a special note for bands that use single mic technique (and variations), a technique which I totally adore - work together as a team! Know where the microphone picks up sounds and and doesn't (the polar pattern), balance your band's sound by adjusting your position and instrument/vocal volumes accordingly and "self-mix". The sound engineer can do very little when all sound sources are picked up by a single microphone. Look at each other and listen to what everyone in the band is doing, and adjust accordingly, that way you take responsibility for your sound and control it.
October 2017
October 2017
For some good examples of stage technique, note the YouTube videos below:
Note the movement of vocalists in harmonies and instrument positions when taking a "break".
Brilliant performance, what a tight ending! That is teamwork!
