Soundcheck 101: Sound Reinforcement for the Jazz Ensemble
by Dean Sorenson

Sound reinforcement is a fact of life when directing a jazz ensemble. Many different variables affect sound, and each situation is unique. Ideally, sound reinforcement should be “invisible” to the ear. A jazz ensemble is an acoustic ensemble, even though some instruments (commonly guitar, bass, and piano) use electronics to create or at least amplify their sound. The goal is to use sound reinforcement tools (microphones and amps) to enhance the overall acoustic sound, balancing the different elements properly. The soundcheck is the time to get these issues ironed out. Organized and productive soundchecks will help any performance go more smoothly and will showcase the band in its most positive light.
     Most of us perform in a different space than we rehearse, and a new space takes time for the ensemble to get used to. A drummer friend of mine likes to say, “The hardest instrument to play is the room,” and he is absolutely right. The room where we are playing affects not only how we sound, but also how the ensemble hears. Allow yourself plenty of time in a soundcheck. Ideally, schedule rehearsal time in the performance space separate from the performance day. When soundchecks happen the day of the concert they are often hurried affairs. There is little time to make any adjustments, and the brass players are taking it easy to save their chops for the show. When players are not playing “full” the balance and blend is destroyed. If you must soundcheck on the day of the concert, designate one chart that brass players will not hold back on. This is the only way to get an accurate balance.
     Start with the rhythm section, making certain everything is balanced and the players can all hear each other comfortably. Make sure the overall rhythm section volume is modest. Amps and drums can drown out trumpets, saxes, and trombones with little effort, wreaking havoc on the ensemble sound. Choose a segment from one of the charts that the band is playing where the rhythm section is just “playing time.” Solo choruses are good for this. Have the rhythm section play this chorus several times (with no soloist playing), and do most of your listening with the entire section playing. Listen first to the bass. If the bass volume is too loud, the drummer will play louder to compensate, forcing the winds to overblow. The bass sound should be clear and not muddy. It is often necessary to roll back low and mid frequencies, especially in a larger room or one with many hard surfaces.
     Listen to the drums next, and balance the bass and drums. Since the drummer cannot control the volume with a knob (unfortunately!), it is imperative that he or she be aware of the effect of the drums on ensemble volume. The dynamic range of the ensemble is directly related to the dynamic range of the drums. If a drummer cannot play at soft or moderate volumes, the ensemble will not be able to either.
     Piano and/or guitar should be audible, but not as “present” as bass and drums. Since the piano is often amplified through the house sound system (and not through an amp on stage), that volume must be set at the main soundboard. Guitar should occupy a similar “acoustic space” as the piano. Guitar should be more present on rock tunes, and less present on swing tunes.
     When the rhythm section is set, add the rest of the ensemble. Now is a good time for the brass players to play full out, and not hold back. It is important that you get a good idea of what the ensemble will sound like, and it is important for the ensemble to test what they can hear on stage when they are playing full volume.
     Listen for balance between different sections. The same elements that hold true in concert band hold true here. A good sound, played in tune, will carry and will make the ensemble sound full. A common issue is brass overbalancing saxes. Saxes are usually outnumbered, and the brass have the added advantage of often sitting or standing on risers. Take some basic steps first. Make sure the players are filling their horns with air and producing as full a sound as possible. Also make sure their bells are clear of any music stands. This can be a larger problem if you use band fronts. Be sure the players are playing off to the side of the stands. It is often difficult to ask the brasses to “play down” to the sax dynamic as the parts (especially lead parts) are in a tessitura that is difficult to play softly.
     Put mics on the saxes only if the above remedies do not solve the problem. Unless the room is unusually large, the ideal situation is NO mics in the winds (except for solos). The saxophone section is a common exception to this rule, and it is often necessary to mic the saxes in order to achieve a good balance between the saxes and brass. Make sure the sax mics are far enough away that they amplify the section, and individual parts do not stick out. Turn them up just enough so the saxes and brass balance. The opposite problem will be created if the sax mics are too hot.
     Once levels have been set, leave them alone. Nothing is more frustrating to listen to than an ensemble whose sound is trying to change “on the fly.” The only exception to this is solo mics. These should ideally be off unless they are being used. If the mics themselves do not have switches on them, someone should be at the soundboard turning them up just before the beginning of a solo and back down once the solo is over. A list of soloists for each tune is very helpful to the person running the soundboard. Spend some time at soundcheck giving your soloists a chance to play into the mics. They need to adjust to the new acoustic setting and you need to make sure the solo mic levels are set properly.
     Solo mics can be set up in front of the ensemble or in the sections. If they are in front of the ensemble, it is not as important that they be switched off when they are not in use. Music stands can be placed near solo mics out front if players need to read music when they are up front, although ideally the players will have the changes or melody memorized. Solo mics in the sections must be turned down when they are not used. The exception to this would again be sax section mics that are used for ensemble purposes also. Sax soloists can stand in place and move closer to the mic for solos.
     Following these basic steps will make your soundcheck time more productive, will help your students feel more confident on stage, and will help the overall sound of your jazz ensemble.

Dean Sorenson is a prolific and highly sought-after composer, trombonist, and clinician. He holds degrees from the University of Minnesota and the Eastman School of Music, and was recently appointed Interim Director of Jazz Studies and Performance at the University of Minnesota-Minneapolis.

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