Below is a very lightly edited version of my monthly column on the Welcome Page of the California Bluegrass Association web site. I thank the CBA for giving me this forum over the past several years.
How do you take five not very noisy
instruments that cannot be listened to without electronic
amplification except in a rather small room and turn their music into
something large groups of people can listen to? Add to this problem
the fact that each of the instruments has a distinctive native sound
that doesn't necessarily mix well with the others. The mandolin,
beloved to Bill Monroe, has little or no sustain and must be played
with a tremolo picking style to hold a note. The guitar is a quiet
creature which, when played outdoors, can barely be heard. Basses,
played at night on a campground when you're trying to sleep boom
through the insulation of a smal trailer, turning the vehicle into a
resonator, yet they require an onstage amplifier to be heard in the
audience and the band both. The fiddle sings and soars and, through
the wizardry of technique also emerges as a percussion tool. Then
there's the banjo, with it's built in resonator driving it's metallic
sound through groups and creating a twanging sound that turns people
into bluegrass adherents...or drives them away. The Dobro, or
resonator guitar, is a quirky instrument which few play well and is
often either not represented in bluegrass bands or not represented
well. Probably for economic reasons, for the space the equipment
displaces, and because Bill Monroe figured out a way to dispense with
them, drums are not a traditional part of bluegrass bands. Each
instrument in the band, therefore, is required to play both melodic
and percussive roles. A bluegrass band, given it's characteristics,
probably should never exist off the porch.
But bluegrass music has developed a
constituency, first on the radio and in small venues, and later in
festivals, concert halls, and large outdoor spaces where the sound of
a bluegrass band would not reach beyond the third row were it not for
amplified sound. At this point I might say that sound production,
mixing, amplifying, and the entire rest of the technology and art of
sound reproduction are something of a mystery to me. I understand
that the size and shape of a venue makes a huge difference. Wind can
move sound around so that people sitting in each seat hear something
different. Sound bounces off each obstruction in a building and
echoes back and forth between the walls in unpredictable ways.
Pitches, vocal qualities and strength vary as well as do other tonal
qualities. There's been a rapid increase in quality of sound made
possible by the digital sound, but some people bemoan the loss of
vacuum tubes. Microphones and speakers have improved enormously, and
the smaller but more powerful sound boards sound people have
available to them increase their power to make a band sound wonderful
or to diminish their quality until it's almost unlistenable.
I remember the first time I heard Danny
Paisley sing at a festival in the Finger Lakes in upstate New York.
His voice sounded harsh and edgy (as well as way too loud) in a
fashion that made him, for me, almost impossible to listen to. At
other venues, while still edgy, Paisley's voice takes on a nuanced
quality often lost with lesser sound men. At IBMA's World of
Bluegrass last Fall, I sat down with two sound men, Ben Surratt,
whose wonderful work in the recording studio has turned out many
award winning recordings, and John Holder, who's rapidly becoming a
go-to sound producer for a number of festivals in the mid- and deep
South. They discussed some of the qualities of good sound with me,
including that there's only so much a good sound engineer can do with
the subject, because every positive element is balanced by a sound
cost it incurs. It's not a zero sum game, but the alternatives aren't
unlimited, either.
Sound, then, its production and subtle
management through a complex of high technology equipment in often
hostile environments with ever changing condtions is one of the
crucial elements making bands sound good at bluegrass events.
Combining the ability to mix four, five, or six very different
sounding instruments with the skill to mix in voices of varying
quality and strength is at least as important as having the ability
to produce the vocal and instrumental music in the first place. With
bluegrass, it is equally important to understand what the music
itself is supposed to sound like and how to emphasize the solo
instrument being featured at all times. Of course the skill of
individual musicians in “working” the microphones is also
crucially important. Why is it, then, that many music promoters often
skimp on hiring first rate sound men using up-to-date equipment,
trying to save money on their often close profit margins by hiring
lesser sound companies to produce inferior sound? The ear of the
people at both the house and stage boards as well as their ability to
pay constant attention as conditions, instruments, and vocal configurations change are all crucially important and pretty rare.
Anyone can purchase equipment and offer sound services. Not everyone
can offer it with consistent quality for a bluegrass event. All this
is one of the reasons increasing numbers of successful bands carry
their own sound person with them. Because they have a consistent
sound they wish to have produced, this extra member of the band may
be essential. But not all bands can afford such a person who may no
longer be a luxury. The need for good sound increases the urgency
on the promoter to provide good sound, if they expect people to pay
good money to attend. Many people attending festivals may not know
why they are having an inferior musical experience, but they'll know
it's inferior. Meanwhile, woe to the performer who presumes to
criticize a sound person, even in private let alone from the stage.
While I know much less than I ought to
about the technology and physics of sound including the skills
involved in delivering fine music to an audience, I know it remains a
crucial component to creating a quality experience. The sound crew is
often nearly anonymous at bluegrass events, but they remain perhaps
the most important component to delivering a first rate experience
for audiences.
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