I hate to see music stands on stage! OK yes, that’s a blunt statement, but I’m continuously amazed at the amount of musicians and bands I see who use music stands. As a sound engineer and a performing musician, I see so many problems with this and wonder why these performers insist on using them. I can list a bunch of reasons why I hate to see them and the problems associated with their on-stage placement. But I always have questions as to why. Is it just laziness on the musician’s part to not learn the music or lyrics of a given song or set? Is it a safety net for players who have fried their brains through many years of partying and can’t remember anything? If a stage actor with a leading role can memorize all of their dialog, cues and stage blocking, etc., why is it so hard for a musician to memorize a song? It’s one thing for a guitarist/singer to use them, as there is sometimes much to remember. But a singer who only has one true responsibility, singing the lyrics, should be able to put a little effort into some memorization. I mean, it’s not like most of us are even truly reading music when we perform. I get it for the Orchestra member or Symphony musician who is reading many lines of complex notation, dynamics and tempo variations while also watching a conductor. But how “cool” would it be to see KISS perform at a large concert venue and they’re all using music stands? I’m sure U2 would be cool with waiting for Bono to turn to the next song chart in his notebook and clip the pages to the stand. It probably would look really stupid. So, let me provide a short list of problems I’ve encountered with these things and the performers who use them.
- They fall over in the wind if playing outdoors.
- The classy look of chip clips clamping down the music pages.
- They block the audience’s view from seeing the musician play his/her instrument.
- They force the performer to look away from their audience and only to what’s on the stand.
- They cause the singer to sing to the side of the mic which results in a struggle for amplified vocal quality or optimum microphone levels.
- They block the projection of stage monitors which results in the classic “Can I get more vocals in my monitor”? (No! Move the stand from in front of your monitor).
- They are often overloaded and a minimal breeze will send all kinds of papers flying around.
- I’ve seen performers stop playing in mid-song to turn a page, re-position a fluttering page, or have to stop playing because the music has fallen off the stand.
- They give the appearance of a lack of preparation or effort on the part of the performer.
So now that I’ve slammed everyone I know who uses these things, I have to confess that I am somewhat challenged when it comes to memorizing the lyrics to my cover tunes. Beyond the first verse and maybe the chorus, I just can’t seem to remember much of the song’s words. I can remember the chords, song structure, dynamics, etc. But the lyrics seem to challenge me. Maybe some of you home-brew, web md driven psychoanalysts can offer a diagnosis, but it is what it is. So I completely understand the need and the comfort of having notes on stage as a safety net.
My answer is to use an iPad. Sure, you could say that I’m still not memorizing my lyrics. And I will agree. But there are several advantages to going the iPad (Teleprompter) route. I’ve even seen performers use a small iPhone for this purpose. Now don’t get me wrong. It’s just as bad seeing an iPad attached to a mic stand that already has a
bunch of pics taped to the shaft along with a wire drink holder hanging on the side, a reading light, a capo, the cat box scooper, etc. Sadly, I’ve seen these overloaded mic stands fall over because there’s just too much on it. With the iPad’s smaller footprint when compared to a big black music stand, many of my gripes listed above are eliminated. Sure, a music stand costs considerably less than even the cheapest touchscreen device, and bright sunlight can sometimes be problematic for an led display screen, but for me the advantages it provides are a no brain’r. Along with the ability to install apps that are designed for musicians as a type of teleprompter, they also can be connected via MIDI, Bluetooth, wi-fi or hardwire connection to outboard gear like a processor pedal or keyboard. With some products, this interfacing can allow an iPad to make processor program or patch changes during specified portions of the song.
Proper use of a music stand
However, some programming is necessary to achieve this and it can be time consuming until you get the hang of it. So, I guess having an iPad blocking the audience’s view of you is way cooler than a big ugly music stand. And, when you get a request for a tune you don’t know, you have the advantage of quickly linking to a site that has the cheat sheet for most any song you can think of.
Therefore, if you’re at all like me, hate the look of clunky music stands and maybe have the means to spend a few bucks to get a pad of some type, ditch the music stand. You, your sound man and, more importantly, the audience will be happier.
cking. Sure, you could say that I may be too hard on these stands and that I don’t transport them properly. But those who know me understand that this is not the case. I treat my gear with respect and try to get the most mileage out of my purchases. Like anyone else, I’m always trying to find the best gear (or product type) for my hard-earned money. Though equipment failures and expected obsolescence are a fact of any business, it seems that microphone stands just don’t hold up. I guess I could complain to all who will listen and say “if we can put a man on the moon, why can’t someone build a better mic stand?” But it’s true.
rs ago, I did my research and concluded that the OnStage Model MS9701TB was suitable for my situation, running a local sound company and being a gigging musician. And, with a street price of about $50 bucks, it seemed to be a great deal. Retailers claimed that this stand was heavy duty and tour tough. Well, once the stand arrived it was certainly heavy, but as time went on its duty was rather iffy. Upon deployment, the first gig demonstrated that the stand’s height adjustment clutch was so tight that I needed a wrench to loosen and tighten it. Conversely, it’s boom arm 
ery few problems other than needing a little tightening of the leg screws. Of course any stand you’ve had on the front lines for a long time is going to look scratched and beat up, but functional performance is what counts. And, for about $75, it’s a great value.
designed to utilize the temperamental vacuum tube, there are many other models that are designed with the latest in solid-state components, with some using a combination of both. Some are even software based and can be setup to emulate go-to sounds we’ve all heard for years. And all these flavors from just one store. Now, factor in all the brands and models that are out of reach for many, and that’s lots of guitar amps. No wonder it takes almost forever for a guitarist to settle on an amp (and let’s not get started on pedals).
and, sadly, out of reach for too many players, it seems that in recent years the independent, entrepreneur-driven, small company has been very popular in our culture. Similar to the local craft brewery or distillery (bakery, micro-farm, etc.), it’s obvious that the concept of smaller, independent amplifier companies has seen a wave of excitement and 
support. Though I wonder what happens when this enthusiasm dies off, as trendiness always does. However, for many users, there is the continuing quest for a better amp. Features like point-to-point wiring, custom transformers, hand-picked (and measured) components, wood board cabinets, customized design concepts and small shop attention are all expensive but justifiable reasons to spend the big bucks.
gn concepts originally created by companies like Fender, Supro, Marshall, Vox and a couple of others. These landmark brands began in the 1950’s during the birth of electric music. The 1960’s & 70’s saw more choices of amplifiers from Ampeg, Gibson, Sunn, Peavey, Mesa Boogie, Guild, Epiphone, Orange, Hiwatt, Crate, Carvin, Laney, etc. Though the choices for guitarists began to expand, the basic designs brought to m
arket from all these vendors were based upon the same basic Fender and Vox concepts in allowing the amplification of the electric guitar to be manipulated by the physics and principles of electricity. Even then, some Marshall designs were based upon Fender concepts. Similarly, many Laney products were re-thought Vox designs.
advancements and other features (some not so well received) were often added in hopes of allowing manufacturers to set themselves apart from the competition. But in most cases, players have typically reverted to the tried and true favorite brands and models.
on-line vendors). We seem to be told that these same brands from Vox, Fender and Marshall (and others) are the only accessible choices. Sure, there are some other lesser known models that appear every now and then from various makers, but I see very few of these in use or on stage. Even many of our guitar heroes play the well-known brands on stage but, behind the studio glass, tend to break out the boutique amps in hopes of creating or replicating a desired guitar sound.
more brands and products to choose from, many of you are stuck having to visit the local Big Box retailer or choose to purchase on-line (from the same Big Box companies). For those lucky enough to have independent music stores within driving distance, the choices of brands and models begins to expand and will allow the purchaser to have more buying options and often from lessor known amplifier makers. So why all the love for just the familiar brands…?
at any of the Big Box stores is better than ever. But, I always have to laugh when I hear someone say they are choosing an amp because that’s the brand Vaughan, Hendrix or Page used. Though once they make the purchase and get it home, they are typically disappointed because they don’t sound like their hero (and likely never will).
set one model apart from another. I mean, why not? There are always going to be m
any players that are always searching for that vintage sound, ultimate overdrive, more headroom or something that helps set them apart from the thousands of other players with traditional amp types and sounds. Frankly, many of the design engineers who work on these high-end amplifiers found their roots working for the big boys like Fender or Vox.
made (or parts are made) in their country of origin. This helps the local economy and supports the “Homemade” enthusiasm.
types? Are they easier to operate? Should you switch over and buy digital? Hmmm… this got me thinking. Having used a few digital mixers during the past few years, I can say they have definitely benefited from new DSP & surface-mount component technology and offer many features that analog mixers just can’t technologically or affordably supply. But I must stress that ease-of-use has yet to be consistently address by manufactures of many digital mixers. And lastly, is there still a place in the industry for the knob-filled, channel-strip configured analog type mixers?
en, sound company owners may say “this new digital mixer sounds better than anything we used to use”. But until that same user does a direct comparison against what they have used in the past, they are only basing their comment on features. Also many people assume that because a mixer uses new technology, that it must be better than the old stuff. This simply isn’t true. The same sonic debate still circulates (with no answer) concerning analog vs digital in the 
recording studio. Or, the 1980’s never-ending debate about if 33 rpm LP sounds better than a Compact Disc. Beyond its physics, I guess there are few definitive conclusions regarding sound or what “sounds good”. Maybe we can call it a draw and base more of our decision on other factors such as reliability, practicality, functionality or price. However, I feel that one of the most important factors concerns how you plan on using the mixer. 
Soundcraft, Beringer, Allen & Heath, Yamaha and Peavey (and others) all have several model configurations available and some also include built-in FX and USB connectivity. Larger analog formats of up to 32 input channels and more are also available at great pricing and can be the perfect choice for clubs, regional bands or local performance venues where rider compliance is of little concern, but good sound is.
for choosing a digital mixer instead of analog was because it allowed them to carry less gear. Rarely do I hear engineers comment on better sonic quality being the main reason for selecting a digital mixer. I would also argue that many regional or larger sound companies will purchase a specific mixer because it is “rider compliant” and sometimes give sound quality or reliability less consideration.
console at the local performing arts theater. The input, master and aux sections are all going to work in the same fundamental way. So you’ll have very little learning curve when presented with an unfamiliar analog mixer. I doubt there would be that much argument from anyone if I said it’s quicker to make an adjustment to an analog mixer than it is to fumble through menus on a digital mixer to get to the same control. I know, there are variables to my statement, but the concept is accurate. Plus analog boards with their many knobs, buttons, meters and lights, just look impressive.
interface with a minimal amount of knobs, buttons and faders allows an entirely different approach to mixing control, EQ and outboard processing. This approach keeps manufacturing costs down and allows a vast amount of mixer signal processing capabilities to be housed in a small form factor enclosure. However, each manufacturer has their own way of designing how the software operates. Each brand has its own menu structure and flow, with each reacting differently to a change of a parameter’s +/- value. And oh ya, they all sound different. 
interface. From a manufacturer’s perspective, the ability to re-program software to manipulate hardware is good business. Allowing anytime software updates, remote operation, off-site diagnostics and other things that fit today’s virtual society is the norm. However, switching from an iOS product to an android can take some time, with very little knowledge gained from using one to help when using the other.
the digital mixer. So the size of your front-of-house footprint just got noticeable smaller and lighter, and eliminating the time for patching together all that gear is a definite plus. Though I guess we need to consider the cost if this digital board failed and needed to be repaired. Because the “show must go on”, that’s a lot of individual processor and mixer to replace while yours is in for repair. You’d lose your mixer, patch bay, FX processors, EQ’s, compressors, limiters. That’s your whole front end that has to temporarily be rented, wired and functional or at least find a like model board to rent.
thinking that their light weight means they are less rugged. In fairness, digital based audio mixers don’t have as many years of existence as analog, but that’s changing quickly. Other than the top of the line touring models from Avid, Yamaha, Midas and a few others, the biggest differences in all digital mixers deal with software operation and functional reliability. During the first couple generations of these mixers, there have been consistent problems with failures due to heat, software glitches and total system lockups (crashes, blue screen of death, SYS FAIL, etc.) that require an in-use re-boot. I’ve seen analog mixers fail (dead channel, or parameter), but never had to reboot one. Because most of the newer digital mixers can be connected to and be controlled by a smart phone or tablet, the expanded user control surface is great, but there are many stories telling of the problems trying to maintain a wi-fi connection between mother ship and satellites. So until these software glitches can be further subdued, I’m continuously leery of a possible system crash.
wireless device control and flexible signal routing potentially keeps digital mixer models relevant for more years than ever before. With feature-rich products offered by Allen & Heath, Ashly, Soundcraft, Midas, Behringer and others, $2k can get you a 24-channel digital board with all the trimmings.
(USB), FX or user control that may be utilizing digital technology. There are lots of solid, reliable and great sounding mixers that are based on analog design criteria. Lastly, keep these things in mind when considering the purchase of a new audio mixer…
I own several of these and a few of its older sibling, the Mega Tripar Profile. With a street price of around $99, there isn’t much that can beat this product and its feature set when considering the price.
d within most box or triangle truss applications. Because the product employs five 4-watt LED elements, it runs with virtually no heat output making it great when washing drapes, walls and stages. 3-pin DMX IN & OUT with 5-channels allowing DMX controllers to easily be connected plus there are 5 built-in operational modes that are great for stand-alone setups. The big upgrade from its older sibling is the addition of “UV” helping to obtain a warmer white output, which should satisfy even the most critical user. Another nice change is that American DJ upped the per/LED wattage. Its beam angle is 40 degrees and there is even an optional infrared remote control which can be very handy during setups.
I have deployed literally thousands of these with only one failure. That is truly amazing for a $99 lighting fixture. I’ve dropped them and had them fall from suspended truss and all have continued to work just fine. The rear control panel is intuitive and allows quick programming. With a front setup of white lights washing the stage and several Mega Tripar Profile Plus around the perimeter you can make even the ugliest band look like stars. While these are not intended or rated for wet locations, they do just fine in humid environments and I’ve had no issues using them in cold weather setups.
Profile Plus should be at the top of your list to check out. And for bands looking to step up from traditional hot, power-hungry Par Cans, this American DJ fixture is hard to beat. Give our friends at 
others. Even the same type tube from a single manufacturer can sound different. For some players this is a cool thing, but for others it’s frustrating because of the lack of sonic consistency. The old tubes from the 1950’s and 60’s made by GE, RCA, Telefunken and Mulard are long gone. But the same designs are utilized by today’s Russian & Asian tube makers. There’s even a large group of players who seek out N.I.B or N.O.S tubes in hopes of finding that perfect 12ax7 preamp tube from RCA. 
connectivity giving the modern player an in-depth, hands on interface to create and build their own custom sound. These amps have the ability to convincingly mimic both tube and solid state amp sounds and are often the go-to choice for younger players who have grown up with digital, computer control as a way of life. These amps are also great for recording projects as they offer so much variety.
that has been through countless gigs and performed reliably. It’s light weight and looks good, but if I’m playing a larger stage or have to crank it up, it suffers from poor sound. I have found that most solid state amps (along with hybrid and modeling amps) don’t sound very good at higher volumes, especially if you are looking for a smooth overdrive sound. I like to say that these amps, when cranked, sound like a “box of bees”. But for clean, non-distorted sound, they can be a go-to choice. For tube amps, the opposite seems true. At lower volumes, the sound can be considered somewhat thin. But when cranked, the overdrive and distortion are fantastic. There’s nothing better than a Vox or Marshall cranked up giving you those creamy and chimey sounds. But again, sound is subjective. I think a cranked Fender tube amp sounds like it’s going to explode. They often sound as though there’s something wrong and sorta gritty. I once heard a studio producer say that a Fender amp should never be set to anything higher than a volume of 4. But I’m not sure this is very realistic.
clamps, bungee cords, tie-down straps(and ratchets) and tarps will save the day. I always brought plenty of the large barrel size garbage bags. They are ideal to slide a wedge monitor into and can be used to help keep many other items dry. I can tell you that sending one of your techs back to the shop or to the nearest Home Depot to get any of this stuff is a waste of time, will add to your job costs (which directly effect your net revenue) and makes for a stressful work environment. 
With today’s smart phones, there’s no reason to not be checking a weather app and radar to see if any bad stuff is coming. If it looks as though you are in the path of a storm, alert your crew, the entertainment and the event organizers that inclement weather may be approaching. Have your tarps ready; save your gear!! If you hear thunder in the distance, you can be hit by lightning. So caution has to be the rule. More often than not, musicians will want to play on through when it’s raining. Don’t do it! Using electrical equipment in wet conditions is no different than taking a bath with your toaster. Standing on a wet stage, playing a guitar or touching a metal audio mixer is just stupid. Those of you who have been through a real electric shock can tell you it’s absolutely brutal and can kill. Similarly, people will want to run under the tent during rain or storms. Bad Idea. Why? Because a tent frame made of metal and can become a giant lightning rod. You are safer standing in the street getting wet rather than under the tent. For me, I always demand the final say as to when to shut down the system, pull power cords and cover the gear and, when the storm passes, when (or if) the stage will be ready to start back up.
Additionally, there may be standing water or puddles on or around the stage. Standing in water with wet clothes when firing up the amp rack is silly. Use common sense when dealing with water and electrical equipment. Leave the barbecue’n to the food vendors. Lastly, the fest organizers may pressure you to get the stage going and the entertainment performing. Before allowing this, check your equipment for moisture, make sure the stage is dry and don’t take chances. Sometimes those organizers are not thinking clearly when they are dealing with a wet festival, empty streets and sinking revenue because of rain.
The time to crank it is during the headliner or last act. Similarly, keep the break time or between band music at a lower level (unless fest organizers want it cranked). Doing this serves several purposes. First, it gives you, your crew and the audience a chance to rest your ears. Second, it allows the next act to stand apart from the between-act music. Also, always consider your environment when providing break music. Typical family fests will likely frown upon Ozzie being cranked at 11am during the kids’ band’s break. This music is not for you. Nobody wants to listen to your Yes, Genesis, Outfield mix disc. I like to ask the fest organizers to provide a preloaded iPod containing their choice for appropriate music. Just remember, you’re in a family environment.
There’s nothing worse than jumping up on a stage and hitting a loose cord and having it roll under your feet, resulting in a fall on your ass. Similarly, keep case lids, empty transports, tarps and anything not used during the day out of site and safely secured. Put empty food and drink containers in the garbage. Remind the on-stage entertainers to clean the stage upon their conclusion. You and your crew are not their maids or the stage janitors.
Remember that when the sun goes down, the weirdos come out. Keep a sharp eye on your gear, the stage and the front-of-house area. With the headliners playing during the evening, the crowd will likely be large and sometimes can hamper your ability to get to the stage when needed. I often will position one of my staff at each side of the stage 
guess the more important question would be why you’re drinking on the job?
