BEST PRACTICES FOR PRO AUDIO

IN THE MARCHING ARTS

A PRIMER FOR BAND DIRECTORS

PRESENTED BY EVAN KEMPEY

BAND DIRECTOR
SCHOOL #1
PASSAIC PUBLIC SCHOOLS

SPONSORED BY
BUT FIRST A WORD FROM OUR SPONSORS:

www.redroomonline.com
eric@redroomonline.com
 WHAT THIS SESSION WILL COVER
• SIGNAL FLOW
• MICROPHONES
• COMMON TYPES, MOUNTING, WIRELESS 101
• ELECTRONICS
• SYNTHESIZERS (PHYSICAL VS. SOFTWARE), SAMPLERS, SYNTH CARTS
• DO I NEED A DI?
• WIRING
• TYPES OF WIRES/CONNECTORS, METHODS
• SOUND MIXER 101
• GAIN STRUCTURE, DIGITAL VS. ANALOG, WIFI AND WIRELESS CONTROL,
MIXER CARTS, POWER AND UPS SYSTEMS
• SPEAKERS
• COMMON TYPES (POINT SOURCE)
• PASSIVE/ACTIVE, PROS AND CONS
• REHEARSAL ETIQUETTE
• SETUPS, WIRING DIAGRAMS, CABLE MANAGEMENT, FAILURE RUNS, TIPS
FOR REDUCING SETUP TIME
• ADDITIONAL RESOURCES
• Q&A

UNLESS NOTED, PHOTOS COURTESY OF THE MARCHING ARTS AUDIO DISCUSSION FACEBOOK GROUP, OR EVAN KEMPEY.

3
 A BRIEF ANECDOTE
THE RAIDERS 2015 DCI WORLD CLASS PRELIMS STORY
HOW SO MUCH CAN GO SO W RONG FOR EVEN THE BEST PREPARED
 SIGNAL FLOW
THE KEY TO TROUBLESHOOTING AUDIO ISSUES

• Signal flow is the path that sound

follows from the source (input)
through to the speakers (output).
A typical signal chain looks like
this:
1. Microphone/Synth/Instrument
2. Cable -> Snake
3. Mixer
4. Amplifiers
5. Speaker Cables
6. Speaker

5
MICROPHONES
PART 1

6
 MICROPHONES
• Microphones are usually used to amplify
the sound from Marimbas, Vibraphones,
Auxiliary Percussion (traps), instrument
solos/small ensembles
• The two most common types in use are Shure SM57/SM58 Audio Technica AT2035
the Dynamic Mics, and Condenser Mics.
The major difference between the two is
the type of transducer used.
• Dynamic Mics are cheap (~$100) and
reliable, and a great starting point
• Shure SM57, SM58,
• GLS 57/58 (Chinese made
clones, ~$40)
• Condenser Mics are more expensive
(~$150) and require Phantom Power
(+48V) from the mixer, but have a greater
frequency response and are more
sensitive.
• Audio Technica 2020, 2035
• AT2035 microphones come with
shock mounts which are useful for
mounting on mallet instruments!
• Other model microphones are available!
These three are the most commonly used!
• Avoid Microphones with On/Off Switches
• Wind Socks prevent wind noise from
entering your mix.
Photo/Image: Shure

Photo/Image: Audio Technica

7
 THE ELEPHANT IN THE ROOM
SHOTGUN MICROPHONES
• Shotgun-style microphones are
not a cheap way to make your
ensemble louder.

• Shotgun microphones have a very

small pickup pattern (think
spotlight), and have a limited
range. Photo: AudioTechnica
AudioTechnica AT897
• Design considerations for staging
shotgun microphones is needed
as their effective range is limited
and varies by model.

• Shotgun microphones can be

used for performers who can’t
make it to the sideline to play a
solo.

Photo: DCI
 MICROPHONE MOUNTING

• Two microphones are generally needed for a

Marimba, one for a Vibraphone. Microphones
are best placed so that the mic will cover the
full range of pitches. For Vibes this will be
generally under the middle note of the
instrument. For marimbas it varies based on
frame and size of the instrument. Usually one
microphone covers the higher pitches, and
one the lower pitches
• Microphones will require shock mounting to
prevent instrument frame noise from entering
your mix
• Two common methods for mounting
microphones include using bungees or string
with velcro ties, or shock mounting using
factory shock mounts and clamps
• Ease of mounting will ultimately depend on
the model of instruments. Adams and
Dynasty keyboards allow easy mounting with
Pearl PCX Clamps, Yamaha with Yamaha
Square clamps

9
 WIRELESS MICROPHONES 101
…OR HOW I LEARNED TO LOVE WIRED MICROPHONES
• Using wireless microphones is sometimes
an absolute necessity, but requires
extensive planning
• Several things need to be taken into
consideration before you use wireless
microphones:
1. Could it be done with a wired mic
instead?
2. Is the show designed around a
performer moving around thus
necessitating a wireless microphone?
3. Will your equipment hold up in a
stadium where wireless interference
will surely play a role? (Just ask
Carolina Crown!)
4. Does your sound mixer allow for
delay processing to allow sound on
the field to line up with sound from
the speakers?

10
 WIRELESS MICROPHONES 101 (CONT’D.)
“ARE YOU REALLY SURE YOU NEED THAT SOLO WIRELESS?!”

• Wireless Microphone Systems are usually comprised of the following parts:

1. Microphone/Body Pack 2. Antenna 3. Receivers

• Wireless can’t be done on the cheap, consult a professional before using wireless systems
• Wireless systems can run upwards of $1,000 per channel, and are still susceptible to interference
• Contact a professional, or research threads in the Marching Arts Audio Discussion Group on Facebook for more
information
• All components of a wireless system need to be on the same frequency band

11
 WIRELESS SYSTEMS ARE EXTREMELY SUSCEPTIBLE TO
INTERFERENCE
MetLife Stadium Wireless Scan - 470 MHz to 534 MHz

• Scanning using Wireless Workbench for Shure Wireless Systems allows you to find open frequencies.
• Run scans at every venue you perform and rehearse at to prevent interference.
• Do other groups a favor and keep your wireless microphones powered down until you perform!

DO NOT PURCHASE 600MHZ BAND WIRELESS SYSTEMS AS THE 600MHZ BAND IS BECOMING OFF LIMITS.
DON’T BE SCAMMED BY LOW COST SYSTEMS ON THE 600 MHZ BAND.

12
ELECTRONICS
PART
SYNTHS,
2
SAMPLERS, AND
CARTS.

13
 ELECTRONICS 101
“DO WE REALLY NEED THAT 5TH BASS DROP?”

• As the activity expands and grows,

electronic instruments and sounds
are becoming more prevalent

• The Primary electronic components

of the Front Ensemble are the
Synthesizers, Samplers, and
Electronic Instruments

• Often groups will use a mixture of

Hardware and Software
Instruments

• Manuals are fantastic resources to

understanding the capabilities of
your equipment and should be your
first stop to finding answers.

14
 SYNTHS
TWO MAIN METHODS
HARDWARE SYNTH
• Hardware Synths
• Yamaha MM6/8/MX, Roland FA06/07/08,
KORG Kross.
• VERY Reliable, but can have limited sounds
• Not very intuitive programming functions

• Software Synths
• Mainstage (Mac Only), Ableton Live (PC)
• Not as reliable, but infinitely expandable
• Requires a laptop, which is more
susceptible to high heat
• Requires a midi controller
• Generally require an audio interface to SOFTWARE SYNTH + MIDI CONTROLLER
connect via USBMidi (USB2.0) cable to the
computer, and via Dual TRS Cable to the
mixer.

• A general word of advice, synth players should

have a monitor speaker to hear themselves.
Other cheaper solutions include earbuds and
headphones.

15
 MAINSTAGE 101
“WHAT DOES THAT BUTTON DO AGAIN?”

• Three Primary Modes:

• Layout

• Screen Customization

• Edit

• Patches and Button

Configurations

• Perform

• Full screen mode for

performances

16
MAINSTAGE 101
LAYOUT MODE

17
MAINSTAGE 101
EDIT MODE

18
MAINSTAGE 101
PERFORM MODE

19
 LOGIC REMOTE FOR MAINSTAGE
A HELPFUL ADD -ON
• Logic Remote allows you
to edit and assign
patches to MainStage
remotely. It also allows
individual patch volume
balancing.

• During live performances

one person can balance
the synths to the winds,
while the other controls
the mallet mix.

• Full editing is only

possible on the Macbook.

• Logic Remote is available

for all iOS devices.
 DRAWBACKS TO SOFTWARE SYNTHS

• Software synthesizers have an

expensive weak point in that laptop
computers easily overheat in direct
sunlight. We needed two fans on this hot day

• Keep your laptop shaded, and use

cooling fan beds.

• Power down the laptop when not in

use, and don’t store it where it will be
exposed to the elements.

• Powerful laptops are needed to run

this very CPU and Hard disk
intensive software. SSD’s are a must.

• Steep learning curve for

programming and customization. This
can be student-led.
 SAMPLERS
JUST BECAUSE YOUR IPAD CAN DO IT, DOESN’T MEAN IT SHOULD

• Samplers are devices which trigger pre-recorded

sound effects

• Common models include the Roland SP-404A,

Roland SPD-SX, Yamaha DTX. Other brands and
models are available

• The SP-404 series are button-press samplers,

whereas the SPD-SX and DTX require a hand or
drumstick to play

• Most Samplers use a compact-flash drive to add

sounds with computer software to aid
programming

• iPads and iPhones can be used to trigger

samples, but are notorious for issues with
registering button presses while cueing rhythmic
samples

• 3.5mm Audio jacks in these devices can be a

weak point, and a loose connection can lead to
a buzz.

Photo: Roland

22
DO I NEED A DI BOX FOR MY GUITARS AND SYNTHS?
PROBABLY

• What’s a DI? According to Eric:

•A DI (Direct Injection) box was invented to enable a line or instrument level

signal to be input to a mic preamp. It accepts unbalanced line or instrument
level, then lessens the signal’s voltage (increasing impedance). It outputs a
balanced mic level signally usually via an XLR connector.
• Be sure to check out Eric’s awesome guide,
“Do I need a DI for that?” A link can be found at the
end of this presentation.
• A DI can be used for Synths, Samplers,
or instruments like guitars and basses
to convert their signal to mic-level.

• Can I use a DI anyway? YES.

Photo: Radial
 WHERE IS ALL THIS STUFF GOING TO GO?!
“THIS IS GOING TO COST HOW MUCH?!”

• Synth Carts and Mixer Carts:

• Your Synths and Mixers will need a

place for safe storage and operation,
prefab carts protect your equipment
in transit and during performance.

• Carts can be built from wood

(diagrams are available online) by
parents or volunteers.

• Companies such as Pageantry

Innovations are becoming popular for
their carts and speaker stands. Their
products are used by many of the top
drum corps and are often sold as
used at the end of each season for a
discount.
WIRING
PART 3

25
 CABLES
Is it time to ask if I need a DI yet?

• There are many different types of cables that can

be used in the front ensemble. These include but XLR to XLR cable
are not limited to:
• Microphone:
• XLR to XLR
• XLR to 1/4” TRS/TS
• Instrument:
• Dual RCA to Dual RCA (Samplers)
• TRS 1/4” to TRS 1/4”(Guitars)
• Dual 1/4” TRS to 1/4” Dual TRS (Balanced
Synths)
• Dual 1/4” TS to 1/4” Dual TS (Unbalanced
Synths)
• Speaker:
• XLR to XLR
• 1/4” TRS to 1/4” TRS
• SpeakOn NL2/4
• Snakes/Stage boxes/Breakout Cables
• It is important to know the difference between
BALANCED and UNBALANCED Cables

26
 BALANCED AND UNBALANCED CABLES
A VERY IMPORTANT DISTINCTION

• Balanced cables have three • Unbalanced cables have only two poles:
poles: • Positive
• Ground
• Positive
• A lack of a negative (and switched polarity)
• Negative makes the cable more susceptible to
• Ground interference and noise.

• Ever have a Long Ranger/Megavox play a

• Least likely to collect noise
over the length of cable run.
• Examples: XLR, 1/4” TRS
local radio station? Unbalanced Cable.
• Example: 1/4” TS
• For a more in-depth description, check out
Eric’s “Do I need a DI for that?” guide
linked at the end of the presentation which
dives deeper into this subject.

27
Image: Sweetwater
 MICROPHONE CABLES
XLR Microphone Cable

• XLR Cables are Balanced

Soldering skills saved
(three pin) cables, which are this $100 microphone
less susceptible to noise.

• Learning how to solder will

reduce costs, and allow you to
repair broken connectors.
The three pins in an XLR cable
• Assembling cables from
scratch is often cheaper than
buying factory cables.

28
 SPEAKER CABLES
NL2 OR NL4, THAT IS THE QUESTION

NL2 SpeakOn Cable

• Speakers cables are broken up
into two categories:
• Audio Only (XLR, TRS)
• Audio/Power (NL2/NL4)

• Audio/Power speaker cables

such as the NL2/NL4 SpeakOn
cables carry power to the
speaker from an Amplifier.

• NL4 cables allow you to send

two sets of signal to two
passive speakers in a stack by
allowing daisy chaining of the
speakers.
Photo: Seismic Audio

29
 CABLE EXAMPLES

XLR to XLR XLR to TRS TRS to TRS TS to TS

Dual TRS to Dual TRS Dual RCA to TRS SpeakOn USB 2.0
(Sampler) (Type A to Type B)

Photos: B&H 30
 SNAKES/STAGE BOXES
• A Snake/Stage box is
commonly used to connect
instruments to the mixer via
one cable bundle.

• Daisy chaining microphone

cables (from one instrument
to another) and instrument
cables to a Snake allows for
the mixer cart to be set up
further back from the pit.

Labeling and color coding helps performers in setup.

31
 BREAKOUT CABLES
THAT PRINTER CABLE FROM THE 80’S IS BACK

Breakout Cable A Core Cable

• A Breakout Cable is similar to a snake,
in that on one end there several
XLR/TRS connectors, and on the other
end is a DB25 connector

• By daisy chaining microphone cables,

now only one lightweight plug needs to
be connected to another breakout cable
connected to the mixer Photo: Planet Waves

• Daisy chaining microphone cables and The mixer end of three

instrument cables to a Snake allows for Breakout Cables
the mixer cart to be set up further back
from the pit

• If you use a longer Core Cable, you

could possibly have your mixer as far
back as possible from the pit if you plan
to mix from the track

32
 WIRING DIAGRAMS
PRE-PLANNING WILL SAVE YOU $$$

• Before you plan to use your PA, you’ll need to come up with a wiring diagram.
• While there are apps which allow you to draw, and professional consulting available,
pencil and paper works just as well.

Just because I have an iPad, doesn’t

change the fact I’m not an artist.
Photo: Ryan McCoy

33
WIRING DIAGRAMS (CONT’D)
MUSIC CITY MYSTIQUE EDITION
SOUND MIXERS
PART 4

35
 SOUND MIXER BASICS
OH, SO THAT’S WHAT THAT BUTTON DOES!

• Following Signal Flow our microphones/instruments have sent signal through their cables which now connect to the Sound Mixer.
• All Sound Mixers processes these sounds through the following parts in order in each channel:
• Gain
• Strength of overall signal from source
• (Think spigot on a water hose, too little and the plants don't get water, too much and you flood your garden)
• Compression
• Lessens dynamic ranger between loudest and quietest parts of an audio signal
• Noise Gate
• Allows signal to pass only when a certain (user defined) threshold is reached.
• Good for reducing unwanted background noise.
• Equalizer (EQ)
• Alters frequency response of an instrument/input (Usually Hi, Mid, Low)
• FX
• Adds effects like Reverb or Chorus to a sound
• Aux Sends
• Allows an audio signal to be routed to a different speaker or group. Commonly used for Synth Monitors and separate Subwoofer controls
• “Mixer within the mixer”
• Pan
• Adjusts panning of the sound to Left or Right with a default centered position.
• Fader
• Fine adjust for sound levels, determines final level of sound to be output
• (Fine adjustment of the garden hose, like the hand control of a nozzle)
• Mute Groups
• Preset groups of channels to be muted
• DCA
• Control that allows preset groups of channels to have their volume raised or lowered with one fader.
• Does not pass audio, more like a remote control for the faders.
• Main
• Controls master output level from the mixer to the amplifiers and speakers.

AS ALWAYS, CONSULT THE MANUAL OF YOUR MIXER FOR SPECIFIC INFORMATION REGARDING THESE FUNCTIONS.

36
 TWO TYPES OF MIXERS
ANALOG AND DIGITAL

• Analog mixers are the simplest and most robust style of mixer. All
controls are physically controllable at all times.
• Examples:
• Mackie ProFX16
• Yamaha MG16XU
• Digital mixers allow remote control from an iPad or tablet (through a
wireless network), allowing remote control and scene saving. Some
settings are only available through a screen.
• Full Size Examples:
• Behringer X32/Midas M32 • Rack Mountable Examples
• Yamaha TF1/TF3/TF5 (little to no physical controls)
• PreSonus Studiolive • Behringer X-Air (XR12, XR16, XR18)
• Yamaha TF-Rack
• Behringer X32 Rack Mount
• PreSonus RM Series.

37
 DIGITAL MIXERS (CONT’D)

• Digital Mixers include

functionality for scene saving, so
you can take a snapshot of
current settings and recall them
later. This comes in handy if
using wireless microphones
where delays need constant
resetting, or for setting specific
synth levels and mute groups for
solos.

• UPS Batteries are a good idea to

use to keep the Mixer powered
so setup time is reduced.

• A wireless router is needed for

remote control.

38
 REMOTE CONTROL
YOUR BEST FRIEND, OR BIGGEST CRUTCH

• Digital mixers come with software which allows

remote control from tablets.

• Remote control of sound mixers requires a

strong WiFi router. Dual Band (2.4GHz/5GHz)
routers are a must as more and more routers pop
up at stadiums.

• 2.4GHz Only routers will leave you blocked

from access from your equipment due to
interference.

• A WiFi scan at a stadium in Michigan City,

Indiana revealed over 40 active WiFi routers.

• Some mixers remote control apps do not allow

total control. Refer to the manual of your mixer
and its app to see what you can and can’t
control.

• Have a “Plan B” for losing connection to

your mixer.
AN ANALOG MIXER
Mackie ProFX16

40
A DIGITAL MIXER
Yamaha TF5

41
 REMOTE CONTROL
OF A BEHRINGER X -AIR XR18 (RACK MOUNTED) MIXER

42
SPEAKERS
PART 5

Don’t be that guy…

43
 SPEAKERS

• There are two kinds of speakers generally in

use: Passive Speaker Stack
• Active (Powered by power cables)
• Passive (Powered by amplifier)
• Active speakers require more cables since
power and audio signal is required for each
individual speaker.
• Active Speakers have power knobs and
volume knobs which can be forgotten to be
turned on, or pushed out of place Passive/Active Combo
inadvertently
• Passive speakers are powered through
NL2/NL4 SpeakOn cables from an amplifier
located by the Mixer.
• Amplifiers add cost, but Passive speakers
are generally cheaper than Active Speakers.
• Speakers are generally used in pairs of two
different speakers
• Main/Head
• Subwoofer (Low frequencies)

44
 POWER AMPLIFIERS

• Power Amplifiers power

Passive speakers. Usually one
Amplifier can be used to power
two speakers. Most Marching
Bands will survive with two
Amplifiers, one to power the
Mains/Heads, the other to
power the Subwoofers.

• A crossover can be set in the

subwoofer to set the crossover
point between the speakers.

• Common crossover points are

between 100Hz and 80hz.

45
 SPEAKER SETUP
HOW TO ENSURE YOUR FULL AUDIENCE ENJOYS THE SHOW

• Speakers have a predetermined vertical and horizontal throw

• Each speaker is different, and the owners manual will tell you the throw angles
• A typical main speaker has a 90 degree horizontal and 40-50 degree vertical throw
• Some speakers (like the Yamaha CM15V) are actually stage wedge monitors, and are
not really meant to cover a stadium. They throw more vertically (90 degrees) than horizontal

• The speaker arrangement to the left is

what we use in Passaic.
• By placing our speakers splitting the 35/40
yard line we cover the audience everywhere in
between the 20 yard lines at the fence and back.

46
SPEAKER SETUP (CONT’D)
LUCAS OIL STADIUM EDITION

BLUE=40 DEG.
ORANGE=90 DEG.

47
PROPER SPEAKER SETUP ENSURES GOOD AUDIENCE COVERAGE!

NO! YES!*

*Indeed this isn’t the same main speaker,

but you can turn the Yamaha Monitor speaker on its
side to achieve the same result
REHEARSAL AND
PERFORMANCE
ETIQUETTE

PART 6
 REHEARSAL ETIQUETTE
HOW TO KEEP ALL OF YOUR EXPENSIVE THINGS IN GOOD SHAPE

• Train your students with what you’re learning (They’re the next generation of teachers!).
• Color code all of your wires to keep track of what each does, use a label maker to label buttons, etc.
• Everyone should be able to plug everything in just by color, even if it’s not their responsibility
• Learn to “Roadie-Wrap” your cables to prevent wear
• Have cable wrapping competitions with your students!
• Practice setting up and tearing down your equipment, discuss roles, and give each student a job. Start
slow
• Start the process early, at band camp, every day. Be prepared, don’t wait for the first show! Let the
students take as much responsibility as possible in the setup process
• Be prepared to step in only if needed
• Keeping yourself free will enable quicker response to failures of equipment
• Practice without your electronics (Failure Runs)
• If you’re not sure of something, check the manual. If you don’t want to check the manual, ask a student.
If you still can’t find the answer you need, then consult the Marching Arts Audio Discussion Facebook
Page (Use the search function first)
• Be prepared to keep a level head for when things go wrong because they will.
 QUESTIONS?
THIS PRESENTATION FILE IS AVAILABLE AT THE FOLLOWING LINK: GOO.GL/JTXTWE

CONTACTS
EVAN: EKEMPEY@GMAIL.COM
ERIC: ERIC@REDROOMONLINE.COM

VISIT RED ROOM PRODUCTIONS AT: WWW.REDROOMONLINE.COM/