Recording a Big Band
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The jazz big band was most popular in the 1940s but declined in the 1950s. However, big bands have persisted with people continuing to play in and record them. One famous example is Benny Goodman's 1938 live recording at Carnegie Hall which used two microphones and showed the band's brassier sound compared to studio recordings. For the Blackhawk Big Band recording session, various microphones were used including overhead, close mics, and boundary mics to capture each section. The recording captured the band's unique rehearsal-style seating arrangement and provided an evaluation of techniques that could be improved.
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Recording a Big Band
- 1. Recording A Big Band Stuart Jones Neil Martin A Case Study Featuring Blackhawk Big Band
- 2. Recording a Big Band The jazz big band was born in the 1920's, came of age in the 1930's, enjoyed its greatest popularity in the 1940's, and went into popular decline in the 1950's. In the 1960's the big band enjoyed a comeback of sorts, but was displaced from the front pages by The Beatles and other things. In the 1970's it looked like the big band would either expire, or be transformed out of recognition. And yet, it persists; people still play in big bands, still dance to them, still record them. It has proved a most durable ensemble. http://www.auldworks.com/bbandrecord/bbandrec1.htm Introduction Stu
- 3. Recording a Big Band Example Recording : Benny Goodman Live at the Carnegie Hall, 1938 One of the more famous examples of a big band recording is Benny Goodman Live at the Carnegie Hall in 1938. Two microphones were used, one hanging over the stage for overall pickup, the second on stage also used for the P.A. system. http://www.auldworks.com/bbrec1.htm Stu
- 4. Recording a Big Band Microphones Benny Goodman Live at the Carnegie Hall, 1938 Western Electric 618-B dynamic microphone positioned to pick up front of house P.A. Stu
- 5. Recording a Big Band Microphones Benny Goodman Live at the Carnegie Hall, 1938 There was also an RCA 44-BX suspended about 20 feet above the stage Stu
- 6. Recording a Big Band Benny Goodman Live at the Carnegie Hall, 1938 Stu
- 7. Recording a Big Band Example Recording : Benny Goodman Live at the Carnegie Hall, 1938 http://www.auldworks.com/bbrec1.htm • Besides its historical and musical value, this recording teaches us about something else: the live acoustical balance of Benny Goodman's band as compared to the balance heard on their studio recordings. • The brass and drums really tend to dominate the mix. • The relatively distant placement of the overhead microphone lets us hear this clearly and confirms the critical consensus about Goodman's band: it really was louder and brassier than what had come before; a fact that caused Goodman problems with some hotel ballroom managements early in his career. • Also evident is the wide dynamic range of the music, which often threatens to outrun the limits of the recording equipment. Neil & Stu
- 8. Recording a Big Band Modern Recording Example Stu Gordon Goodwin Vid
- 9. Recording a Big Band Recording Blackhawk Big Band
- 10. Recording a Big Band Members • Mostly amateur enthusiasts, some semi-pro and pro • Weekly rehearsals are seen as mainly fun. • A pool of enthusiastic ‘deps’ are prepared to turn up when needed History of the Band Neil
- 11. Recording a Big Band Repertoire • The band will play through anything that any member arranges or supplies. • The bandleader (Owain Mealing) likes to play weird modernist stuff • Fortunately the band members mostly enjoy the variety. • The need to play more accessible numbers at gigs is acknowledged. • Part of the fun is the enjoyment of listening to each others’ solos History of the Band Neil
- 12. Recording a Big Band BlackHawk Rehearsal Seating Diagram Neil History of the Band
- 13. Recording a Big Band Gigs/ Venues • The band has existed in its present form for around two years. • Half a dozen gigs a year • Mostly for fun, some beer or some expenses • Usually as a favour • No intention of encroaching upon the professional domain History of the Band Neil
- 14. Recording a Big Band Instruments & Sections Neil • Rhythm: guitar, bass, drums and usually piano • Trumpets: all parts (lead and solos) are shared around • Trombones: 3 tenor, 1 bass • Saxes: 2 altos (doubling soprano), 2 tenors (doubling flute and clarinet), baritone
- 15. Recording a Big Band •Most recording sessions follow a typical pattern or sequence of activities. •Having a basic template for the agenda of a recording session is your starting point for planning a more tailored strategy. •Agree the strategy in advance with the recording team and inform the artists or their management of the session time, duration, location & any technical requirements. Pre-Production - A Planned Strategy Stu
- 16. Recording a Big Band Pre-Production for the BlackHawk Session •Artist Research : Students went to see the band play live prior to recording. This was to establish repertoire , arrangements, key players, solo, different instrument sections. Students met with Neil to discuss recording. • Meeting the Band and its Audience - Students were introduced to the band leader and other members of the band. Students also had the opportunity to talk with the audience many of whom were able to critique the band (favourite songs and arrangements, favourite musicians, favourite venues etc). Neil & Stu
- 17. Recording a Big Band In The Studio
- 18. Recording a Big Band Studio Floor Plan
- 19. Recording a Big Band The difference between Blackhawk Big Band and other bigs bands is the floor plan. As Blackhawk are a rehearsal band, they asked to be set up facing each other. Neil Studio Floor Plan
- 20. Recording a Big Band Typical Seating Diagram for a Big Band Neil Studio Floor Plan
- 21. Recording a Big Band BlackHawk Seating Diagram Neil
- 22. Recording a Big BandNeil Studio Floor Plan
- 23. Recording a Big Band The Recording Session
- 24. Recording a Big Band Microphone Set Up 1 • Bass Drum - AKG D112 • Overheads - Rode NT5 - Spaced pair • Guitar - SM57 • Bass - D.I. (Direct Injection) • Piano - 3 x Microtech Geffell M930 - Spaced pair positioned 3 feet from piano with piano lid open. One positioned underneath the piano for extra bass. • Trumpets - Rode NT4 Stereo microphone with x/y array • Trombones - AKG 414 - Spaced Pair • Saxes - 2 x AKG C1000 Spaced Pair replaced at the last minute by 4 x dynamic spot microphones due to technical issues A total of 16 microphones used Stu
- 25. Recording a Big Band • 2 x PZM Boundary microphones; 1 x mic positioned behind the bass player stuck to the glass and the other positioned behind the trumpets. Microphone Set Up 2 Stu
- 26. Recording a Big Band Boundary Mic Placement Boundary Mics Stu
- 27. Recording a Big Band Boundary Microphones Stu
- 28. Recording a Big Band Boundary Microphones Playback Gonna Fly Now Vid
- 29. Recording a Big Band Evaluation • Sight floor plan change. For example, more symmetry on rhythm section with drums centre with bass and electric guitar either side. • Better separation between instruments by using screens (gobos). • Soloist moved to centre of stereo mic field to avoid phase and loss in level. Neil & Stu
- 30. Recording a Big Band • The recording session is psychologically and physically demanding on both artists, engineers & producers, but in different ways. • Irrespective of which side of the glass you work on, you must continually monitor session progress, the clock and the stress and performance levels of all parties involved. • Be prepared to take on different roles and responsibilities in the studio - Gain experience of the process of recording from all perspectives and your studio practice will be more balanced and robust. Conclusion Neil & Stu
- 31. Recording a Big Band References Music • Benny Goodman (1938) Benny Goodman Live at the Carnegie Hall [CD] Avid Entertainment • Blackhawk Big Band (2012) Gonna Fly Now [Unreleased] • Blackhawk Big Band (2012) My Romance [Unreleased] Web • Auld, Robert (1997) The Art of Recording a Big Band. Available at http://www.auldworks.com/bbandrecord/bbandrec1.htm (Accessed: Oct, 2012) • Golden Age TV Recreations (2012) Available at: http://www.golden- agetv.co.uk/equipment.php?TypeID=6 (Accessed: Oct, 2012) • Coutant.org (2012) Available at: http://www.coutant.org/we618a/index.html Accessed: Oct 2012). • Jazz Band Wiki (2012) Available at: http://wiki.sidekick.com/ (Accessed: Oct 2012).
Editor's Notes
- The jazz big band was born in the 1920's, came of age in the 1930's, enjoyed its greatest popularity in the 1940's, and went into popular decline in the 1950's. In the 1960's the big band enjoyed a comeback of sorts, but was displaced from the front pages by The Beatles and other things. In the 1970's it looked like the big band would either expire, or be transformed out of recognition. And yet, it persists; people still play in big bands, still dance to them, still record them. It has proved a most durable ensemble.
- One of the more famous examples of a big band recording is Benny Goodman Live at the Carnegie Hall in 1938. Two microphones were used, one hanging over the stage for overall pickup, the second on stage and also used for the P.A. system. These two sources were probably mixed on the site, and the signal then sent to CBS studios (using the usual broadcast-remote transmission lines) where the transcription discs were cut. The setup differed from a radio remote in that there was no announcer, and therefore no separate announce microphone. The setup differed from a radio remote in that there was no announcer, and therefore no separate announce microphone.
- Because CBS broadcast the New York Philharmonic every Sunday, CBS had a permanent wire installed at Carnegie Hall. CBS kept a few Western Electric 618-B dynamic microphones on floor stands around the stage, according to Bill Savory, who was familiar with the situation.
- There was also an RCA 44-BX suspended about 20 feet above the stage apron. All were patched into a console that was linked by phone wires to CBS master control at 485 Madison Avenue. The Type 44-BX Velocity Microphones are high-fidelity ribbon microphones that are specially designed for broadcast studio use. They are robust, and designed to retain sensitivity and frequency response regardless of changes in temperature and humidity. Their essentially flat frequency response (50Hz to 15,000Hz) is suitable for reproducing both voice and music.
- Besides its historical and musical value, this recording teaches us about something else: the live acoustical balance of Benny Goodman's band as compared to the balance heard on their studio recordings. The brass and drums really tend to dominate the mix. The relatively distant placement of the overhead microphone lets us hear this clearly and confirms the critical consensus about Goodman's band: it really was louder and brassier than what had come before; a fact that caused Goodman problems with some hotel ballroom managements early in his career. Also evident is the wide dynamic range of the music, which often threatens to outrun the limits of the recording equipment.
- The temptations of complexity! Spot mics on Saxes - With bigger brass sections, sometimes the saxophones (and clarinets if included) have trouble competing with the trumpets and trombones. Hopefully this kind of difficulty would have been solved by altering the numbers of instruments playing at the same time, but if the adopted solution was to move the mics in closer to the weaker instruments there will almost certainly be a problem with the recorded perspective.
- 2 x microphones taking a similar approach to recording techniques developed in the 1930’s for recording big bands.
- When a microphone is placed near a reflective surface, sound travels to the microphone from two paths: (1) directly from the sound source to the microphone, and (2) reflected off the surface. The PZM design allows the direct and reflected sound waves to be added in phase to increase the output of the mic capsule by 6dB.