recording a big band

Recording A Big Band

Stuart Jones

Neil Martin

A Case Study Featuring Blackhawk Big Band

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



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



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


Microphones


There was also an RCA 44-BX suspended about 20 feet above the stage

Stu



Stu


Example Recording : Benny Goodman Live at the Carnegie Hall, 1938


• 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



Modern Recording Example

Stu

Gordon Goodwin Vid


Recording Blackhawk 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


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


BlackHawk Rehearsal Seating Diagram

Neil

History of the 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


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


•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


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


In The Studio


Studio Floor Plan


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


Typical Seating Diagram for a Big Band

Neil

Studio Floor Plan


BlackHawk Seating Diagram

Neil

Recording a Big BandNeil

Studio Floor Plan


The Recording Session


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 issuesA total of 16 microphones used

Stu


• 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


Boundary Mic Placement

Boundary Mics

Stu


Boundary Microphones

Stu


Boundary Microphones Playback

Gonna Fly Now Vid


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


• 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


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).


http://www.golden-agetv.co.uk/equipment.php?TypeID=6

http://www.coutant.org/we618a/index.html

http://wiki.sidekick.com

recording a big band

Education