Top of the show! We’re nearing the end of the WGI season. And whether you’re into drum corps, marching band, color guard, or drumline, a full run of the show at the end of rehearsal is the capstone of the day. It’s where the members and staff get to see the work they put in, reflected back in a complete run of the program.
Is there something you can do at home, to keep things fresh in-between rehearsals? Practicing your parts is mandatory, but a lot of what we do is simply mental. Remembering counts, where you’re going, relationships to others on the field or floor, movements and how they line up with the music.
There’s a different type of homework you can do using your mind. You don’t need to get your horn out of the case or find room to spin. It’s called a mental run-through and it can be useful for days off or even as prep as you’re riding the bus to a contest.
I haven’t found much written about the mental run-throughs, so I’ll give two examples of how I like to do them:
Real-Time Run-Through
This one is easy and only takes 5-10 minutes, depending on how long your show is. Find a recording of your show, hopefully the most recent one. If you’re doing winter guard, use your copy of the soundtrack. If the recording is a video, that’s fine, but don’t watch the video. Instead, close your eyes, listen to the audio, and use your minds eye to put yourself on the field or floor in your spot.
Follow through your entire show in realtime. Imagine yourself moving through your drill, playing the notes, and doing the work. Picture the relationships to others around you as the drill changes.
Bookmark anything that is unclear so you can review it later with your equipment. If there’s anything that felt too-fast, you might want to try a different approach…
Mind-Time Run-Through
Mind-time run-throughs don’t require anything but yourself. You don’t need a recording, just the memory of it. Work through your show from top to bottom. You don’t have to go at show tempo! You can slow things down and work through the count structures and checkpoints.
If you know where your dots are, say them to yourself as you pass those sets in your mind. But also make sure you are imagining those around you and your relationships to them. Know your dot… but also know if you’re covered down, have good intervals, are part of a smooth arc, are in the diagonal, etc.
Using mind-time you can slow or even pause and rewind if needed, but don’t overdo it! The point is to make it all the way through the show in one go. Again, mentally bookmark the things that are unclear so you can check with your dot book, your equipment, your captain, or your instructor at the next opportunity.
Results
The goal of a mental run-through is to keep things fresh in your mind, even if you won’t rehearse again for a week or two. We all need time off for rest and relaxation, but we should keep our current season programs at top-of-mind until the final show. Everyone has put in so much time, taking a step backwards is not an option.
Is there any other mental run-through advice that I didn’t mention? Let everyone know in the comments!
Before we get into Mixer Hell I want to talk about what is currently consuming my life: MBI Winds. It’s a brand new WGI Winds ensemble put on by Minnesota Brass – sort of like an indoor marching band, but just the horn line. Our first contest is in one month and we still have open positions for flute, clarinet, saxophone, baritone & tuba. Here’s more about our 2023 program and how to join: https://mnbrass.org/2022/11/2023-winds-show-announcement/
For this new ensemble we have audio equipment (computer, mixer, powered speakers) that are used for our backing track – non-winds sounds and percussion. Since this is a new ensemble with a limited budget, I took the approach to beg & borrow as much equipment as possible.
I started with a Behringer X-32 console mixer from my old high school care of the Irondale Marching Knights. Put frankly, this mixer is huge. It was going to require a cart, and with only a 5’x9′ trailer I quickly realized that we wouldn’t be able to fit a huge sound cart and the floor tarp and the speakers.
While I like the X-32, it will likely be for sale in the near future…
Mixer 2
I had another cart option, a portable injection-molded SKB rack – free of charge from the Blaine HS Marching Band. This one would definitely be a better fit in the trailer, and MBI Indoor Percussion had an old rack-mount mixer they were trying to sell earlier in the year.
It was a Presonus StudioLive RML32AI and at first glance, it could do everything we needed: rack mount, computer audio interface, network control, and at least 8 channels.
My only complaint to start was I couldn’t install the mixer control app on my 3rd generation iPad with iOS 10. The mixer we used at River Valley Sound was a SoundCraft Ui16 which has a built-in web interface instead of an app. You could control that mixer with literally any device that had a web browser, old or new. On my old iPad it worked like a charm.
We were able to use the Presonus mixer for the month of December at rehearsals. But I had to borrow my wife’s (and sometimes kid’s) iPad which could run the control app.
Problem 1
While using it, we encountered one avoidable, but annoying problem. At one rehearsal it wouldn’t send anything on the main left/right outputs. I could plug a speaker into the mono/center out and it would work. So for one Friday evening we just used one speaker. I went home, searched and came upon this thread: https://forums.presonus.com/viewtopic.php?f=222&t=31779&sid=18e60e7bc8de7f7d56493cd5677e5e3d
TL;DR? There’s a bug where the main out is muted but not indicated anywhere in the app.
This problem happens when you save the scene with the “mute all” button pressed.
I don’t remember saving a scene, but I for sure used the “mute all” button frequently during equipment setup and teardown.
I found a solution for this, doing this:
Mute the Mono Out, then, in the mute groups screen, save this mute scene in any of the spaces. Press the Mute group button that you just saved the mute scene to. It will toggle the Mute for the Mono Out and the Main Out together.
Please Presonus, fix this bug !!!!
This was for-sure my problem because I tried the fix Saturday morning and was back in business.
Problem 2
The second problem was unavoidable in our circumstance. The computer audio interface on the Presonus StudioLive RML32AI uses firewire. That’s fine, I’m familiar with FireWire. It’s a little old school, but should work. Our sound system computer is an “Apple Silicone” (M1) Macintosh. At first I thought all I needed was a USB-C to Thunderbolt-2 adapter and a Thunderbolt-2 to FireWire adapter. $100 in adapters later, I still couldn’t get the mixer to be recognized as an audio interface on the computer. The Presonus FireWire drivers were consistently listed under Disabled Software in the mac’s System Report.
Presonus support confirmed that they have no plans to support FireWire drivers on M1 and newer Macintosh computers. Maybe performance was lacking? Because it’s certainly still possible to connect other firewire devices to Apple Silicon macs:
The only way to use Presonus hardware with a firewire audio interface is with an Intel-based Mac, or a Windows computer 😖
Mixer 3
It was clear we needed another option. There was something about the X-32 that I really liked: cross-platform support. They have mixer control programs for just about everything: Mac, Windows, Linux, iOS and Android. The fact that I could use my Ubuntu system to potentially run the mixer makes my heart sing! 😍
So we landed on a Behringer X-32 Rack. All of the features of the console mixer, but in a rack-mount package. Double-bonus that some of our staff have previously used Behringer equipment and are familiar with the mixing software.
Lately I’ve been stressing about making sure everything is running smoothly for a new music ensemble we’re kickstarting at Minnesota Brass: MBI Winds. While things are generally going smoothly, there’s always concerns from week-to-week: filling our remaining positions, facilities, and staying on budget.
I found myself losing sleep and having high anxiety about it all, and especially about things I couldn’t control. Despite having put together a fairly extensive meditation program for River Valley Sound (728 Cadets winter winds program), I wasn’t putting any of it into practice for myself.
Something I noticed at rehearsals was that I didn’t have time to worry about everything else. There was literally not enough space between the notes to let my mind wander. Live music has a way of demanding everyone involved to be present. Could I be absent and simply go through the motions? Sure. But live music to me has never been about going through the motions, it’s about turning yourself over to the performance.
This mandatory meditation is magnified in a group setting (i.e. rehearsal). At home during practice there’s always extra space where my mind can wander. At rehearsal everyone is counting on everyone else to do their part, and do it correctly. Be present, or be damned.
Bringing it Home
Some of these self-reflections about making music are things I could incorporate into other areas of my life. Being present for family and work, and not giving way to let anxiety creep in. I’m not there yet, but like the monks say, it’s always a practice.
…and marching band, WGI, etc. Props for any sort of marching arts are only as good as the best “band dad” in your group. Some band dads are great engineers, but staying in budget is always the trick. Aside: that term was not (properly) defined in Urban Dictionary, so I added a definition 😎
When it comes to props, the name of the game is cheap since they’re only used for a season. But they need to last a whole season, and work consistently. Sometimes you need to solve a problem which doesn’t have an off-the-shelf solution. When structural strength is not a concern, 3D printing can help.
Our trumpet soloist also has a 3D printer, so I dropped the spool off at his house and he was able to print all of them up. The cork was cut from a large sheet. It had sticky backing, but he made sure it would stay permanently with cyanoacrylate (CA) glue a.k.a. super glue.
At first I thought he paused the printer and switched from orange to white filaments to get the stripe look. Nope, it’s just white electrical tape – you’d never know from 10 yards away.
If you want to print straight mutes that are show themed, you can find the STL files here. I tried getting the cork from a local music shop without luck, so we bought some from Amazon.
Flag Clips
Another prop we had was a Route 66 street sign made from 1.5″ inside diameter (ID) PVC. The goal was to be able to clip a flag to the sign post so they can be moved around together without issue. Here’s the first version to give you an idea:
Version 1 barely survived one show, but that’s OK. The trial and error revealed where additional material need to be added for strength.
From feedback from the guard I learned the flag clip part could be a little bigger to accommodate the flag silk. Version 2 had a double-detent design to help prevent the flag from falling out on it’s own.
The clips slip over the PVC and it has enough room for pole tape (we used chrome Duck Tape). To hold them in place we just added a strip of duct tape on the opposite side of the clip. Here you can see the sign in the background. There are two small bulges on the bottom half of the post where the clips are fastened.
Both Shannon, our trumpet soloist, and myself have Creality Ender-based 3D printers. They’re not expensive, and you may already have someone in your group with access to one. They’re less than $500 and band nerds like to nerd out in other ways too. Ask around and use this new technology to your advantage, it wasn’t mainstream before but now it is. 📈
When the pandemic hit, I needed something to do. All my music stuff had been canceled. Unlike me, who works remotely, it was apparent that several businesses were going to be negatively impacted.
I contacted Best American Craftsman (aka BAC) in Overland Park, Kansas to see if they’d still be fixing instruments. They would be, but with some staff doing repairs at home, and a smaller staff in the shop at any given time. All good, I was in no hurry.
I sent in my Bach 42 trombone in specifically for their “Escape Velocity” slide service. Having sat in the case for at least a decade in the 2000s had not served it well 😞 Also, my F-attachment valve was slower than molasses in January, as they say.
Was it worth it to box up my case and ship it half-way across the country? Absolutely! It was like my slide and f-attachment trigger action were brand new – possibly even better than new 💪
Reconnecting with my people
I’ve had a ton of hobbies over the years – you can read about most of them on this blog. But recently I came to the conclusion that band people are my people. Of all the subcultures I’ve steeped myself in, they are the best. There’s something about band kids (we’re all band kids at heart) that binds us all together.
I’ve even found that some of my old high-school classmates are still active. An Irondale classmate invited me to a jazz camp in norther Wisconsin. Besides being all-around fun, I got to do group lessons with fantastic trombonist Andy Baker, and also actively work on improvisation – which I’ve never been good at. I’ll keep chopping that wood for next year’s camp 🪵🪓
Slide oil, cream, or mix?
Working with River Valley Sound (the winter winds part of 728 Cadets) I met Chris. He’s a band director and trombone player. He was able to help me quickly hone in on what’s new.
Being a frequent pit-orchestra guy, Chris also gave me advice on a trombone stand. I initially went with the Hercules hand-slide stand. It is very solid and does avoid the stopper leaving a mark inside the bell. However, I quickly realized that I instinctively want to pick the horn up by the slide handle. And the slide handle is now in the stand 😕 So I switched to a standard style K & M stand. It’s more expensive because it’s made in Germany, but it’s solid and I just do what everyone else does – put a sock on the stopper so it doesn’t leave a mark in the bell 😎
