I set out to create a setup similar to MBI Winds’ first season at home in miniature. I knew I needed at last a 4-channel USB-audio interface. I needed at least 3 powered speakers, which can oddly be difficult as many studio monitors are only sold in pairs.
Another quick call to my sales rep at Sweetwater got me to the answer. The JBL 308s are a very popular and highly recommended 8″ powered monitor. They’re sold individually and my rep even let me know when they were going to go on sale.
Then wrapped the cables with some white cable wrap so it doesn’t look terrible in the background when I’m on zoom calls for work.
For Work
It works well because I can use the mains for listening to music while working. How I get the signal from my work computer is via bluetooth to a new bluetooth receiver. That receiver has two RCA to 1/4″ TS cables going to analog input channels 1 & 2 on my audio interface.
For Winds
When I’m doing music stuff it’s sort of backwards as I’m facing the 3rd aux channel, but it’s the same experience the members would have on the floor, facing the audience. I plug my macbook into the USB audio interface for a multi-channel digital audio connection.
Setup
The JBL speakers’ 1/4″ input supports both TRS (balanced) signals and TS (unbalanced) signals. Because I’m coming off the “Phones B” output for channels 3 & 4, I use the stereo TRS to mono TS cable and connect to the 1/4″ input on my 3rd speaker. It’s not a balanced connection but it’s only traveling 3 feet, so induced noise & signal loss should be minimal.
For the mains I use regular XLR cables which connect to the SSL audio interface with a short XLR to TRS adapter cable. I got enough extension cord to run them along with the XLR cables so everything plugs in around the same area, and I use a power strip to turn it all on/off in tandem.
Future
For version 1.1 I’ll probably upgrade my power strip to something that has USB-A ports and USB-C power delivery for the macbook.
I just got done with a fantastic first season with MBI Winds, a new independent hornline that competed in WGI’s Winds class. Our goal was to create an outlet for horn players of all instruments and all ages. We set out to show how hornline culture is cool π And it was the hardest thing I’ve ever done.
Having worked with RVS since 2020, I felt there was enough momentum from graduates to make an independent group happen. At the start of the season it seemed promising. This was a screenshot of the registration list that wound up in the staff chat for RVS:
AND there was another Independent group from Mankato that was supposed to come out in Exhibition.
The timing seemed right! But I underestimated how hard recruiting is. Recruiting is hard. Harder than getting a college degree. Harder than marching an entire season of drum corps. It was draining! π
It wasn’t just me. I soon came to find out that both Minnetonka and Mankato would not be coming out this season for recruiting reasons. I kept at it through late January – that was when we filled our remaining saxophone spots. I was content to keep the group at 20 members even though the drill (and budget) was written for 24. Otherwise I would have gone insane π€ͺ
Independent Groups are Hard
We don’t have a captive audience like a student body. Members are paying to participate. They can decide in an instant that it’s not worth their time or money. This fact is not lost on anyone inside an independent organization, but I’m not sure if outsiders realize it.
We don’t own any real estate, so facilities are a big deal. The days of hand-shake deals with local band directors are over as just about everything goes through Community Education. Some of the best things Independent Groups can do are:
Partner with a local church or other space that might not otherwise receive income/donations to use their facility.
Find a school district that operates without a Community Education management system and negotiate a partnership directly.
Negotiate a deal with Community Education based on the number of rentals (this is rare, but sometimes possible)
Paying for all of our facilities means we must maximize what we can do in that time. Sometimes the work isn’t sexy, so we must fall in love with chopping wood & carrying water.
All instructors & administration of independent groups are underpaid. In most cases they need to be – to ensure affordability for the members, and the survival of the group. Staff should be there for the love of the activity & the members. If money is what you’re interested in, you’re better suited to finding a scholastic program in a ritzy neighborhood.
Independent Groups are Important
The success of any independent group is usually reflective of the success of scholastic groups in their region. Band directors – think about what your goals are. Not just the goals of your program this year or the next 5 years – over your entire career. One thing that is not lost on me is making music last a lifetime.
50% of students are going to quit playing after high school. What if we could encourage students to keep playing just a little longer by asking them to follow-through on something outside of school? Independent groups (including community bands!) are part of that equation.
How can people help right now? Local band directors, we need your help specifically. None of the things I will suggest are groundbreaking.
Answer your email and return phone calls. I get it, we all have hundreds of unread messages. For every band director I contact I typically get a 35% response rate on messages.
If someone from an independent group is asking for interested members, ask. Even if you think no one is interested, just ask. If someone is interested, great! If not, then you can at least say you did.
We are on the same side. MBI Winds maintained a policy that outside music commitments come first unless it impacts a competition. Recognize that members participating in independent groups are high performers. They’re the ones in all-state band, honor band, etc. There’s a compromise to be made on both sides and communication is the key.
Making it last
I was speechless when I was recognized by peers as going above and beyond to make the season work.
I was super greatful, but my favorite “trophy” for the season was this:
I’m forever grateful for these 20 musicians that dedicated themselves to an idea. We had no basis to know what the group could or couldn’t do – we all just had to believe. I’m hopeful that next season might be a little easier π€The groundwork that was laid will hopefully be a good foundation. If we turned some heads and got people to say “that looks like fun” then I think we’re on the right track.
I wanted to buy a USB audio interface to use at home when working on the backing track for MBI Winds. Our winds group uses a multi-speaker setup (currently 3 channels) that I wanted to be able to easily replicate at home without pulling out 2x 100-pound speakers and a 32 channel mixer π
So many choices!
I started by looking at interfaces on Amazon, starting with the hugely popular Scarlett and the Behringer 4-channel units. I asked around at work because lots of folks like to use USB audio interfaces for podcast mics, or simply to get rid of headphone noise induced by their computer’s main board. After asking my list went from 2 to 6 units.
I started combing over the instruction manuals and found an issue. Most of the 4-channel USB audio interfaces simply passed the channels 3-4 along at line level without an option to adjust volume. This included the Scarlett and Behringer models I was looking at.
Homework or help?
I had my work cut out for me, but rather than digging in, I reached out for help. Cristian Good is our sales rep for the drum corps, and he really knows his stuff. This was a personal purchase, but I reached out to him anyway. At around 4pm on a Friday I sent him a message asking about units that could also adjust the volume on channels 3 & 4. I figured he’d get back to me on Monday as the homework seemed daunting. Nope, he got back to me within an hour recommending the Solid State Logic SSL2+
There it is, right on the front – the “Phones B” output can be changed to send channels 3 & 4 and be adjusted with that knob.
Channel 3 & 4 outputs
The SSL2+ has a few options for channels 3 & 4 – there are RCA jacks on the back, but these (like the other brands) pass the signal on at line-level. But press the “3 & 4” button and it will switch the Phones B output to channels 3 & 4. You can see the Phones A & B outputs and their corresponding knobs below:
So I have a couple options on how to hook things up at home. I can use the balanced outputs (to the right of the RCA jacks above) for the main left and right channels (1 & 2). Hook it up to a pair of studio monitors and use the big blue knob for the main level.
Or I can use the unbalanced Phones A jack for main left and right channels (1 & 2) and use the Phones A knob for main level.
Channels 3 & 4 will have to use Phones B which is also unbalanced, but that’s not really a big deal to me. I’m not running long cables and the line-level RCA outputs aren’t balanced either.
Speakers
My next move will be to get some speakers to complete my mini home audio studio. Cristian has already recommended to me this JBL 8″ model, so that’s likely my next purchase π
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 π
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! π
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.