Have a better music rehearsal
- Trevor Mason
- Sep 8, 2014
- 9 min read
Updated: Mar 1
Creating a balanced sound is essential if band members are going to hear each other. So how do you go about it?
Your rehearsal sound can be regarded almost as important as the live sound on stage. Although this may not always be possible, creating a reasonably balanced sound is essential if band members are going to hear each other. Hearing the vocals in particular is a common problem.
In can also be the case the drummer is so loud the guitarist turns up his amp, with the bass player soon to follow. The microphone level is yanked up so the singer can hear himself, then feedback occurs. If you have ever encountered this problem and more, then read on to have a better music rehearsal…
1) Music rehearsal space acoustics
Getting a good rehearsal sound starts with the size of your practice room and its acoustics. Obviously you want a room large enough to accommodate all the members of your rehearsing band as if on a live stage. If you have a large reverberant room such as a sports hall or empty warehouse, you will run in to problems such as unwanted sound reflections. Presuming you use a practice room small in size with average acoustics (think living room size), then you have a starting point.
If you play amplified music it is usually better to use a practice room that is acoustically dry so band members can hear one another clearly. You might find it helps to dampen the sound using drapes, duvets or acoustic foam if it is a regular practice room, particularly across reflective surfaces. To avoid feedback, a jacket draped over a music stand can help reduce direct spill behind a mic.
Sometimes the volume of your band is too loud for the room or the PA cannot cope. In very small rooms the volume of an acoustic drum kit can be so loud everything is turned up to the max to compensate. Even if it is possible to get more volume on the vocals without feedback, it could still be distorted or the whole acoustic sound pressure level in the room overloads your ears and your band sound has become a distorted mush.
In these cases you should consider the points below or find another practice room.
2) Practice room layout
If you plan on using the same (or similar) equipment to practice as you do at gigs then knowing how to get a good sound during rehearsals will help your live sound. A common problem is the spill into the mics from other instruments and amps. Where you position your instruments, amps and band members is therefore important.
The band is usually set up in a similar way to that of a gig. The only difference being the musicians turn away from the "audience" direction and around to face each other, usually toward the drums and instrument amps. This can be useful when composing and jamming.
In the later stages of rehearsing you may want to set up as you would on stage so band members get used to the layout and sound, along with it's requirements and pitfalls.
It is a good idea to cross-feed guitar and keyboard amps so nothing is fed directly into the mics. This will help to create a good sound balance between the instruments (drums, bass, guitars, keys & vox), on your "stage" so everyone can hear everyone else. Another benefit will be to avoid sending sound directly at the mics.
Take a moment and make sure you can see all your band mates with ease. It’s vital to be able to communicate whilst playing to draw attention to something that might need changing e.g. song too slow, wrong section of song etc.
One of the hardest things relating to sound to get right is the PA system. One issue during rehearsals is feedback. This occurs in a PA system when a screeching or humming sound results from the return of a fraction of the output signal from a microphone to the input of the same device. Moving the mic and changing the sensitivity of the mics will help.
Most live mics have a cardioid pick-up pattern and reject much of the sound from the rear. Typically, they are more sensitive from the front and sides. The vocalist should usually face the guitar amps and drums. This also aids with communication and is opposite to a live stage layout.
The singer’s floor monitors should be placed near the base of the mic stand as they would be on stage. The singer will get used to the sound coming directly from them.
If you have stand mounted PA cabs then use them behind the mic line and angled to also cross-feed over the rehearsal space. If need be they can be used as individual vocal monitors, bearing in mind the pick-up pattern of the mics and the increased risk of feedback.
3) Balance your sound
The drums set the basic sound level, so first of all balance the bass guitar against the drums, taking note of the connection between the kick drum and the bass. This can be a good point to set a rough vocal level, or at least get an idea of how much headroom is available.
Balance the guitars against the drums and bass sound. They should not dominate, the whole sound should have weight and power. The same goes for other instruments, such as keyboards, brass and other loud sounds.
Guitars shouldn't be so bassy that they step on the bass. Bass should not be so mid-rangy it steps on the guitar/keyboards. Keyboards should limit 10 finger chords and not step on the bass or be playing bass lines. No need for the drummer to pound so loudly and drown everybody out, especially at rehearsal.
Then, hopefully you will have some headroom left for your vocals. Listen to the vocals. Don't get busy during the vocals. If not, you will have to turn everything else down, and in particular anything that clashes with the vocal sound. If that is impossible, then you need to find another practice room.
This process is pretty much the same as on a small stage. Getting it right here will help when you play live. Don't always expect the soundman to sort your on-stage sound out at a gig.
4) Drums
The drum kit is often at the centre rear of the stage at a gig but this is not always the best regarding spill into the vocal mic. Consider this with your vocal mics during rehearsal.
The main part of a drum set that masks vocals is the cymbals. You could try putting thick sticky tape on them - forget how they sound in rehearsal. Play them just so you know where they happen in the music. You could also use drum pads, or perhaps put a blanket over the front of the kit.
5) Guitar
Guitar amps are often the loudest sound(s) in the band, drowning out the vocals. Here are some suggestions to balance the guitar sound:
Get the guitarist to move closer to the speaker to compensate for a lower volume
Place the guitar amp on a chair or angled stand closer to the player’s ears
Use a smaller amp/cab and FX to emulate louder amps to also save a lot of humping
Feed a bit of guitar through the PA to distribute and bring the sound further forward
Turn the guitar amp toward the wall so it isn't aimed at the ears of other musicians
6) Bass
Have the bass player turn down the ultra low end of the bass. Low end can feel good, but save it for the show. Don't put the bass player in the corner of a room. Corners are like a low frequency "horn" that amplifies bass.
7) EQ and Feedback eliminating devices
Invest in a graphic eq (at least 10 bands) or a feedback eliminating device. Set the eq flat (all sliders in the middle) and then bring down the slider(s) to stop the feedback. When there is no feedback, push up each band a little to see which frequency brings on feedback most easily. When you play, be ready to bring down those sensitive frequencies first. With some practice, you'll get to know which sliders work the best.
8) Microphones
Ensure the mics are pointed away from the monitors. Another cool trick is to use a gate on the mic. Set a gate so only the singer's direct voice turns on the mic. Then when the vocalist isn’t singing, there isn't additional monitor sound being picked up by the mic.
9) Musical arrangement
Consider the musical arrangement of each song. Vocals and instruments should share the focal point, not compete for it. Instruments using the same frequencies as the vocal can often drown them out because there is too much going on. If you listen to music productions with crystal clear vocals you'll notice they are given space by how the instruments are arranged. Even very loud bands cut the guitar or lead sounds behind a vocal line, either in volume, by playing less, or in the case of two guitars/instruments, dropping one. Perhaps a change of guitar sound will also give some sonic space to the vocals.
You may also want to consider how the rhythmic accents and dynamic changes complement the vocal lines. Space is an important factor in hearing detail in music. The frequency arrangement, such as where on the neck the guitarist plays the chords, or the mids and upper mid frequencies of the guitars and keyboards can make it hard to discern a voice if in the same register.
10) Act as an ensemble
The most effective rehearsal comes down to band members adopting a good attitude. Get together and decide to support each other more than ever before. If the whole benefits, the individuals benefit. Ensure each person is happy with the sound and is willing to compromise. Listen more carefully to each other, and use eye contact to strengthen your musical bond. Rehearsal is a place to develop a win-win attitude.
In musical terms this can mean striking an equal sound balance between the instruments, particularly the drums and bass guitar. Don't stick them in the background, the kick drum and bass combination is vital to your sound. Audiences will listen more readily to your guitar and vocal work if it is underpinned by a tight engine room with not one instrument dominating the others
11) Good communication
After each rehearsal, check in with each other to see if you feel you are getting better results. When having band discussions, listen carefully to what each person has to say. Don't plan your answer in your head while the other person is still talking. Make sure the other person has finished their sentence (or point). Respect each other - say what you want, not what you don't want.
12) Practice makes progress
Come to a rehearsal with a reverence for everyone's time. Talk about your ambitions, and be there to support each other's ambitions, otherwise you're wasting their time and yours. And remember, practice does not make perfect. Practice makes progress, and perfect practice makes perfect.
13) Slowdown
If needs be, play new songs at a slower tempo. When you rehearse, it's all about memorizing the insides of the music and the performance. When the basics are solid, the fun and showmanship will be all the better.
You’re probably going through many, if not all, these tips without having to articulate them like they have been here. You may feel like adapting these tips to your own circumstances or reject them altogether. However, going through some sort of process to get a good rehearsal sound will hopefully aid you and your bandmates to communicate between yourselves and to your audience.
14) Three essentials
Beginnings and ends are vitally important. If you have the beginning and end of every song well and truly sorted, you will sound great on stage. Try and make it so that you can start a song from silence, with no talking of any kind, and finish cleanly to silence as well.
You really need to batter the song into your brain so that it is note-perfect every time, and the way to do that is through repetition. When you can play a song perfectly once, you can't really say that you have locked that song in until you have played it 10 times in a row. Even then, you'll probably be a bit iffy at your next rehearsal — another 10 reps then, and the next rehearsal too. It has to be said that repetition can be pretty boring, but it is a remarkably effective tool.
In your final rehearsals before a gig or tour, you should perform rather than rehearse. Do everything as closely as you can to what you will do in the actual performance. Face towards the wall of the rehearsal studio as though it is the audience. Dim the lights so that you can be sure that you can play in the dark. Even though the stage will be well lit, you can't be sure to be able to see everything you need to at every point in the show. Finally, rehearse any technical issues (setting changes, for instance). Make everything smooth and slick so the audience sees and hears your performance and your music, not your technical problems.
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