The Commercial Conductor, Part II

by Chad Shoopman

As discussed in part I, the commercial conductor must be much more than just a great musician.  He or she has a wealth of responsibilities that are often more logistical than musical.  Being an effective communicator, ambassador, translator and peacekeeper are just some of the characteristics necessary to be an effective and efficient commercial conductor.  Part I of "The Commercial Conductor" began a discussion of the responsibilities of the conductor in a commercial setting.  Part II will conclude the often-overlooked responsibilities of the role.

Responsibility to the Sound Engineer/Technician:

Whether a live performance or a studio session the commercial conductor will be working with a sound engineer/technician.  This person is absolutely invaluable to a performance that requires amplification.  Much like a conductor, a good sound person is a skilled craftsman who has spent hours experimenting with amplification and keeping up on current technology to get the best sound possible.  A positive working relationship with this person is essential.  It is the conductor’s responsibility to know exactly how things should sound and pass that on to the sound engineer. 

Natural Sound - Although most conductors feel the natural volume created by acoustic instruments in any given ensemble should be enough, performances are often given in venues that require recording equipment and/or amplified sound such as a studio, ballroom, large arena or outdoor theatre.  The ultimate goal of working miked or amplified sound is to make it sound unmiked or unamplified.  Ideally microphones and amplification should take the ensemble’s natural sound and make it as if anyone in the audience has the best seats in the house no matter where they are in the venue. 

Game Plan - If there is time, it is highly recommended for a conductor to spend time, before the actual performance/recording or rehearsal, with the sound engineer.  Create a “game plan” for the event by discussing how you want things to sound.  For example, talk about soloists and how you want them to be brought out or faded back into the ensemble.  Discuss the mix and how to mike the brass versus the strings versus the woodwinds and so on.  This “pre-game” work can save an amazing amount of time and it takes some stress off of the sound engineer who can now be prepared…. a luxury that is not usually afforded.         

Live Performance Considerations - In a live performance, there is almost never time to have a game plan set prior to the event rehearsal (if there is one).  Usually the sound tech. is working “on the fly”.  He/she is using any rehearsal time to set levels and try to balance out the louder instruments with the softer ones and make it all sound good in the house.  As the conductor, having a device that allows communication with the sound person during rehearsal is crucial.  Whether it is a phone to the sound booth, or a headset that allows you direct contact with the engineer at all times, a communication device can save time and allow the conductor to tell the sound tech. exactly what to push or pull as it is happening.  This accomplishes two things.  1. It allows a level to be set and gives the engineer an idea of what to look for in the performance.  2. It greatly reduces the sound engineer’s stress level.  The tech. is trying to do a million things per minute. It is a very high-pressure job.

To err is human - Mistakes will happen.  Feedback can be annoying and painful.  The conductor’s job is to let the sound tech. know immediately when this happens.  The conductor must also try to keep any excess pressure off the sound engineer by reducing the comments and groans from the musicians every time feedback happens.  Ideally, things should be set up to never feedback, but when they are not, it is the conductor’s responsibility to keep both sides happy and working to their best abilities.

In my experience - I have found the most effective sound technicians have been the ones who set the level of the orchestra to the conductor’s liking and allow the players to create the dynamic contrast and impact moments around that set balance.  This allows the ensemble to play as it would in an acoustic setting and it also sounds the most natural.  Obviously, soloists are different.  They almost always need a little boost when it is their time to shine, and the good engineer’s do this very well. They are almost like soloists themselves.

On the other hand, there are those sound people who can not help but adjust everything all the time.  It is impossible for them to leave well enough alone.  More often than not, this type of “mixing” creates unbalanced sounds, feedback, and a very confusing sound environment for the musicians.  This is where the conductor can make or break his relationship with the sound tech.  The conductor’s ability to politely ask the sound engineer to “set it and forget it” is crucial.  Sound engineers, like musicians, have egos about what they do.  It is their art, and when you ask someone to change how they do something they care about, it is almost always met with some resistance.  The best way to get results in this situation is to compliment and show appreciation for the things that they are doing well.  When someone feels appreciated they are more likely to work harder for someone who will recognize, not chastise what they do. 

In Closing:

Ultimately, everyone involved in the process of commercial music has the same goal: creating the best product possible!  Working together is paramount.  Egos, the need to be right and stuffy airs don’t belong in this field.  The conductor is the ringmaster whether he or she wants the job or not.  He is the one person who can positively influence every other part of the creative process.  It is a big job, but it is also the most fulfilling.

Music is an art of emotions.  It should therefore not be a surprise that those involved in any or all aspects of the art are emotional themselves.  That is why so much emphasis and responsibility involves interpersonal relationships.  The commercial conductor’s ability to facilitate all of the parts of a commercial music event to come together and be effective, are as equal an indicator of what kind of conductor he is, as any amount of talent or musical expertise he may posses. 

Chad Shoopman is a Professional Trumpet Player and Conductor. He has worked for Walt Disney World as a musician since 1996 when he performed with the All American College Orchestra. He has been a full-time musician with Walt Disney World since 1999. His freelance work has brought him many credits, among them are conducting for The Candlelight Christmas Program at EPCOT Center, several recording sessions for television commercials and soundtracks (including the Danny Elfman soundtrack to "Extreme Measures") and filling the role of conductor/clinician for the Magic Music Days Program.

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