When recording an audition tape, knowing precisely what’s expected of you can be challenging. The requirements will vary based on the program or ensemble you’re auditioning for; a graduate conducting program might require you to submit a video of you leading an instrumental ensemble, but an audition for a vocal or instrumental ensemble might want a simple audio file or phone-quality video. Regardless, many players will run into a hang-up or two that result in submitting a “good enough” tape just to get the process over with.
While throwing in the towel following a decent performance is entirely understandable, we want you to know there are ways to make the self-recording process less dreadful, more efficient, and even fun!
Preparing to Record
Preparation is critical when it comes to every audition. But the lines can become a bit blurry when taping yourself as opposed to playing a single-shot live performance. As a result, you might find yourself doing things you wouldn’t do in another audition setting, like recording take after take in an attempt to get the perfect one. You’re adjusting your posture, tweaking your mic placement, and trying to nail down that tricky passage, but despite all your best efforts, you have yet to capture your ideal performance. While having the option to record multiple takes might seem like a blessing, it can become discouraging and draining in a way that in-person auditions are not.
Instead of wasting your time, chops, and energy chasing perfection, try approaching the process as you’d tackle a traditional, in-person audition. Imagine you have one chance to prove yourself — what can you do to deliver a top-notch audition?
The answer? Additional preparation. If you’d like further guidance on practicing and want to learn how to serve the panel a highly professional performance, then check out the article “Nailing the Audition: A How-to Guide for Music Students & Hobbyists.”
3, 2, 1, Action!
Now — are you ready to record? There are three main things you’ll need to consider when setting up to capture your audition:
- Sound
- Setting
- Visibility
Sound
First and foremost, you need to be heard. The equipment you’ll need to make yourself heard will depend on the type of performance you’re delivering. In this age of technology, the vast majority of audition tapes include audio and video elements, so your program’s audition requirements will likely be similar.
Setting
Furthermore, you need an appropriate background. Ideally, you’ll perform in an area with favorable acoustics, such as your school’s auditorium or another sound-treated rehearsal space.
If you can’t utilize such a space, or if you’d feel more comfortable recording at home, then that’s okay, too! Do your best to create an uncluttered background for your video. The viewers want to focus on you and only you — remove potential distractions, such as bright or silly posters, and be sure to turn off any electronics in the background. The less visual clutter, the better.
Visibility
Lastly, you need to ensure your setup allows the viewer to see what they need to see. Before recording complete takes, we recommend performing a few test runs. This will help you iron out any remaining problem areas in your piece and allow you to figure out the perfect setup. The test runs should be short, as you don’t want to wear out your chops before the real deal!
Our final, universally applicable advice for self-taping an audition is to introduce yourself in the beginning. No matter the situation, open your audition tape by stating your name, the title and composer’s name of the piece or pieces you’ll be performing, and any other necessary information in a loud and clear voice. This is standard procedure for recorded auditions — don’t forget to do it!
Recording Advice for Your Instrument
Piano Players
Piano players generally have two options when recording an audition tape: use a quality piano in an acoustically sound recording space or use a digital piano with an internal audio recording feature. Many — but not all — programs will accept recordings on high-quality keyboards with “acoustic” or “grand piano” settings. Consult the program or ensemble coordinator if you’re unsure whether you can use a digital piano.
Generally, recording with a microphone is a good idea when playing on an acoustic piano instead of using your iPhone or a built-in mic on a camera. If your chosen recording space has phenomenal acoustics, then you may only need to fuss with your camera position to eliminate unwanted noise. On the other hand, if you’re recording in a space with less-than-stellar acoustics, then we recommend checking out condenser microphones like the ones below.
Woodwind & Brass Players
Wind instrumentalists should record in a location with excellent acoustics, stage lighting, and a neat background. Of course, accessing a space that checks all those boxes isn’t always possible, so we’ve included a few tips and tricks to ensure your recording process goes smoothly, even if it’s in your bedroom!
- Be sure you’re playing on a clean mouthpiece or fresh reed. This is the easiest way to ensure you deliver a stellar performance!
- Use a tuner to tune your horn. Run through the unstable areas of your range, and do your best to intonate the tricky notes, too, even if it comes down to manipulating your embouchure.
- Play a few “test” notes to identify any noisy items in the area. If you hear rattling or clanging, then locate the loose objects and put them away while you record.
- Place a piece of tape on the floor once you decide where you will sit or stand. That mark will ensure you’re always performing in the same spot, giving you consistent lighting and sound across each take.
- Avoid pointing your instrument’s bell directly at the microphone if you choose to record with a mic. Instead, point it slightly to the side.
For more recording advice that’s ultra-specific to your instrument, check out the articles below.
Furthermore, don’t hesitate to browse our mic-related inSync articles, which include personalized gear recommendations (with sound samples!) for soprano, alto and tenor, and baritone saxophones. Brass players need not worry — we offer more of the same content for trumpet, piccolo trumpet, and flugelhorn, too.
String Players
Our advice for string players is much the same as for woodwind and brass players — but with even more emphasis on visibility. Be sure you’re facing the camera so viewers can see both your left hand and bow arm. If you’re standing, then ensure that your upper half is visible in the frame. If you’re sitting, then your full posture should be on camera. Below are two of our preferred microphones for capturing string sounds — take a look!
Conductors & Composers
Whether you’re an aspiring conductor who needs to put together a graduate-school audition tape or a composer recording the debut performance of your latest piece, our best advice remains the same: strive for excellent sound, setting, and visibility. You’ll likely be recording with a group of musicians, such as an entire orchestra or choir. But even if you’re working with a chamber ensemble, we recommend employing a condenser mic to capture the full sound spectrum.
In an article for the Midwest Clinic, Ross Walter, DMA, of Virginia Commonwealth University says:
When recording in a rehearsal room, it can be difficult to get the microphones high enough and far enough away from the ensemble to allow the sound to blend well. To combat this problem, try putting the ensemble into one end of the long dimension of a rectangular rehearsal room and moving the microphones back from the ensemble about 12-15 feet . . . ”
In other words, try a few out-of-the-ordinary ensemble formations before recording. You may be able to make your space’s acoustics work for you in ways you never thought possible!
Classical & Musical Theater Vocalists
Both classical and musical theater vocalists may encounter obstacles when taping an audition. When you’re used to being far away from the audience and up on the stage, your instinct is probably to “overdo” your expressions. While this looks great from afar, it’s not so favorable in an audition tape.
So, what’s a singer to do? The best thing you can do is familiarize yourself with the gear you’ll use and adjust your performance accordingly. For example, if you choose to record yourself using your phone’s camera, then you should get to know its features. Turn it horizontally to show the panel more of you. Now, find your place in the frame. Mark your spot on the floor with tape so you can return to “center stage” or the middle of the frame during your performance. Now, do you need to adjust the lighting? How about the sound?
We urge you to experiment to find the recording method that best suits your needs. You won’t need as much space to perform if you’re a classical vocalist with minimal hand movements. However, if you’re in musical theater, then you may need space to dance, spin, or express yourself. Make sure that your camera will capture you wherever you go. If necessary, use a microphone to capture the nuances of your performance.
Let’s Get This Show on the Road
We know auditions are nerve-racking no matter where or how you do them. Still, we hope you have the resources and reassurance you need to nail your audition tape! As always, don’t hesitate to call your knowledgeable Sweetwater Sales Engineers at (800) 222-4700. They’ll ensure you get the right gear for your intended application.