#audio | MidiMike

Posts Tagged ‘#audio’

Live Sound Reinforcement Series Chapter 11 – What is a Channel?

Posted: April 20, 2015 in Live Sound Reinforcement Series, music technology
Tags: # mixer, #atari, #audio, #band, #bass, #digital, #drummer, #drums, #guitar, #keyboard, #Liveband, #livesoundreinforement, #Midi, #midimike, #mixingboard, #music, #musician, #performance, #performer, #piano, #recording, #recordingstudio, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #synthesizer, #tech, #vocalist, #vocals

This probably won’t be the last time I will mention that I like to teach things that I have learned over the years. But I also like to learn. I did OK in school, but nothing really interested me, so I just made it through. At the right time in my life, I found music. From my parents, TV, brothers and back then AM radio, I absorbed all the songs I could. Back then they did not pre-package and filter music in the same way they do now, You could hear unique styles and among the commercial sounding and cookie-cutter pop tunes there were really talented songwriters and performers. Recordings were also hit and miss, with wide varieties of textures. We were still waiting for “stereo” to come out. Fun times!

I bring part of this up to say the following: I am just a guy. I have no formal training, I haven’t gone to technical schools,

I have not worked with national major players and unless you hang out in my town, you probably do not know the names of the bands, writers and performers I have been blessed to know. I wish you did.

I also know a lot of very smart guys that have all the answers and references ……

Then there is the group that THINK they have all the answers but never get things to work or things sound bad and get worse as the evening goes on.

The best way in my opinion to truly know what you have learned is to teach it to someone else. (if you can!)

I do not think another series about which knob you should turn, which special new box you should buy, which new instrument will get you to the next level, or which processor do you add to a particular instrument is going to add to what is already out there. I would like to give you a feel of options and let you figure out on your own why ‘it doesn’t work’ or if ‘it sounds bad and gets worse’. As described in earlier my LSR series, a number of live sound tragedies could be avoided if the sound engineer understood the challenge from both points of view. Too many sound men and women mix to the House. It is extremely important to mix for the Stage as much as the House. More on that later.

Once you know why it is not working or not sounding as good as you want, you will be able to fix or improve the mix much quicker. There are tricks that will help there as well. I picked up a few from here and there, started writing songs with my older brother, bought a 4 track reel-to-reel and a couple Radio Shack microphones (that were great and I still have one in my mic case!!). After that of course we needed guitars, drums, organ, and I am still living at home. I had to figure out how to get them all to work together because back then I was the ONLY person I knew that had anything like recording equipment. Necessity is the Mother of Invention and I kept going until I figured it out. Once friends and their friends knew I could figure their stuff out, I got to know a lot of musicians. Then I got into sales. One thing leads to another.

Setting up the sound gear for a live gig, the beginning part before you even plug in the equipment, creates the foundation you will need to have a problem free event. IF we understand what the foundation is there to do, the building or pyramid can get as tall as you want, and you will not have to worry about it crashing down on everyone around you. Here is where we need to focus or channel in on the foundation itself and the ways to build a strong audio reinforcement base. This is why I truly believe if I can learn it, so can you. Next series we will talk about the other type of audio channel.

The Truth is Somewhere in Between

Posted: April 17, 2015 in Opinions and Observations
Tags: #audio, #digital, #midimike, #musician, #observation, #personal, #sales, #salesperson, #story, #tips, #truth

I try to look at disagreements with the following rule;

There are three sides to every story.

There is Yours

There is Mine

…… and The Truth is somewhere in-between.

Today again I heard a phrase on the news about someone wanting to start a conversation or dialog about a particular subject. If it is a political topic, what this really means is they want the opportunity to shove their thoughts in your face. Other bloggers have picked up on similar topics, so this is not unique to my personal experiences. I will not start a conversation like that but I have observations to share. With that in mind think about that new toy you want to buy. You have an idea what it does but not quite sure how it works. It is not cheap, so you want to get a good deal. Doesn’t everybody? It is understood that sales or deals happen from time to time and you can expect some companies to offer quantity discounts. Sales people expect and even appreciate this. They do not expect you to even ASK them for a discount on a single small-ticket item. Most companies will give you a discount on the printer for example, but you pay full price from there on to get the ink cartridges……

So you talk to the sales person for a while and they answer your multitude of questions to your satisfaction. You say, ‘thanks’ and go home and buy the same thing on-line to save sales tax or to get more money off.
When it doesn’t work as easily as expected or not what they thought some people actually go back to the original sales person (who by the way may have lost the opportunity to make a sale or help another customer while you asked 20 questions and he did not make a dime from your visit… just saying) and ask for help. When the ‘did you buy it here?’ question comes up, the sales / customer service person will rightfully no longer assist. I want to ask again does everyone want a good deal?

I am old enough to know what the term tips in the food service industry came from. It means To Insure Prompt Service. You want your food hot, you don’t want to wait, tip the waiter/waitress. I am more than willing to pay a sales person for their time and expertise. As a sales person I EARNED the difference in price other stores might offer.

Some people may still want to have their cake and eat it too. To some, I have to admit, they believe they get a ‘good deal’ by shopping for the best price and getting pre and post sales help for free. That is just not how I roll. That is my side of the story as a sales person.

“The Touch” – Understanding Humans

Posted: April 15, 2015 in MUSIC, My Tunes
Tags: # mixer, #atari, #audio, #band, #bass, #demo, #digital, #drummer, #drums, #guitar, #keyboard, #life, #Liveband, #love, #lyrics, #Midi, #music, #musician, #performance, #piano, #poetry, #recording, #recordingstudio, #retro, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #story, #studio, #studioengineer, #synthesizer, #vocalist, #vocals

Ideas from songs can and should come from all sorts of things. I try to observe experiences from other people. Too many writers base their material on their own personal experience. This is powerful but has serious drawbacks. One has to experience nirvana or tragedy in order to write about it. This can be limiting unless you have a very tumultuous life. Not good for health and well being of the artist. So I try to empathize, sympathize and understand the thoughts, mood and feelings of others as they experience life changing events.

I had been a musician with limited access to toys for most of the early years. Lots of time and not much cash or resources available. That did not stop me from observing others, and in fact probably offered me the time to observe. Anyway, a friend of mine and I were walking around and I noticed a person in a wheel chair. There was another person behind pushing the chair, but something seemed a little unusual for some reason and I kept watching the pair. IWE naturally thought the person pushing was there to help the person in the wheel chair. They went up to one of those bank ATM’s and much to my surprise, the person in the wheel chair moved out of the way and the walking person went up to the ATM display. What moved me to write this song was the fact that I had originally assumed the person walking was assisting the person in the wheel chair. The person standing started to use the ATM and they searched by hand for the braille instructions! The person walking was blind, and being assisted by the person in the wheel chair! We can touch others in so many different ways. That lead me to the lyrics and a better understanding of human beings. Not just their ability to assist others in ways we might not think of, but also how we (I) perceived something and came up with the wrong conclusion. I use a phrase that describes that effect; Many people have the correct observation but come to incorrect conclusions. This song, the lyrics and the music, mean a lot to me personally. I truly hope you find something here you can relate to.

http://www.cdbaby.com/cd/perigee

Live Sound Reinforcement Series Chapter 5 – House

Posted: April 13, 2015 in Live Sound Reinforcement Series, music technology
Tags: # mixer, #audio, #band, #bass, #digital, #guitar, #keyboard, #Liveband, #livesoundreinforement, #Midi, #music, #musician, #performance, #piano, #recording, #recordingstudio, #retro, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #synthesizer, #tech, #vocalist, #vocals, #Yamaha

When the time comes and the band is ready, members will start preparing on stage. If you have not already, make the time now to introduce yourself to the host. This is the person with boots on the ground that you are working for (with). This could be club or hall manager to charity event coordinator. Get their name, introduce yourself and let them know if they need anything they can come to you and you will be glad to help. During the performance try to meet the host again and ask if everything sounds good. Be ready for suggestions and try not to defend or give reasons otherwise. Keep that relationship friendly. You may need them to turn off entertainment systems, reset fuse breakers and turn off overhead lights, etc.

Now the band is all on stage they can hear themselves through the monitor and their own instrument amplifiers and they seem ready to go. The first spokesperson for the band or performance walks up to the microphone to address the crowd and introduce the band or act …… That is when I turn up the Mains. One of the bands I worked with for years took advantage of this. The lead singer would come out every gig and tell the audience “the name of the band is” XXXXX “and this is what we sound like”. Then the band came on full with a captivating song. From quiet to full band volume without the audience going through an hour of “check, check, check…. Test. Can you hear me?? Check…..” and the kick drum thumping for 10 minutes while the rest of the club is quiet. It can be stressful for all and this is a great way to avoid all that and sound better on the first song than most bands’ sound until the second set of the evening. I guarantee it will work.

Balancing levels. While you connected each players instruments and microphones and got good signals, you normally use the microphone three-connector cables to plug audio into the snake on stage. For most microphone applications this is the way to connect. Even a guitar amp will have a microphone in front of its speaker and that microphone will get plugged into the snake for the ‘guitar channel”. These instruments may require more ‘gain’ than other instruments. This can be based on the type of microphone as well as the source of the sound… a trumpet can be much louder than the flute when using the same microphone. Just saying.

If you have an instrument that plugs into an external power source (this is very general, so there are a lot of variations to this tip…) it will have an audio out jack on the instrument – device. Instruments or devices that plug into an external power source will often use a hi-impedance 1/4 inch ‘guitar’ cable. These will normally be connected to a direct-input (DI) box first. The direct-input box will have the three pin microphone connector for cables that will go to the snake. These instruments often already have more gain than unpowered microphones and generally speaking do not need as much input signal boost or gain than most microphones out on the road. Make sure these signals do not over power the other input levels and you will be able to get a good mix. Programmed sounds from keyboards, samplers, tone generators and other devices will vary widely when changing from sound to sound. Keep an eye during sound check on a number of sounds the devices will generate and set gain levels for the loudest ones. That way you can pull down on the fader for the device during hi-volume songs or sections and boost them up for softer sounds or tones. Once the board is properly gain staged and EQ is used, the volume faders should be used to adjust the balance or mix of all signals.

Next we will be defining the term ‘sound reinforcement’

What I Do At Night – The Driving Song

Posted: April 8, 2015 in family, MUSIC, My Tunes
Tags: # mixer, #atari, #audio, #band, #bass, #daughter, #demo, #digital, #dreams, #driving, #drummer, #drums, #family, #guitar, #keyboard, #life, #Liveband, #love, #lyrics, #Midi, #mixingboard, #motivation, #music, #musician, #performance, #piano, #poetry, #recording, #recordingstudio, #retro, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #story, #studio, #studioengineer, #synthesizer, #tech, #vocalist, #vocals, #Yamaha

http://www.cdbaby.com/cd/perigee

**This is MidiMike’s daughter. I help my dad out with his blog. I wanted to tell all of you that this is, by far, my favorite song that my dad has ever written. If you stop to listen to any of the original tunes, I would highly recommend this one!! Thanks.**

And now a message from my dad:

On most of my tunes, I play all the instruments and sequence the drums and other sound effects. I usually sing lead or I have my wife take the vocal lead. Once I started working in music stores selling instruments and sound equipment, I asked friends (and customers at the time!) to come over and lay down guitar solos or I might have a guest vocalist. What I do at Night was one that we did ourselves. I play all guitar parts and the back up vocals. I think at this time I had graduated from a Yamaha MT4X (I think they were called and this was a 4 Track double speed cassette recorder) to the Alesis ADAT. So now I had an amazing 8 tracks to record on! Actually I needed one track to record the SMPTE time code so the Alesis ADAT would sync up to the computer (now I actually have a PC and put the Atari in deep storage). I can go into this details on this system for a later post when I am feeling nostalgic, but it allowed unlimited MIDI tracks on the PC or Atari and connect to the playback of the ADAT.

The song itself reflects my thoughts on a number of topics. I really like to drive. I don’t have a fast or luxury car. I just like to drive. When I have some free time or just want to think, I often find myself cruising the local country side. I would listen to music while driving and that sometimes adds to the frustration. Most of the music you hear on commercial radio is garbage or re-packaged songs and ideas I have heard for the last few decades. Like a lot of us struggling artists and performers, we see a bunch of bands with lots of air-play and they are just so-so. OK music, but nothing special. As a songwriter, I get so tired of the same theme or idea in every song on the radio and they seem to get played non-stop.

One line reflects this fairly well…. ” so I turn the radio over to the right, playing the same songs as the other night”. Originally titled – “Rainy Day”, What I do at Night has become one of my favorite driving songs. Enjoy.

Happy Birthday Billie Holiday and Strange Fruit

Posted: April 7, 2015 in MUSIC, Opinions and Observations, Reviews
Tags: #audio, #band, #Billie Holiday, #birthday, #genres, #life, #love, #lyrics, #music, #musician, #performance, #petergabriel, #piano, #poetry, #recording, #singer, #song, #Song review, #songwriter, #sound, #stage, #story, #studio, #vocalist, #vocals

I was way to young to know why or when I developed an aptitude for music. I always enjoyed the musical landscapes around me. Not just the notes; with all the talk and technique, notes are still only half the picture. But I think I can tell you when I developed an appreciation for popular music. I have many influences but these are different times. Again, I am not trying to be a learned historian, and as a young kid the timing of events were hazy at best and are not clear to me even now. You were lucky to have one radio station that played your favorite songs. Three major network TV stations and no Internet, no cable, no Wi-Fi, no downloads, no digital. Hard to imagine now. WE had limited choices. But there were pockets of musicians and savvy citizens, sharing, listening and teaching, just as there are now.

If you were into astronomy, you could find lens grinders or professors or local enthusiasts that could show you the universe. Photographers, carpenters, everyone searching for their own needs. I started searching for new music. I could say new styles, but in a way they were all new. I am drifting a little here as I think back. I have been interested in anything that was beyond ‘standard, normal, traditional, formal or cookie-cutter songs’. Old movie musicals, TV show and commercial jingles, and the various music cultures (Country, Broadway, Classical, ancient “Pop”…) might have been cute, but after I listened a few times, there was no excitement in listening to the song. Kinda’ like; I already know the punch line, so why listen to the joke? I can be a harsh critic. But fair is fair, I throw stones at my own glass house.

There have been many songs that lead up to this. I hate to give credit to one song. I hope I remember the name of a song from Billie Holiday called “Strange Fruit” recorded around 1939. At the time I did not know what it meant. I was still innocent. This was devastating poetry mixed with liquid emotion.

From this point on I knew… I knew there was some thing that could reach my core. I don’t mean to say ‘soul’, but that is the closest and easiest word to use. Find me at my depth and talk to me. And that meant I could also talk to others from those depths. I found a language and at the same time not necessarily a family, but a culture of musicians. I still have a weakness for female vocalists that make their own way. I am a succor for a Hammond B3 Organ and a great brass section too. I would like to share a few of them with you from time to time.

Live Sound Reinforcement Series Chapter 10 – Now, to make it glitter

Posted: April 6, 2015 in Live Sound Reinforcement Series, music technology
Tags: # mixer, #audio, #band, #bass, #digital, #drums, #guitar, #keyboard, #Liveband, #livesoundreinforement, #logical, #love, #Midi, #mixingboard, #music, #musicequipment, #musicequiptment, #musician, #performance, #piano, #recording, #recordingstudio, #runningsound, #singer, #song, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #synthesizer, #vocalist, #vocals

When you start off with well-balanced levels on all inputs, you can make changes in confidence. During sound check; which is AFTER Gain Staging and setting up the board for the current event, you added each band member and their related instruments to the process and you have good levels on all tracks/channels. I try to grab a few minutes once all drum inputs (including drummer vocal pic or other percussion and tone generators) are set properly to have the drummer play for a few minutes without other musicians. This helps get the feel of the entire drum kit and this is when you would balance all the levels. The hi-hat for example, might not be hitting the meters in the upper range but it sounds really loud if its fader is up to the nominal level. It is helpful to know once the board is set you can turn the volume on any track DOWN any time you want. You just do not want to turn anything up beyond the sweet spot except for the occasional solo or special piece that might need additional reinforcement or boost out in the audience. And as always, try to return to the sweet spot area once the section is over.

Some mixing consoles allow you to assign tracks to separate signal paths or additional outs. These can be grouped to a single sub fader when running system in mono. You can then take the individual drum tracks out of the house mix and send them only to the bus for your drum kit. Assign this bus 1 for example to the Mains and the fader now for bus 1 will allow you to adjust the volume level of the entire drum kit (not the drummer’s mic if he or she also sings) with one fader! If you need to change the volume of the kit as the event goes on, you can keep the blend and balance of all levels by using the bus 1 fader. This might come in handy more than you might think, and it is easy to set up.

Then I do the same thing with the vocals if you have more than two vocalists on stage. They can also be grouped to bus 2 for example and you can adjust vocals with one fader and not worry about changing the balance of the singers/vocalists on stage. Brass and string sections and even a number of guests sitting at a table can also be grouped the same way. You can still change the EQ setting for each channel in a group or bus and you can still change effects levels anytime you want without affecting the balance.

Now if you think about it, we have grouped similar instruments together, set them up to control group volume with a single fader and we have the tracks and effects returns that might need minor adjustments during the event isolated and easy to see or adjust. Your job now consists of only a few faders out of all the channels plugged into the mixer. You are now in auto-pilot. Do not change anything major unless the performance or venue dictates a change. From here you coast and make things better with ever smaller adjustments. Time to add the glitter.

For most situations the process above will set you up in a comfortable area where things can all be heard at balanced levels, not too loud and instruments do not compete for the same frequency space. For this step it is better to think of sound from low frequencies on the left and higher frequencies on the right. In many ways like a piano; lower notes are on the left and increasingly higher notes as we go to the right keys. Have your drummer hit one of the cymbals really hard with no other noise and see if it produces tones or frequencies like the lowest key on a piano. It cannot. It is in a much higher range. Have the drummer punch the kick drum a few times and see if it makes frequencies as hi as the cymbals just did. This is a simple explanation that gets applied to all instruments and vocals being blended into a smooth mix. When using EQ, you can shift the range of frequencies for each sound so it does not compete or collide with other sounds in similar frequency ranges. Often vocals and guitars are in neighboring groups. Try using EQ to edge one signal a litter higher in the frequency group and the other a little lower. So they still sound good and accurate like they are on stage, but just enough so the listener can more easily hear the two sources as individual elements in a wider landscape. Similar situation with kick drums and the bass guitar. Both occupy the very low end of our hearing spectrum. If they are both deep in the low end, they might not be discernable as two performances. You can try lowering the low end EQ a little on the bass guitar for example, but add some hi-mids and or a little hi end frequencies so the strings pop in the mix a little when struck. It will still support the low end for that punch, but you will be able to hear the individual bass notes better without a lot of added low-end volume that can cloud or muddy up the low end.

Slick As A Dream

Posted: April 1, 2015 in family, MUSIC, My Tunes
Tags: # mixer, #audio, #band, #bass, #daughter, #demo, #digital, #dreams, #drummer, #drums, #family, #guitar, #keyboard, #Liveband, #logical, #love, #lyrics, #Midi, #mixingboard, #motivation, #music, #musician, #performance, #piano, #poetry, #recording, #recordingstudio, #retro, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #story, #studio, #studioengineer, #synthesizer, #vocalist, #vocals

Plain and simple, the lyrics are about my daughter. As a proud parent, I am often overwhelmed by the innocence, beauty and unlimited potential when holding a new-born in your arms. Not to get weird here, but there is nothing like it. As I cradle, rock or talk baby-talk, it is difficult not to think about the new life I am holding, how fascinating they are and to drift into thoughts of what will happen in their future and how we can make that path easier. This song also features Gary Jefferson on vocals. You will hear him a lot on my tunes, and he was the vocalist in the demo recording the band did in the studio. He has pulled me into a number of projects and I often ask him to help me with mine. There are so many musicians I depend on and work with regularly. I will introduce you to them and the work they have done in future posts.

Most of the music is sequenced along with the drum tracks, I play the rhythm guitar parts and had a friend come in for the guitar solo, while my wife adds back-up vocals. All grown up and with children of her own, the meaning of this song gets deeper and closer to the heart every year.

“Slick as A Dream” (c) MSK 1988

Slick as a dream, this beauty machine

Sharp and so cold, young – just as old.

Moving so sweet you can feel the heat

Smiles of sorrow can’t wait ‘til tomorrow.

One thing you’ve learned: love has to be earned

Pain must be shared, embraced if you dare.

Nightmares are gone, but she carries on

Can’t forget her, love lasts forever.

Tender love cries slowly hypnotize

The helpless day now melting away.

And if you dare she’ll become aware

Give those who bleed whatever they need.

She knows exactly who she is.

And exactly what she needs.

Live Sound Reinforcement Series Chapter 9 – Tackling the mixing board

Posted: March 30, 2015 in Live Sound Reinforcement Series, music technology
Tags: # mixer, #audio, #band, #digital, #drums, #guitar, #keyboard, #Liveband, #livesoundreinforement, #lyrics, #Midi, #mixingboard, #music, #musician, #performance, #piano, #recording, #recordingstudio, #runningsound, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #synthesizer

If you have basic entry level gear or the most up-to-date digital automated features, the basic components are the same. By now you have already gathered that most mixers will have some way to plug in a bunch of cables going to and from the snake as mentioned earlier. (in small clubs you might not need the snake at all, but you still plug cables into the inputs on the mixing console).

So, once everything is connected to your two independent sound systems, what do you first? Take a good look at the mixing board. Take your time. If this is the first time you get to see the board you will be using (maybe it was rented or is the house system, etc….), get a good feel for the section layout. If you are still getting used to running sound the mixing console can be daunting. Buttons, knobs, sliders and flashy things everywhere. It’s connected to a bunch of other electronic boxes and there are big faders that look important.!??%#!**?! We have done this before so let’s take a look at the basic components of the mixer and make this a lot less confusing.

Layout. There are a lot of knobs and a ton of buttons you don’t even see at first. Each manufacturer will do things a little differently than the others, but if you look for the patterns you will see how each model will outline or border the different sections. Color coding is also the biggest help if you have enough light to make out the difference in color schemes. Yes, this is another one of those reasons you bring your own flashlight to every gig. We know where the input section is as we have already connected the snake and sends during the initial set-up and sound check. In the same logical order (1, then 2, then 3, then 4……..) as the cables are connected, you will see what we call ‘input channels’ on the face or front of the mixing console for each input connector. Some boards can handle 8, 12, 16, 24 and more inputs. In the input channel section you will see strips for each input. The knobs and faders and buttons that affect that input channel will all be inside the border for that track or channel. Many mixers use a vertical configuration, so tracks run up and down, not left and right. But to make sure you do not get the wrong idea now, the BEST way to think of the input channels is TOP to BOTTOM. We ALWAYS start mixing from the TOP of the channel. Think of the ‘signal path’ for a moment. The signal created by the keyboard or the microphone in front of the vocalist is sent through the audio cable to the snake. From there it is sent directly to the mixing console. Once connected to the mixing console, the signal will go to the TOP and FIRST knob of the input channel. Yes, the 1st Gain Stage. The mixing board’s major task is to balance all the different input signals, each with a different signal strength. This is done at the TOP of each input channel. It is the first and perhaps most important step in setting up the mixing console. This is the gate keeper. Think of it and a number of other knobs in the signal path to follow as amplifiers. They can turn the volume on things up and they can turn them down. The flute or the vocals may need more ‘gain’ than the trumpet or keyboards. You want to get a good strong input level, but you do not want to overload the input channel here as it will affect everything going forward. Watch the solo or input monitor levels and set it up so all inputs are within the same range. The end result after we set the other knobs and buttons is to have all inputs so that the gain is averaged enough among all input channels that the faders on each channel are close to the prime area or level set for your console. You do not want some instrument faders at “2 or 3”, and others at “10 or 11”!!

If the volume fader for the keyboard input channel is sitting around 2, and the 1st Gain Stage knob is turned clockwise to 8 or 9, (OR if you are getting up into the red or over load area on the level meters!!) turn the 1st gain stage knob counter-clockwise as needed including down all the way if you have to. Then check the range of the volume fader and see if you can get good house levels keeping the fader fairly close to that sweet spot. Do that for each input channel. The input channel is also referred to as the ‘track‘ when recording. With tracks or channels clustered or grouped as discussed earlier and with all tracks/channels properly gain staged, we can begin to look at which tracks need effects, EQ, processing, sent to monitor groups etc. Keep in mind that changing a track’s EQ and other effects can also increase or decrease the track’s over all signal strength. When we are setting up the board and doing gain staging, it is best to leave a little ‘head room‘, or back the 1st Gain Stage knob back a little so we do not overload the input during EQ and other signal processing. EQ is a series on its own, but the basic premise is to make the source signal sound good or accurate. It is better to take out frequencies that are harsh or distracting rather than turn up the pleasant ones. Certain sounds ‘fit’ better in the mix if they have the distinct qualities of their source. By that I mean you do not want a kick drum to sound hi-end and tinny with no low frequencies and in most situations you do not want the flute to sound like a bass guitar. It is better to take out the low end on the flute track/channel than to leave it at center or turn it louder. Less is more, but add EQ where needed to enhance the desired tones and make it sound pleasant and it will then fill the slot for it in the overall house mix.

Lyrics to “Red on Your Blue Suede Shoes” – Per request

Posted: March 26, 2015 in MUSIC, My Tunes
Tags: #audio, #band, #bass, #drums, #guitar, #lyrics, #Midi, #music, #poetry, #recording, #singer, #song, #songwriter, #stage, #story, #studio, #TheWho

Well, I tripped,

I didn’t fall.

I looked up,

And I slipped down.

You look up and still don’t find the sky.

The last time.

Who’s there to damn them if they don’t try.

Their worst crime.

Well, they slipped up.

God one more time.

They got their money,

So they don’t mind.

You look around and wonder why,

Your friends die.

No one can blame you, I saw you try.

Ain’t your crime, ain’t your crime.

You wake up in the morning,

With red on your blue suede shoes.

They don’t give you no warning,

When it’s your time to lose.

You look up and wonder why.

Your friends die.

Who’s there to blame you cause you don’t try

Your worse crime.

You wake up in the morning,

With red on your blue suede shoes.

They don’t give you no warning,

When it’s your time to lose.

MidiMike

Available on iTunes and CD Baby

Social Media

MSK original Songs

Posts Tagged ‘#audio’

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Lyrics to “Red on Your Blue Suede Shoes” – Per request

Archives

Available on iTunes and CD Baby

Social Media

MSK original Songs

Posts Tagged ‘#audio’

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