# mixer | MidiMike

Posts Tagged ‘# mixer’

“Bookin’ Inst” Made to Order

Posted: June 30, 2018 in My Tunes
Tags: # mixer, #audio, #blog, #computer, #conversation, #creative, #creativity, #digital, #guitar, #inspiration, #keyboard, #life, #media, #music, #musician, #people, #performance, #personal, #photography, #poetry, #recording, #song, #songwriter, #story, #studio, #studioengineer, #tech, #work, #writing

MSK Studio

Part of the challenge in writing songs is how difficult it might be to convey a particular feeling or message to studio musicians. All players should be heading in the same direction, playing the same tune, moving at the same tempo and so on. Creating soundscapes must be a lot like painting. Drawing the lines and forms are one thing, but which color is best? There are so many available yet each one conveys a unique mood or feeling. Sounds can be like that. We asked a guitar player/friend of ours to come up with guitar tracks for a project I was working on. This was for a cable TV project looking for sound tracks for an automotive enthusiast series. We wanted to give the guitar parts a bit of mood setting so we asked him to create tracks that would generate the feeling of …

an engine or racing car, crunchy, powerful

drive – movement – acceleration, fast, fluid

Using basically no more than the above “instructions” he gathered toys and used the word imagery to shape the sound and the playing style for these tracks. We used the same list to come up with the basic tracks for the song. This song is an adaptation of a song I wrote a long time ago and we called it The Big D Jam. I originally composed this song using the Arp Odyssey synthesizer. I programmed a pretty cool sounding bass patch and came up with the bass line and skeleton of the song. This song in its original version was performed when I was with The Personal Touch years ago. If it was a rockin’ crowd we would let Ric Ahlers jam a bit on the solo parts. I put some simple lyrics to it and it was a really fun song to play out.  Recently I pulled it out of the song closet and re-wrote the chorus. I also used new software plug-ins from my computer for all the sounds. This was amazing for me because I have all this fancy gear with cool sounds and I am not using them at all. In this post, I wanted to give you an idea how the song progressed. The new sounds are just amazingly clear and natural. I will post in the near future the complete mix with vocals and effects. When the sounds and the performance match the request or target, the song seems like it was made to order.

Nothing Comes For Free!

Posted: November 30, 2016 in My Tunes
Tags: # mixer, #audio, #creative, #guitar, #inspiration, #keyboard, #life, #music, #musician, #personal, #political, #politics, #recording, #recordingstudio, #song, #songwriter, #studio, #studioengineer, #truth, #vocalist, #vocals, #writer, #writing

I’ve admitted in earlier posts that I observe people a lot, and that I get a number of ideas for songs from watching other people; friends, family, co-workers, I steal from them all! I can empathize with people as they face challenges and triumphs in life. I try to understand what it feels like to be in those situations even though I myself might not be directly affected by them.

I also have some rather obvious political points of view. I can understand why there are those that do not always agree with my positions but in many cases I can still understand theirs. In this song I basically insult every group I can think of! As you are more than likely in at least one of these groups I apologize in advance. In a lot of ways, this song summarizes the items on my Love – Hate list. I hate things that should work but do not, and I really hate personal and corporate greed. The song uses a lot of references to things we would hear on the news, although it was written a long time ago. Unfortunately most of the issues are the same today!

Recording this song took a LONG time. We did rough mixes here and there changing this or that, but it did not feel right from beginning to end. Eventually, I think we rearranged some of the chorus/verse structure and it just fell into place. For some songs this is the agonizing part; all the components are there and sound good, but the piece as a whole just does not grab you. I might have even tried changing tempo on this one to get it right.

If this is not the first song I did using my new Alesis ADAT recorder it was one of the first. I was also transitioning from the Atari computer to a Windows machine, so not everything went smoothly! I played electric guitar on this one (I have a few guitars and do not know which one was used for each song but my guess this is either my Ibanez or a Yamaha 6 string) and did all the sequencing and drum tracks as described earlier. My wife does the vocal main lines. Using the limiter/compressor chain I described from other songs the vocals are recorded so they stay soft and spooky and a little eerie as the lyrics become more and more cynical. A bunch of family and friends came in and did the voice add-ons. You can hear both our daughters, my co-writing brother and a few neighbors help out with the spoken parts. I ‘sing’ the chorus.

The bass line in this one is particularly cool because it is my Oberheim Matrix 6 synth and it has this patch or sound that continues to play an arpeggio (sequence of predetermined notes) as long as you hold a key down. So the bass lines are done by holding one note for a while but hearing many notes played. We even got to play with one of the audio samplers from the music store and used it to trigger the ‘broken word’ parts. Once we got the arrangement right it was just fun to ‘decorate’ the basic tracks and add a little movement to the mix. Have fun with this one.

Live Sound Reinforcement Chapter 23 -Recording Live Rock Bands

Posted: September 9, 2016 in live Sound Reinforcement, Live Sound Reinforcement Series
Tags: # mixer, #audio, #band, #Midi, #music, #musician, #performance, #recording, #runningsound, #sound, #Soundengineer, #soundman, #stage, #story, #studio

MSK – Peter Gabriel Sting 1

MSK – Peter Gabriel Sting 2

MSK – Peter Gabriel Sting 3

MSK – Peter Gabriel Sting 4

In most situations when you want to record a performance, you might not have a lot of time to set up. The environment might not be perfect, and there are other needs than getting a great recording.   I have tried and been quite successful with a number of techniques. I will offer a few here for your consideration.

Getting a good mix from the sound board Mono Out or Main Left and Right Outs in a small or medium size venue is very easy to set up, but most likely to be disappointing. The needs of the audience in a live situation can be the exact opposite from the recording engineer’s. As mentioned in the beginning of this series, LSR is reinforcement. The sound person will amplify the weaker signals in the House or Mains; vocals – along with a LOT of effects, acoustic guitars, flutes, and even the drums. They might not need to reinforce the lead or bass guitar as much. So the board mix is heavier on vocals, effects, and keyboard in some cases. Not a great listen for most people. You can set up a sub-mix if the sound guru gives you access. If they run Left (Mono) like most venues, you can create your own mix using the Right Mono out. Using the pan for each channel, keep full signal going to the Left out, and pan toward Center position to send desired amount of signal to the Right out. You might want to isolate the guitar or bass, add a little toms if they are mike’d, but not heavy in the mix. You can mix the two outs if you record in stereo and get a great live sound. This will not give you a perfect stereo field, but most audiences do not remember concerts in stereo. The sound seems to come from the stage, not left and right cabinets in front of the stage.

I have also had luck with those portable stereo digital recorders available now for what I think is really cheap for what they do. You need to set them up correctly and take care of them but they are so easy to set up and you get great sound in various environments. If you have a SAFE place where you will hear more of the band than the audience (sounds easier than it really is) this is worth a try.

Live Sound Reinforcement Series Chapter 20 – The Musicians on the Stage

Posted: November 10, 2015 in live Sound Reinforcement
Tags: # mixer, #audio, #band, #effects, #guitar, #microphone, #mixingboard, #monitors, #music, #musician, #sound, #Soundengineer, #speakers, #stage, #technology, #venue, #writing

Through the beginning to the end of the last chapter, we have concentrated on the hub or the central nervous system of a Live Sound Reinforcement assignment.  I have been focusing a bit on live performance in a typical band or musical event.  We now understand how most equipment for the House PA, the stage monitors, effects, and even lighting systems use the mixing board as the central hub.  The mixing board’s usefulness does not end there!  Once equipment is set up, connected, turned on and confirmed functional, most of the adjustments made for the rest of the evening will happen because of changes to the mixing board.  It also becomes the Master Device, and all other connected devices are ultimately controlled by the mixer.  The sound engineer is the ONLY person that should touch the mixing board.

The next logical step would be to describe the components of the House PA system and how much power (or how much money do I need to spend….).  After all, this is what most people hear, right?

Obviously, I set up as a trap question.  The answer seems obvious.

If I said, “I sound like a broken record”, most young readers will not know what that means! But I will repeat myself on certain themes and I feel one a’ comin’!  The next important thing is not the House PA and the number of speakers and amplifiers you need.  Most small venue mixing engineers go straight for the house and main systems, completely ignoring the most important ingredient guaranteeing a great performance.  We will avoid that trap now and focus on the stage and more importantly – the musicians on the stage.

When bands practice, they ultimately find a good use of space and volume so each member can achieve the two primary goals;

1) Hear myself (usually louder than any one else.  This is not ego and we will get into that later)

2) Hear the other performers (usually not as loud as the performer wants to hear him/her self!!)

Once they settle in and can accomplish the above – practice is comfortable and productive.  Each member can hear themselves and can also hear enough of the other members to blend with them.  If you saw a live symphony orchestra and all you could hear were the trombones, it would seem like an awful performance.  If you were a musician in the orchestra and all you could hear were the trombones……………

Now we can go back to the band members standing on a stage or venue they have never seen or played in……   and now understand that this is a very real challenge, and the smaller the venue… the smaller the budget.  Lack of Resources can be difficult challenge to overcome.

In larger venues it was quite normal to have a smaller mixing board off to the one side of the stage.  All the instruments and monitors would connect to this mixer, and it would ‘split’ all channels and send them equally to the House mixing board out in the audience area.  (it can also be used to send signals to a recording van parked outside).  The sound engineer on stage makes the band members happy by concentrating on the performers but does not affect the signal going to the House board.  That way the House Engineer has full control of the unaffected incoming channels from the stage board.

Good enough for now and in the next few sections I will focus on the stage sound and mix.

March of 1990 – Pushing Forward

Posted: November 5, 2015 in Uncategorized
Tags: # mixer, #atari, #audio, #band, #create, #digital, #keyboard, #music, #musician, #personal, #recording, #retro, #song, #songwriter, #sound, #studio, #synthesizer, #tech, #technology, #writer, #writing, #Yamaha

I guess I never really came up with a name for this tune. Sometimes I will write lyrics and give it a working title. I do the same thing with musical pieces I am working on before there are dedicated lyrics assigned to the tune. As I continue to work on a piece, the name often changes when chords are matched with a set of lyrics. On rare occasion it happens at the same time, and that process is a little different – and easier! This is one of those weird situations where I never got to either, and this has always been referred to by the date….. March of 1990.

March in this case also has a double meaning. It is the pull away from the Winter season where I live. The steady movement of new life. The pace of growth that cannot be stopped. The instrumental tries to match that drive and frantic pace of the season. Driving rhythms, collage of melodies, bouncing themes – and then to dynamics and a reflection of what is now past. Then back to driving growth. That is what I think about as I listen to this tune. Even now, heading to Winter, I feel that March pushing forward.

Back to the Atari 1040 ST, I am sequencing all parts for this tune. I believe I added a new tone module from EMU called the Proteus 1. This was an amazing machine and I have not found anything as good and simple to use as the Proteus series. It was really cool for two major reasons in my opinion. 1) the sounds were just awesome for the time and there were lots of sounds on board. 2) the operating software used was just made for MIDI geeks like me. It was very simple and allowed the Proteus 1 to create splits, layers and zones, but it easily allowed you to access all 16 MIDI channels at the same time. I could write a few articles on this alone, but for now it meant you could assign a different sound to any or all of the 16 channels independently. As described in the MIDI series, this was great because you could use channel 1 for piano, channel 2 for organ sounds, channel 3 for strings, channel 4 for brass or orchestra sounds, 5 for flutes, 6 for sound effects, 7 for guitar sounds, 8 for solo instruments, 9 for the bass guitar sound, 10 for the standard drum channel and still have channels left over. Playing out in bands and in the studio with this was just a dream.

Live Sound Reinforcement Series Chapter 19 – To Dream the Impossible Dream

Posted: August 10, 2015 in Live Sound Reinforcement Series
Tags: # mixer, #audio, #band, #bass, #digital, #dreams, #drummer, #drums, #guitar, #keyboard, #livesoundreinforement, #microphone, #mixingboard, #monitors, #music, #musician, #performance, #performer, #runningsound, #sound, #Soundengineer, #soundman, #speakers, #stage, #stereo, #synthesizer, #tech, #technology, #volume

Think of the stage as a speaker sitting in front of the audience….. sometimes the club or venue actually looks like a box where the performers are positioned. You have the low-end Bass Guitar, Kick Drum and Floor Tom and maybe keyboard sounds or textures. You have the Guitar and Vocals in a mid-rangy area and at the upper end you have symbols and higher range Guitar and Keyboard sounds. All inside the same box just a blasting away at different levels and pointed in all directions.

Now you have a better understanding of the challenge of making these various chunks into a tasty audio stew!

For the best way to present music to the savvy listeners of today, we do what has been done for decades. In the stereo image, you want to create a “room” or “place” for the listener. We have become comfortable with the very low end sounds coming from both speakers at about the same volume. This places the sound to the center of the listener’s field.

We like the vocals or in most cases the melody line to be in both sides equally, again placing the singer in the middle of the left-right field. We are fine if other instruments or singers are more to the left or right as long as the main sounds are where we expect them. We usually place big speakers on either side of the stage facing the audience…… usually in front of the stage and performers…. But as mentioned above this is not a finely tuned speaker cabinet by any means. The components are not necessarily proportionally balanced in volume or location. Setting up the Stage and PA system with this in mind can help reinforce the natural stereo image out in the audience.

Now that I have made a connection that is awkward if not confusing, even though the PA system in all likely hood is a Mono mix coming from both sides or columns of speakers, the listener still hears this as a stereo field. They want the low-end sounds or tones from the center of the stage. Typically the drum – the Kick Drum to be specific for this example – is the most used and most amplified instrument in band situations or where you have audio media. The Bass Guitar player is usually next to the drummer. This helps them keep tighter timing and solid beat, but also supports the stereo image of the listener.

Guitar and other amplified instruments on stage can be heard more from their side of the stage than from the other as an easy example, even if the volume through each side of the Main is sent the same level signal. If keyboards are on the opposite side of the stage from the guitar and also uses a monitor or amp, standing closer to them in front row can make it seem like the keyboards are too loud and those on the other side of the stage think the guitars are somewhat overbearing. It won’t stop them from standing there though! As you get further away from the front of the stage or if the venue is very large, this stereo effect has less and less meaning to the listener. Still, as a rule, most sound systems do not place low-end PA cabinets (or dumps) on one side of the stage and the mid or hi-end cabinets on the other side. It can be however, advantageous to place the low-end dumps in the center of the stage or along the front-center stage area. To make this more inclusive, it is also more comfortable to hear low-end tones coming from an elevation point lower (on the floor, for example) and the higher tones or frequencies coming from higher points (mounted above the stage or on tall poles).

If the volume on stage becomes to strong a level it will negatively affect all the above and more. To reinforce another post of mine, musicians just need to worry about performing great – we sound geeks will make them sound good and loud! I keep dreaming.

It’s Easy To Die – It Doesn’t Get Much Darker Than This

Posted: July 23, 2015 in My Tunes
Tags: # mixer, #audio, #creativity, #death, #digital, #effects, #harmony, #inspiration, #itunes, #keyboard, #lyrics, #Midi, #music, #musician, #personal, #piano, #poetry, #recording, #recordingstudio, #retro, #singer, #song, #songwriter, #sound, #story, #studio, #vocalist, #vocals, #writer

It may take a few times through listening to this one. A number of my songs might seem quite alien at first. I hope you let them grow on you. (OK, that sounded kinda creepy LOL!) This is a textured song where I did all the sequencing and drum programming. There are no guitars on this song. Most of this is Atari days using the Proteus 1 tone generator an the RX 15 drum machine. I also use sounds straight from the keyboard(s) I use as controllers. In this case it is the Korg Trinity V3. Other than the vocals, everything is recorded via MIDI and plays back live sounds from the keyboards and tone generators (along with effects and other goodies). From start to finish this is a dark piece. Sparse percussion with a rolling sequenced bass line. You have heard my wife before on “All Night Long” and “What I do at Night” and this is another one of her gems. The intro and break vocals are from Phyllis Ann, who toured with The Personal Touch and sang on “The Touch” and “Our Bodies Move.” As the song begins I try to use multiple melody lines in various instrument voicings to lay the chordal structure. Plucky guitar sounds come from the Korg. Slow trance – lulling you closer. Then the message; “Who’s Following You?”. But the subject quickly settles on the main issue; death. Too many of us are waiting for that dream.

“It’s Easy to Die” (@) MSK 1990

I wonder, I wonder who

Who, is following you.

It’s easy to die

You just close your eyes.

And then once the dream begins

It will never end. My friend.

Don’t put up a fight

Just follow the light.

It’s not too hard

And once the dream begins

It will never end.

Chorus:

It’s easy to turn

Your life into lies. My friend

And once the dream begins

It will never end.

Live Sound Reinforcement Series Chapter 18 – Small Club/Venue Environments

Posted: July 21, 2015 in Live Sound Reinforcement Series
Tags: # mixer, #amp, #audio, #band, #bass, #creative, #daughter, #drummer, #drums, #guitar, #livesoundreinforement, #microphone, #mixingboard, #music, #musician, #performers, #runningsound, #sound, #Soundengineer, #soundman, #speakers, #stage, #tech, #tips, #vocals

I spent a lot of time in smaller clubs with crowded stages and audience sizes varying from handfuls to standing room only capacity. The challenges come from each of them and have different resolutions. In some ways, I think the large clubs and outdoor events are the easiest to set up and run sound for. If it is a big stage or large arena, you turn everything up so it is in the main mix or no one will hear it. The smaller clubs you don’t necessarily put a microphone on every instrument. You cannot out-power a guitar player with a stack of cabinets. You might not be able to set up independent or multiple Monitor Mixes (stage mix for performers) and many times you have to share monitors (the cabinets or speakers themselves in this case…) between performers with various needs. Add keyboard player(s) or a horn section and it quickly over burdens the PA or sound system.

Setting up the stage with a few solutions in mind can help in each of these situations. In smaller clubs you might not have many options for the arrangement of musicians on stage. Some restraints may be obvious at first. Some will catch you off guard. Knowing what you are up against though can trigger steps to prevent problems.

These are basic but can avoid a lot of small-headache issues:

Place snake closest to center of stage if that is closest to where instruments/vocalists are positioned. Shorter cables are better if they allow performers needed mobility.

Make sure you know where the AC power outlets are. It is a drag to set everything up and not be able to plug in your power amps. (I also recommend bringing long heavy-duty extension cords for versatility)

Try to plug all stage instruments and PA gear along with the mixing board and external sound gear to the same AC breaker box.

Try to plug all lighting or other powered systems to a separate AC breaker box. (If it does not connect to the mixing board to make noise; plug it into another breaker box)

Use balanced (three wire cables) whenever possible. (I have been caught by 1/4″ audio jacks without locks getting knocked out in the middle of a gig more than once and hate anything that does not lock into position. rant now over)

Keep stage volume as low as possible (this is a couple posts all by itself!)

Consider cross-firing stage instrument amps like guitars and bass – rather than pointing at audience.

Make sure sound board is in the best sounding location and also close enough to the stage to connect snake and all gear – especially if you have to route the snake around the outside of the event area for safety or other reasons.

Cables are the first thing to go wrong even when properly handled and maintained. Bring a lot of SPARES.

Turn all power amps (including ones that are built into the speakers OFF or all the way DOWN when connecting or disconnecting gear. (there are shortcuts and general exception practices we will detail later).

Turn all recording gear OFF or down all the way until all devices and channels are connected and tested.

Make sure speaker cables (Mains and Monitors) are long enough to reach the power amps. I bring two long length sets of speaker cables and two short length sets (no matter how many total speakers I have, I will have two full sets….). If one side of the stage is where the power amps are, I use the short cable and the other one might require the longer cable. Sometimes you need both long cables. If I need a spare, I have two!

Drum risers could need low end cuts and even gates to reduce unwanted tones and resonances.

Color Code anything you can. Cables, Mic stands, Monitors, In-Put Channel labels or External gear/boxes. Make it easy to identify in low light. Green microphone goes with green cable goes to green snake plugs into green channel….. I also add a number to make larger sessions manageable. Vocal green 1, 2, 3…. Drum blue 1, 2, 3….. Brass white 1, 2, 3……

Not rocket science, just some thoughts. But if you get in the habit of considering these and other tips each time before you start hauling in equipment into a new venue, your set-ups will become quick and routine, even if the environment is new. If you keep all your gear in one place there are short cut power-up and power-down sequences I will detail soon.

Live Sound Reinforcement Series Chapter 17 – The Ins and Outs

Posted: June 22, 2015 in Live Sound Reinforcement Series, music technology, technology
Tags: # mixer, #atari, #audio, #band, #bass, #create, #demo, #digital, #drummer, #drums, #effects, #guitar, #keyboard, #Liveband, #livesoundreinforement, #microphone, #Midi, #midimike, #mixingboard, #monitors, #motivation, #music, #musician, #performance, #performer, #performers, #piano, #recording, #recordingstudio, #retro, #reverb, #runningsound, #signal, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #synthesizer, #tech, #tips, #vocalist, #vocals, #Yamaha

Most of the connectors used for outputs will be 1/4″ male jacks. These can be for ‘grounded’ (three-wire) or two-wire cables. To make this part confusing, the cables can be made or changed with adapters to almost any connector type. For long distances we prefer grounded or three conductor-wire cables as the third wire is used to take common signals from the other two wires, and ‘dump them to ground’. Common signals would be interference and noise as the plus and negative wires are carrying the signal from the board. The result is good signal with low noise introduced. Guitar and keyboard cables typically go shorter distances and typically have a higher or stronger output signal than a microphone for example. The cables in the snake will use three wire grounded shielded cables even if they are 1/4″ male connectors.

So we might expect to have an XLR connector for the Main Outs to the Main House power amps, but this is not a guarantee. If 1/4″ jacks are provided it is recommended to use grounded three wire cables.

Most cables will provide a male connector on one end and a similar but female connector on the other end. Male connectors are often used to connect to In-Puts and Female connectors are often used to connect to the Out-Put. The male connector of the microphone cable connects to the mixing board In-Put and on the other end the female connector will connect to the microphone out. Generally speaking there is little advantage plugging an in to an in or an out to another out. I like to state the obvious LOL!

The mixing board will give us a Main Left and Right out, and probably a Mono Main Out. These will be connected to the Main or House power amps. During an event, the amps are usually turned all the way up and the House volume is ultimately controlled by the Main L-R faders on the mixing board. This is why it is important to turn the Master Volume Faders on the mixing board all the way down whenever connecting or disconnecting equipment or making dramatic changes.

Depending on the board size and configuration you may also have a 1/4″ Direct-Out for many if not all input channels. (this is REALLY cool for recording and a lot of other creative uses…) These can be really handy for independent channel recording, triggers, audio effects and alternate mixes to name a few. Basically connect these to external recorder, processor or triggering gear as needed. I will give some examples as the series expands to other main topics. You will also have a number of Sends that are used for a variety of tasks and have different names, but with a few configuration details are for the most part the same thing. Effect Sends, Monitor Sends, Auxiliary Sends, Sub Sends are splitters; they split the signal – keeping the one going to the House or recorder – and allowing you to send a lot or a little of that signal to the Send of your choice using the Send knob. As in the Monitor amps and House amps, the volume knob will ultimately be used to send the proper signal level to the external (and internal) devices or effects. If you ‘send’ this to a digital delay, it may also have its own input and out put level knobs.

You may also have a two-track input and/or out put. This is for playing stereo audio devices and for a straight stereo record out option. Handy to listen to practice tapes, intermission music, PA system tests and other performance related media.

American Indian – An Instrumental

Posted: June 10, 2015 in MUSIC, My Tunes
Tags: # mixer, #American Indian, #atari, #audio, #creative, #demo, #different, #digital, #equipment, #FX, #guitar, #inspiration, #inspire, #itunes, #keyboard, #midimike, #mixingboard, #motivation, #music, #musicequiptment, #musician, #Native American, #observation, #opinion, #performance, #performer, #personal, #piano, #recording, #recordingstudio, #retro, #song, #songwriter, #sound, #Soundengineer, #soundman, #story, #studio, #studioengineer, #synthesizer, #tech, #writer, #Yamaha

I don’t mind acknowledging that I am different than a lot of the people I know and hear about.

I am PERFECTLY OK with this. I know my music and lyrics are not the typical main-stream songs blasted everywhere. I will not appear on any searches. Growing up and watching all the Westerns and TV shows, I never – not even once – wanted to be the cowboy or the soldier. I identified with the ‘good guys’ as most kids do, but to me the cowboys and soldiers were not the only good guys. I identified more with the American Indians living with nature rather than conquering.

I am not sure what exactly inspired this song when I started it. I often think about music videos and how that could help explain through images some of the themes in this musical piece. Possibly the new toys that could make sounds that added less traditional Western culture ideas and more ethnic and international instruments. I also like contrapuntal rhythms and themes, so you will hear a lot in these pieces.

MidiMike

Available on iTunes and CD Baby

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MSK original Songs

Posts Tagged ‘# mixer’

“Bookin’ Inst” Made to Order

Nothing Comes For Free!

Live Sound Reinforcement Chapter 23 -Recording Live Rock Bands

Live Sound Reinforcement Series Chapter 20 – The Musicians on the Stage

March of 1990 – Pushing Forward

Live Sound Reinforcement Series Chapter 19 – To Dream the Impossible Dream

It’s Easy To Die – It Doesn’t Get Much Darker Than This

Live Sound Reinforcement Series Chapter 18 – Small Club/Venue Environments

Live Sound Reinforcement Series Chapter 17 – The Ins and Outs

American Indian – An Instrumental

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Available on iTunes and CD Baby

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MSK original Songs

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