Posts Tagged ‘#mixingboard’

My first touring band was a trio called Personal Touch

I know I haven’t been posting things for a while, but actually I have been pretty busy. During the Covid lock down I was fortunate to get my writing partners and band mates from The Merchants of Death on-line for Internet jamming. In a while I will post some tunes we recorded live from different cities.

I have also been working with a great friend of mine to re-mix and master a 16 track live recording of the band Euphoria. Those familiar with my blog know that I also played in Euphoria, but I am not in the band at this time. Clint Garcia is the keyboard guru for the band, and when he took a break for a few years, I filled in for him.

When not jamming or mixing I often return to my archive. My recording obsession started around 1970 or so and I have been working for a while reviving very old recordings. I am currently working on my cassette collection. I found the original live recording of Personal Touch performing including what I think is the best song I have ever written. See the lyric post here: https://midimike.com/2015/03/05/per-request-lyric-to-our-bodies-move/ While I have always struggled with naming my songs, this is either called “For Those Who Wait” or “Our Bodies Move”, depending on what I was doing at the time.

We perform a bunch of familiar cover tunes and throw in originals somewhere in each set. I have a few songs from the live Personal Touch recording I will post over the following weeks. This was recorded as I mentioned using a stereo cassette deck running straight off the mixing board. We have no sound tech, so I do the mix from the stage. We ran our sound in stereo even playing live, so I just took the main outs and recorded. Back then I used my home stereo speakers for the monitors and we all fit in a single van to travel. Ahhhhh. The good old times!

Ric Ahlers was my brother-in-law and talked me into buying and learning a synthesizer and an electric piano so we could form a duo. Ric played guitar, sang, and also controlled bass pedals and a drum machine. ( I detailed in an earlier post that he has triggers attached to his guitar so he can make a cymbal crash or a drum roll). I played my 12 string Ovation guitar for some songs, sang and played keyboards for the rest. I also programmed a 2nd drum machine to play a number of songs and could be used to add tom fills or crashes on the spot. Ann Ellis joined the band as our vocalist and soon we hit the road.

Vintage cassette recording of my band Personal Touch performing live

It is a lot of work but we met great people and had a good time playing our songs and doing cover tunes with a personal touch. I think there is a date in here somewhere, so I will try to find it and give you an idea how long ago this was. Enjoy.

After smoothing out the timing and lyrics to match the mood I was after for this new song, I wrote a melody that seems to fit pretty well.

I squeezed some of the lyrics as I mentioned and cleaned up the instrumental glitches (a technical term for anything that isn’t right) and added a few parts to the instrumental verison I posted earlier.

Minor changes go on for a long time in the final tracking stage. A lot of it will not be used at all and some will be low in volume so as not to hear distinctly. But similar to color splashes added to the face in a painting, it can really bring out the rest of the ‘image’.

What You Want:

I have been working with a new suite of audio recording and mixing software for the last two weeks called Presonus. I am using their Studio One 5 bundle. I am starting to get the feel of how it works. A bit of a learning curve and unlearning curve from other programs, but very flexible interface and great sounding plug ins.

Here is my first tune noodling around with the functions and features. A simple groove I call ‘Forward’.

Forward by MSK

The great thing is the new software automatically imported all the instruments, effects and and plug ins I already had. These are all ‘virtual’ instruments from the sound and effect plug ins. I use a MIDI keyboard controller for most of the input for instruments.

I hope you enjoy this one for a few minutes in your busy days.

Sonar Track Panel Wave and MIDI files that generate sounds from computer programs called plug-ins

I mentioned experimenting with an on-line jamming program. It became the clipboard for a few guitar sections I created while waiting for one thing or another to work. I titled each as verse, bridge, chorus, etc. I had to give it a project name to save the clipboard and I came up with “Not Now”.

I used those short pieces and assembled them into a song arrangement. Once the chords and arrangement were in place I naturally started thinking of lyrics (as I have a tendency to do). The file was named Not Now so I kept it as my Cakewalk (BandLab) project name. So it becomes the theme of the lyrics. In one hour they were written. Getting them to match the odd rhythms and sparse instrumentation became a challenge. It took me a few days to come up with the melody and then practice it enough to get the rough tracks down. To all just joining; I get things down to rough tracks and then write another song, poetry, lyric or instrumental. When I was young I hoped some band would do my songs correctly in a studio. I am not young now.

Here is a rough mix of “Not Now”. I used a Martin Acoustic/Electric guitar for the guitar track. Using my MIDI keyboard I pulled up a plug-in for drum sounds. I imported the original noodling guitar parts I did from the clipboard but they were not recorded to a metronome or drum pattern. I listened and figured out the tempo of the segments and set Cakewalk to match. That way I could listen to the short guitar segments as I created the basic drum parts and arranged all the segments in order. I pulled up a bass guitar sound and played the MIDI keyboard to generate the bass line.

Next, I Muted the original guitar tracks and recorded a new track to replace it. The song seemed to cry out for strings but that is usually just me. I like good sounding strings in various styles of music.

Lyrics were posted here: https://midimike.com/2020/06/01/not-now/

I use two monitors as there is a lot of information to keep ‘track’ of even for a small project.
This is the Piano Roll view. Each color represents different instruments. The lower group triggers drum sounds.

I gave a link to BandLab above. Full disclaimer this is not a commercial and I do not get paid for anything I do here. However….. if you are interested I used to pay hundreds of dollars every year or so to keep this great recording program updated. They now offer the program and all updates for FREE. No kidding.

I hope you enjoy “Not Now”. Each time I listen to it I like it more. Again, this is just me as each new song I write becomes my newest favorite.

If just for a little while.

Crash Landing Live at West Fest

Building upon my earlier posts of a night out with Crash Landing, I continue with the first part of the second set.

CRASH LANDING live in 2002

In future posts I will detail mixing/recording process and Live Sound Reinforcement techniques. For now, enjoy a few songs from my old cover band.

Pond at Lindner Park, Norwood OH MSK

I hope you get a laugh from my latest song, “Tired”. It definitely has a ‘senior point of view’. I thought of naming it “Retired”, but this seemed to fit better.

I posted as a poem but once I put it to music and the song arrangement came together I had to make cuts and edits. I will post the new lyrics here for convenience.

        “Tired”                     © MSK 6-9-2019

I’ve been thinking all day of when I get you home
After everyone has gone we’re finally alone
Like a good dog I’m gonn’a give you a bone.

I’ve heard his mouth running all over town
Talking shit about me and calling me a clown
I’m headed over there now to put him down.

Hold that thought
‘Til I get back
I’m feeling rather tired
And it’s time for a nap.

Think I better
Slow it down.

Rewarded or punished for decisions we make
Climbing this mountain is a piece of cake
Just another day or so beyond the lake.

Hold that thought ‘til I get back
I’m feeling rather tired
And it’s time for a nap.

Dream what you remember
Remember what you dream.
After all these years
It’s almost the same thing

I bought three books and can’t wait to start
Two of them are very close to my heart.
I’ll read them all tonight, then put more in my cart.

I’ve been thinking all day of when I get you home
After everyone has gone we’re finally alone.
Like a good dog I’m gonn’a give you a bone.

Hold that thought ‘til I get back
I’m feeling rather tired and it’s time for a nap.
Hold that thought ‘til I get back
I’m feeling rather tired and it’s time for a nap.

With lyrics in hand, I mapped it out to a drum arrangement I already had. No other instruments….. While I fit the lyrics to the drum arrangement the melody immediately fell in my lap. It is backwards for me to have a melody first. Usually I write the melody listening to the chords. This is like reverse-engineering if you know what I mean!

This was not a simple fit, so the drums also had to be edited and changed for the rhythm of guitar and vocals. The drums are not finished and need a lot of work to smooth out grooves here and there, but it is solid enough to work with for now.

I don’t practice or play for hours a day anymore. I rarely play for more than is necessary to record my demo songs. It can take me a while to play the guitar (and keyboard) parts I need for new songs. Everything is slowing down after 65!

I played a Martin acoustic/electric guitar with no overdubs or additional guitar tracks. The bass guitar is added using my MIDI keyboard and a computer plug-in sample-player for a great sound. I added some playful vocal harmonies and that was it. Arrangement done, it will take me a couple weeks to clean up the tracks and do a mix. Or maybe a bit longer than usual now that I think about it!

CRASH LANDING

I posted another you-tube segment of Crash Landing playing cover tunes at a gig in Cincinnati back in 2002. This is the last segment of the 1st set. I tried to break them up into chunks so they are not huge files.

I ran a straight line out from the mixing board. Few live recordings are perfect, and over the years I tried a number of ways to get a good mix. Keep in mind I record all the time so this was not a special occasion and I don’t even think I told the band members we were recording.

I am still collecting new photos from friends and relatives and will add them to future posts. So sit down and grab your favorite beverage and listen to a great live band!

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.

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.

Live_Stage_New2

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.