#stage | MidiMike

Posts Tagged ‘#stage’

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.

Red on Your Blue Suede Shoes

Posted: March 25, 2015 in MUSIC, My Tunes
Tags: # mixer, #audio, #band, #Cincinnati, #demo, #digital, #dreams, #guitar, #keyboard, #Liveband, #lyrics, #Midi, #music, #musician, #performance, #recording, #recordingstudio, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #TheWho, #vocalist, #vocals

So many tragedies have happened and each gets buried under the other.

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

I was walking downtown recently and took a picture of graffiti on the bridge going from Covington to Cincinnati and used this opportunity to look at the past and hope for the future. I know this is an old subject and many people have forgotten all about this and therefore some may think it unimportant. Red on Your Blue Suede Shoes is an up-tempo catchy rhythm but the lyrics are in stark contrast. The song is in honor of the innocent victims of bad decisions and prejudice. During earlier years, concert promoters tried to cash in on what they called ‘festival seating’ where they could remove chairs and pack in as many people into an area as they can – as long as they are all paying customers, that is. This by itself is not necessarily a bad thing, but it was combined with bad decision making, planning and execution. As the crowds in Cincinnati Ohio anxiously anticipated a great performance by The Who, the doors remained locked. The crowd now gaining mass and enthusiasm, wanted to make sure they got a good spot for the concert, and people started pushing toward the many closed doors before anyone was allowed to enter. Unbelievably, the venue only opened a few doors in each area and kept the others shut. Once this happened, everyone tried to rush into the few open doors so they could get to their spot.

Thousands of people squeezed and pushed those in front to try to get in. Not everyone was able to handle this crush. Some people fell down and literally got trampled to death by other fans. The Red on their Blue Suede Shoes came from walking over fellow human beings that are unable to maintain their balance. I am not sure if the song is mostly anger toward those who could do something like this or mostly hope that many did try to stop the dangerous mob to assist fallen fans. This song is dedicated to the Cincinnati 11, and the Who. I will never forget.

Live Sound Reinforcement Series Chapter 8 – Changing a Live Mix

Posted: March 23, 2015 in Live Sound Reinforcement Series, music technology
Tags: # mixer, #audio, #band, #digital, #drummer, #drums, #guitar, #keyboard, #Liveband, #livesoundreinforement, #lyrics, #Midi, #mixingboard, #music, #musician, #performance, #piano, #recording, #recordingstudio, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #synthesizer, #tech, #vocalist

Obviously when you are live and there are a number of performers and hopefully a lot of listeners depending on you for a great performance, any change in the house mix can be immediate and usually have unintended consequences that you cannot predict accurately. Any change to the stage mix once the main speakers are pumping will not be known by the sound engineer. If you accidently send a lot of delay to the monitor for example, it will confuse timing of players and can lead to feedback and other audio beasts raising their ugly heads over and over. From the house board you will not be able to pinpoint where the beasts are coming from and what starts them – or calms them down for that matter.

A lot of those buttons look alike and in the dark it is easy to move something unnoticed. A number of times I have sneaked up on stage and listened from a few different positions to see what the band was hearing on stage. Then I could usually identify how to deal with that beast.

In the studio I can study some of the situations and find a solution when I can rewind and stop and try something and if that doesn’t work I can try this toy we just got in at the music store that is supposed to be wonderful and will solve all my mixing needs. With the audience primed and ready for a show, it is better to make smaller adjustments and see how it affects everything and then adjust a little more. If the location of the sound board is good representation of the venue and sounds pretty good, enjoy the view and mix as the band and performers deserve. I try to reinforce guitar solos in the mains, and I mean really inforce the solo. I make it so everyone will hear it, while keeping the other performers at a good foundation level. I make sure I turn it back down as soon as the solo is over. If there is a second vocalist, sometimes they do not have the power of the lead vocalist and might have a limited range. It can be hard to boost them to the level of the lead vocalist even if they are using the same equipment. Getting them loud enough in the monitor is usually the biggest challenge. You don’t want to leave a microphone turned up a lot in the monitors that is not used very often. It will pick up other instruments and sounds on stage and then push them back into the monitors…. It will probably not be loud enough to trigger feedback in the stage monitors, but it could create a boomy or foggy sound environment on stage and will make it harder for all performers to keep tight performances.

I also like to add effects to a live performance. If the band is playing cover tunes for example, I try to match the effects on the vocals and percussion sounds with those on the original recording. I usually keep the effects out of the monitors but have had situations where it went over well. More often than not, it makes it more confusing on stage. In either case, I make sure that when the song or section is over, I turn the effects level off. If the band members talk into the microphones during a musical break, they will be clear and understandable in the audience during the address. Then right back up when the next song or section begins.

When setting up the channels on the mixing console, I try to group instruments to make balancing all tracks easier. I keep vocals together, and try to represent placement on stage. If there is a lead singer center stage and a back-up vocalist left right and the drummer also sings, I have the channels on the snake match their positions when looking at the stage left to right, for example. If there is only one singer and I have open channels I do not need, I try to separate the vocalist from other channels in use so it is easy to find and easy to adjust. You will probably change the lead vocalist channel more than any other. The typical band might have a soloist – guitar or keyboards for example, and you will change the volume faders during the night. But you will probably not change the delay patch or change reverb on instruments. The vocals can benefit from minor changes throughout the night.

Think about it… the guitar player and keyboard player change their sounds literally from song to song. The vocalist does not have that luxury. Change the effects to enhance the vocalist. Too often sound gurus find one effect and use it all night. If you are not comfortable with creating or even changing effects with the available or on-board FX, that is understandable. Maybe we will cover that in later sessions if members find it helpful. If effects are new to you or you have not mixed a whole lot of events try the following simple strategy; add effects to the instruments that need it and not to any other instrument, and keep the volume of the effects subdued in the house mix. It should not overpower the stage sound or ‘dry‘ signal. Use short reverbs and delays for most applications. I bring in the effects into an open channel if available, rather than using the FX return knobs. This way I can easily see the level of the effect, I can route to the vocal group or bus if I choose and I can EQ effect independently. This to me also makes it easier to turn down the effects during music breaks or announcements.

The Safe Seven

Posted: March 20, 2015 in Music Theory
Tags: #audio, #band, #keyboard, #love, #Midi, #motivation, #music, #musician, #performance, #piano, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer

Each key on the keyboard represents what we call a half step. if you play the adjacent key (above or below the key you just played) you have moved another half step. I am not very good at math, but fortunately the math is simple and two halves equal one whole. So if you start with any note twelve consecutive notes you will have reached the octave. (The first note we will call the Root. 12 half steps above that root note is the same note but an octave higher when adding notes to the right and lower when adding notes on the left) Here we have all 12 notes as referenced earlier. After this they will repeat again and again.

There is a lot of music theory out there and it seems to scare most people into thinking this is going to be work and not play. There is always some learning or practice involved, but it can still be fun.

Out of the 12 half steps in each octave, most scales will include only 7 notes (8 including the octave). When using the keyboard as an example it is visually easier to use the white keys and this happens to be the Key of C for the piano. If you play the C note, and then play each consecutive white note and ignoring the black keys, you are playing the C Major scale. This is not very mysterious once you know the pattern. A simple count of each note played and the notes ignored gives us the pattern that can be applied to every scale. When finished, all we will have to remember to figure out other scales is the pattern;

Two/Half, Three/Half

In slightly more detail, two Whole notes, then one Half note, followed by three Whole notes then one Half.

In the Key of C, the Root note is the lower C. Move two half steps up (or one whole note) and you have D. Two more half steps up and you have E. ( —– no black key here, so we move up a half step to F. (That is the first part represented by two Whole notes then one Half note—-). now move up two half notes and you have G, two more and you have A, two more and you have B. (—– no black key here, so we move a half step to C or the Octave. (That represents the Whole – Whole -Whole – Half portion)

C D E F G A B C 1 2 3 4 5 6 7 1 These notes are The Safe Seven in the Key of C Major

So to find any major scale, start with the Root note, go up a whole step, up a whole step and up a half, then up a Whole, up a Whole up a Whole and up a Half step and you have arrived at the octave. This is the Major scale and there are others, but they all start here. For those of us that had music lessons in school or “The Sound of Music” fans, this will be familiar as the Do Re Me song we learned. You can reverse the process when moving toward the lower octave.

Remember the saying practice makes perfect?

WRONG! Only PERFECT practice makes perfect. Focus on position and form at first and work on speed later.

Play with this for a while and I will be back with more!

Chopper – An Instrumental Song

Posted: March 18, 2015 in MUSIC, My Tunes, technology
Tags: # mixer, #atari, #audio, #digital, #guitar, #keyboard, #lyrics, #Midi, #music, #musician, #performance, #recording, #retro, #runningsound, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #synthesizer, #tech, #Yamaha

When I first went to a music store near my town to see if I could get a job, I naturally went to a store I shopped in a bunch of times. I was one of the first customers to purchase a new keyboard that was starting to break all the sales records at the time. It used FM (Frequency Modulation) to essentially create or ‘synthesize’ new sounds not possible before, ……… and …… you could play up to 16 notes AT ONE TIME!!! You take that for granted now but that was a thrill for electronic keyboards (other than organs and all that).

So I went over and talked to the owner. He walked us over to the keyboard I had purchased and said, “can you program this thing?”. I told him absolutely and I can show him now how to create cool new sounds. He said, that was OK and I was hired. That started the sales portion of my journey. This song got the name and the main groove from the keyboard sound in that Yamaha DX7 synthesizer.

If you played individual notes in the right tempo, the thumping sound would build just right and you got this effect like a helicopter at a distance. I did write lyrics for this song, but I always hear it as an instrumental. For the early instrumentals, I was recording on the first computer for consumer electronics that had a built in MIDI port, the Atari and I had the 1040 ST. Again, that means nothing today, but this was space-age technology and had a lot of musical applications. I still have it (two, actually and two monitors) and it still works to this day. I can fire up the Atari and still play all these MIDI pieces as I did when they were written.

The drums are all programmed. In fact, everything is. All the sounds are triggered from the Yamaha DX7 and recorded via MIDI. Each time you hit play’, you are regenerating all the sounds to make this song. See the MIDI series for MIDIMike’s intro to MIDI by clicking here.

MIDIMike

St. Patrick’s Day – A Part of Me

Posted: March 17, 2015 in Holiday, MUSIC, My Tunes
Tags: # mixer, #American, #audio, #band, #demo, #digital, #dreams, #family, #Irish, #Liveband, #livesoundreinforement, #love, #lyrics, #Midi, #motivation, #music, #musician, #recording, #retro, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #St. Patrick's Day, #stage, #studio, #studioengineer

Speaking about lyrics that never become songs, etc., sometimes I write and record a demo or rough track of a song and it just never seems to go anywhere. Some of them do get resurrected, many don’t. For some it may be as simple as a tempo change or a different arrangement. Other times for me it is mysterious. In honor of Saint Patrick’s Day, I would like to post lyrics to a song in the making. As this platform gives us access to followers around the globe, I do not want to leave anyone out, so please take this as intended. If I don’t mention your country, other people’s songs will!

Then in a later post I can bring in the recorded demo tracks. I like the lyrics for the most part and I love the idea behind the song, but it is not there yet. Maybe after a pint or two of Guinness and some suggestions from you I can finish this song. And of course, that could be a topic in and of itself. We hear phrases like “final mix”. Some people say there is no such thing. Others say you just have to stop at some point and let it go. Much of this may depend on your final goal. Are you a singer/songwriter trying to get a break and some air-time? Are you shopping for places your band can perform your unique style? Do you want to have a clean demo to send to your favorite artist? Is this a sound-track for video/YouTube? Do you make sound effects for games?

We can always say make it as good as possible but that is very subjective. Hire 50 sound engineers and you will get 45 different mixes (there are always people that look over your shoulder!) Tip for today; it takes a really long time to fix it in the mix even if you know what you are doing. It is much easier and preferred to get the great sound first, and then record it properly (using gain staging and other procedures mentioned earlier). When you record a great sound it will sound great. As a sound guy for a local band I would get compliments on the sound (House from the audience but almost always monitors from the band). I thank them and tell them the band sounds great, I just let everyone hear them.

American Indians gave me my soul,

A spiritual guide for all living things.

Each man’s fate is his to control

Peace with Nature, the warrior sings.

A Part of Me belongs to all of Them

From the Germans strength was my first lesson.

Trial and precision as you master these.

Pride that’s passed down from son to son.

Built in each hand crafted Masterpiece.

Oriental neighbors have shown me the light

Truth, Balance, Eternal harmony.

The beauty of patience and delight

Traditions deep within history.

A Part of Me belongs to all of them.

I’m proud to be an American.

Sisters and brothers from every shore,

That’s what makes us Americans.

Part of Me belongs to all of Them

From the Irish I inherit my pride

I stand my ground and I will speak my mind.

I will honor the lands and the tide,

And I’ll never leave a neighbor behind.

My English side embraced nobility.

Dry humor in the face of foes

Hardy enough to capture the seas.

Portraits legends and heroes.

African Americans forced to become

A torn people of two nations.

Tribal tales and melodic rhythm

Passed onto the next generation.

The French helped me understand

Style and grace can be nurtured like wine.

To believe there is no better place

Life shared with friends, bread and wine.

A Part of Me belongs to all of them.

I’m proud to be an American.

Sisters and brothers from every shore,

That’s what makes us Americans.

Part of Me belongs to all of Them

Year after year

They want to raise their children here.

Because sweat blood and tears

Can amount to something here.

There’s a lot of people in my life

A part of Me belongs to all of Them.

Your song may be different and that’s OK.

Sing it with your fellow American.

MidiMike

Available on iTunes and CD Baby

Social Media

MSK original Songs

Posts Tagged ‘#stage’

Happy Birthday Billie Holiday and Strange Fruit

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

Slick As A Dream

Live Sound Reinforcement Series Chapter 9 – Tackling the mixing board

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

Red on Your Blue Suede Shoes

Live Sound Reinforcement Series Chapter 8 – Changing a Live Mix

The Safe Seven

Chopper – An Instrumental Song

St. Patrick’s Day – A Part of Me

Archives

Available on iTunes and CD Baby

Social Media

MSK original Songs

Posts Tagged ‘#stage’

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