#studioengineer | MidiMike

Posts Tagged ‘#studioengineer’

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.

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.

“A Part of Me” © 08-2000 MSK

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.

Live Sound Reinforcement Series Chapter 7 – Fix It Before You Mix It

Posted: March 16, 2015 in Live Sound Reinforcement Series, MUSIC, music technology
Tags: # mixer, #audio, #band, #digital, #drummer, #drums, #guitar, #keyboard, #Liveband, #livesoundreinforement, #logical, #lyrics, #Midi, #motivation, #music, #musicequipment, #musician, #performance, #recording, #retro, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #tech, #vocals

This is a good time to walk around a little if you can. If you have a helper that can baby sit the board for a while, slowly walk around the venue. Listen to the various instruments as you walk to different sections and notice how each area sounds as you pass in and out of range of the main speaker clusters. Listen again for areas that ‘drop out’, especially in the main audience areas. Talk to the host. Make adjustments and respond to their suggestions. Interact with the audience if you are good at that sort of thing.

Bring all that listening back to the sound board.

What adjustments can you make to improve the house mix? Is a player sounding great when you are right in front of the stage but fades quickly if you are back further or at the bar? Does the kick drum or one of the vocalists sound muddy and hard to hear clearly. Listen to each instrument again. Use the headphones and solo tracks do they sound muddy in the headphones too? If so, you might need to change the EQ settings or other audio processors, change microphone location, REPLACE the microphone cable!, put rings on the drum heads to stop heads from long ugly tones, hey, there is a lot of stuff that goes into making the band or performance sound good.

It can go wrong. I have gone up to drummers during sound check to ask them if they have any objections if I tune the drum heads for them before the gig. Far too many drummers don’t know how to do this and far too many more don’t know that you even can. If the kit is out of tune and generates all sorts of random harmonics and overtones, there is no way to get it to sound ‘awesome’. It can sound loud and it can sound full, but it will never sound good.

I have probably upset a few performers as well by asking that they tune their instruments before we start playing. One of the benefits of also being a musician in a number of bands is I can tell when something is out of tune. I don’t think I can get drunk enough that playing out of tune is a good thing, but there obviously are a few out there. If they cannot tell the difference that is worse than being too drunk, but we all sound and play better when everyone is in tune. Some bass players can’t tell any more so you have to politely step in once in a while.

In a large club in front of a packed audience, the lead vocalist roared into the microphone, ” I ain’t got shit in the monitors, sound guy, I got nuthin’ up hear at all…”.

I responded with a simple but effective test that I could do from way out in the audience. I reached up to the main faders and yanked them down completely before he got to the “…… sound guy, I got nuthin’ up hear at all…” part.

So he ended up with the band now reduced to stage volume. As he was saying …’sound guy …’ He was booming through the on stage monitors at an amazing decibel level. He apologized to me and the audience when I turned the mains back on and we rocked out the rest of the night. The house was loud enough that he could hear them more than the mains and he was not used to that feeling. That the sound guy would not have the vocals loud enough in the main mix and he would need to hear the monitors really loud on stage. He ended up really happy with the mix and did not have to scream all night over the band stage volume. Keeping things solid can include a number of unexpected challenges that are better met head-on, but these business relationships should also be kept friendly and cooperative.

Have spare cables for everything, even if the sound system does not use it. Power cables for devices and amps. Adapters for audio cables. Tape, markers and paper. I bring guitar cables and a few spare mic cables everywhere. Batteries. Small hand tools. Power outlet tester. Flashlights. Drum head tuning keys. Zip ties, the list could go on but session after session, someone will need those things for the show to go on and you will be the champion pro. You gain cooperation and trust for the next gig. Win win.

We all know the saying about weak links. When you have so many components – each connected with cables and software and processors, it can take a while to troubleshoot the system when you have a failure. Yes failure. If you are the sound guy or gal and things don’t work or it sounds bad, YOU are the failure! There are basic steps you can take and I can describe them in a generic way, but that type of advice will not apply to every system out there. No two clubs or sound companies have the same sound equipment. The best advice is to keep the number of links in any chain as low as possible. The more links, the more of them that could be or eventually become weak. It is not always practical to have a spare of every component, but finding local music and sound stores open in your area is getting tougher. If taken care of properly though, most professional PA equipment available today will last a long time. More on “Maintenance and Tips” in a future SLR series.

Everyday Lessons of a Musician

Posted: March 10, 2015 in projects
Tags: #audio, #band, #charity, #digital, #dreams, #fan, #guitar, #journey, #keyboard, #Liveband, #livesoundreinforement, #lyrics, #Midi, #motivation, #music, #musician, #performance, #Queensryche, #recording, #runningsound, #Shootingstar, #singer, #song, #sound, #soundman, #stage, #studio, #studioengineer, #TheWho, #yes

I have always been into helping charities and volunteering for good causes. I entered a few tunes from a local cover band I was in (Euphoria) for yet another battle of the band contest sponsored by habitats for humanity and a local radio station. The bands would play in Eden Park at the very-cool Seasongood Pavilion. At first it looked like we might not even play, then the dust settled and we would go on to play last. The other bands were interesting and pretty good. We were hi-energy progressive rock and we played our short set really well and had a great time. We even made the goof of mentioning the wrong radio station’s call letters! Agh! I thought on that alone we might get overlooked. But they might not have heard the comment and in all modesty we were really good. We won a trophy – some unknown band member still has it hidden safely in some underground bunker – and recording time at a recording studio! For me, this was like candy.

We were awarded the prize and a limited time to go into the studio. We decided to use the recording time of three hours (yeah, kind of a tease and they probably figure you will run over and have to pay them for additional recording time) to record a band demo. Eventually we got a list of songs we wanted to do and had some discussions on what parts of the songs to feature.

As the time got near, it became more and more difficult to arrange schedules of the various band members (and lets NEVER forget the schedules of the family of band members!). So I told the band guys that this weekend was it. This is the deadline and if we do not go in a few days we will lose this opportunity altogether. After the whining and complaints, we agreed to go that Saturday, the last day before the deadline.

There are two reasons I bring up this story. A couple of good lessons keep this fresh in my memory. The following is the first;

Sometimes you have to lie. I knew we had another two weeks to record, but I also knew if I left it up to the band to schedule, it would never happen. Everyone wants to do it and everyone SAYS they will, but other things always happen and conflicts crop up at the last minute, and it is too late to save the project then. I knew how the band put things off and I did not want to miss my time at the ‘candy store’.

The second lesson was learned by the studio recording engineer. I will share that in the next post. Here is a bit of the demo we did in the studio so you can get an feel for the mix.

Journey – Separate Ways

Black Crowes – Hard to Handle

Yes – Long Distance

Yes – Changes

The Who – Can You See the Real Me?

Shooting Star – Last Chance

Queensryche – Jet City Woman

Co-Authors and Distant Dreams

Posted: March 3, 2015 in MUSIC, My Tunes
Tags: # mixer, #audio, #band, #demo, #digital, #DollyParton, #dreams, #drummer, #drums, #family, #guitar, #KennyRodgers, #Liveband, #livesoundreinforement, #love, #lyrics, #Midi, #motivation, #music, #musicequipment, #musician, #performance, #recording, #retro, #runningsound, #singer, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #tech

Performing with other musicians requires a deeper channel of communication than normal language. When creating in this environment, every nuance has a meaning. Every motif can create musical ripples. Sometimes, two thoughts are better than one. Co-writing can take a piece further than you would have thought possible on your own. Try it. You might like what comes out of it. Over the years I have worked with a group of songwriters. Each writer diving in to show off the latest and greatest. While in one of those small traveling bands from hotel to hotel, I was playing in Corpus Christie TX. We played a lot of different music for three people, and one of us did not play any instruments. We wanted to come up with something with a bit more country flavor, and the lead guitarist was working on some soft ballad type chords during practice. I told him I had written some lyrics that might fit. I had finally given myself the title of songwriter as you know, so a while back I challenged myself to write a country song. I had something specific in mind.

I write a lot of songs. I write a lot of lyrics that never become songs (not yet anyway). I write a lot of poems that may never become lyrics. I write a number of songs and I might not even have a recording of it, even though I love to archive and preserve original performances. Some songs I write for others and do not have a real interest in recording myself. Maybe because I already have a good idea of what the song is supposed to sound like when a real performer/band records it. I am not putting myself down here. I simply do not have the talent or resources of famous stars. You might laugh, but when I was writing the lyrics below, I wrote them as a duet for some famous country music stars at the time; Kenny Rodgers and Dolly Parton!

I have only one recording of this song and I will share it with you, Kenny and Dolly you too if you’re listening! I am singing the male part on this recording. Not sure if this was ready before we moved on from Corpus Christie to another hotel, but it fell together quickly with the ballad chords at practice, so we performed it live to the more country leaning southern audience. We were surprised that it went over so well and people in the hotel/audience that were regulars, were singing the words after a few nights in town. So, I will probably never record this song. It has always been a distant dream to one day hear others recording this as their own. I have already heard in my mind what it sounds like with them performing, but this live two-track recording is not too bad for a working representation.

MidiMike

Available on iTunes and CD Baby

Social Media

MSK original Songs

Posts Tagged ‘#studioengineer’

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

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

Live Sound Reinforcement Series Chapter 7 – Fix It Before You Mix It

Everyday Lessons of a Musician

Co-Authors and Distant Dreams

Archives

Available on iTunes and CD Baby

Social Media

MSK original Songs

Posts Tagged ‘#studioengineer’

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