#tips | MidiMike

Posts Tagged ‘#tips’

Naming the Mysterious 12

Posted: September 18, 2015 in Music Theory
Tags: #band, #guitar, #keyboard, #logical, #motivation, #music, #musician, #musictheory, #note, #notes, #piano, #recording, #songwriter, #sound, #theory, #tips

Up = (#/Sharp). Down = (b/Flat).

0	1	2	3	4	5	6	7	8	9	10	11
C	C# Db	D	D# Eb	E	F	F# Gb	G	G# Ab	A	A# Bb	B

There are a number of discussions possible here. My point is the rose is a rose experience from my own limited understanding. Music theory is not my strong point. I know players that are very specific in the reference of notes or the progression used when naming them. It does make it easier to communicate – – – – – – To set up this conversation let it be understood that any note can be raised or lowered in increments of half-steps. Take your Root note and play the next highest note and you have ‘sharped’ the note. If you play the next lowest note you have ‘flatted’ that note. Up = Sharp. Down = Flat.

Any note. Any instrument. Any Western scale. Similar to the reference in Tuning; if pitch is too high it is Sharp, and if it is too low it is Flat.

We agree on common ground for the Titles of the Twelve. Looking at the piano as my standard example we need to notice the color of the keys not as a place on a musical staff or its place in a scale but as a compact representation of DISTANCE. The chart above uses the shading to mimic the keyboard and is not compressed or compact like the real piano is but if you play notes to the right they get higher by half-notes. Color means nothing to this reference. We rarely call the C note a B#, and we rarely call the F note an E# but this is a similar relationship.

Above you see the black notes have alternate names assigned to them. One way to help easy translation is to keep with one designator in the project. Give the notes names that are one system and not the other. Various way to think of it – a rose;

C, C#, D, D#, E, F, F#, G, G#, A, Bb, B, C is a rose:

C, C#, D, D#, E, F, F#, G, G#, A, A#, B, C

is a rose;

C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B, C

Along those lines I want to copy a recent comment from a great friend of mine and frequent commenter on this blog:

The math is easier if you name the root “zero.” 0 2 4 5 7 9 11 (the major scale). You can add 12 and get the same notes, just an octave higher. Subtract 12 and get the original keys. There are only 12 tones on a piano: 0, 1, 2, …, 11 After that, it just repeats.

The Mysterious Twelve is represented this way in the chart above. Starting with zero would change the Safe Seven representation to look like this:

C D E F G A B C

0 2 4 5 7 9 11 12

This is true and practical to use when considering the relationships of notes especially when working with musical scores where you are talking multiple octaves and keeping the relationships common. For many musicians, songs can be described as patterns. For example, if you are beginning a Jam and following previous examples in the key of C, you could say ‘lets start out with C for a few measures, then go to F and then go to G and repeat. Ready, set go!’. The Safe Seven shows us this relationship as a number starting with the Root equaling 1.

The Jam could also be started by saying ‘key of C, let’s play a 1,4,5 progression. Ready, set, Go!’. In this relationship, 1 = the Root or C, the 4th = F, and the 5th of the scale = G. The next jam session might be in the key of Bb, but we can still state this as 1,4,5 and the musicians that know the Safe Seven in each key will easily translate. You would be surprised how many popular songs follow the 1 – 4 – 5 and similar patterns! Starting with 1 as the Root, allows this pattern to more easily translate to the Root, 3rd, 5th – as this matches the common chord progression associations.

The point being there are a number of names for our ‘rose’, depending on the need or project at hand. If we call C “C”, “B#”, “0” or “1”, we are still describing the relationship between the 12 notes. As with the sharps and flats naming structure, once we start with a system, use the system through the entire project to avoid confusion!

Advice of the Day – Encouragement Goes A Long Way

Posted: August 10, 2015 in Opinions and Observations
Tags: #band, #community, #create, #creative, #creativity, #dreams, #encourage, #encouragement, #inspiration, #inspire, #love, #motivation, #music, #musician, #performer, #personal, #photographer, #photography, #poet, #poetry, #singer, #songwriter, #sound, #support, #tips, #writer

Encouragement – the action of giving someone support, confidence, or hope.

This also applies to writers, artists, poets, performers, photographers and so on… Let’s build each other up instead of competing with one another. Once you’ve reached the next level, reach down and lend a hand to everyone still striving to get where you are. Be thankful to each and every person who encourages you and GO OUT OF YOUR WAY to support and encourage others.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Live Sound Reinforcement Series Chapter 17 – The Ins and Outs

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

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

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

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

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

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

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

Live Sound Reinforcement Series Chapter 16 – Coke or Pepsi? Mac or PC?

Posted: May 27, 2015 in Live Sound Reinforcement Series, music technology, technology
Tags: # mixer, #atari, #audio, #band, #bass, #creative, #demo, #digital, #drummer, #drums, #effects, #equipment, #FX, #genres, #guitar, #keyboard, #life, #Liveband, #livesoundreinforement, #Mac, #microphone, #Midi, #midimike, #mixing board, #mixingboard, #monitors, #motivation, #music, #musicequipment, #musician, #performance, #performer, #piano, #recording, #recordingstudio, #reverb, #runningsound, #signal, #singer, #singing, #song, #songwriter, #sound, #Soundengineer, #soundman, #speakers, #stage, #studio, #studioengineer, #synthesizer, #tech, #tips, #vocalist, #vocals, #Yamaha

The sound board or audio mixer represents the hub in most audio mixing and mastering functions. everything connects to the board. Even the lighting system will use channels in the snake to connect from stage to console. Things get plugged into and things get plugged out of the mixer as needed. Today’s mixers are blue tooth USB WiFi fire-wired and light-piped together and will connect to an amazing array of devices. So far we have focused on what gets plugged to the Inputs of the sound board. There are a number of connection possibilities for the Outputs as well. We have already discussed some of them earlier, so this can be brief as you already know a lot of this in general.

On most sound boards you have a number of analog-out options. In earlier discussions we talked about XLR and 1/4″ cables and connectors. These will continue to be the main ones used for outputs. On the front or face of most mixing boards you will see a stereo headphone out. It will usually have its own volume knob and probably a selector to pick the options to Monitor including Stereo Out, Solo, Effects Sends, Effects Returns, Sub or Groups, Auxiliary Returns, and other options. On the back or the top of the mixing board you will see the panel for Out-put connections in different sections. There are some rules to determine what type of Audio Cable is used and whether it is a male end or female end and whether it has two connectors or three (or more).

In the early days of mixing boards, microphones and keyboards, it was important which brand you purchased. If you wanted to get ‘that sound’ you had to have this mixing board channel strip or that particular keyboard. Later on the computer industry similarly shot through their early days and you had the Macintosh or the Windows PC. If you were brought up with one you could not be talked into the other. Most modern equipment from PC’s to Automobiles can do everything. They all have similar platforms and emulators. There is style and quality as there always will be, but you can get software mixing programs and microphone/guitar emulator plugins that will make your audio tracks sound like anything you want —-THEY CAN EVEN MAKE YOU SOUND LIKE YOU ARE SINGING IN TUNE!!

So if you like Pepsi, no problem. Want Coke? Press this button…… More comfortable using a Mac? Go for it.

All it takes is cash, a thorough understanding of what all the terms mean and a good idea where all the buttons are?!!?

Enjoy!

The Truth is Somewhere in Between

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

I try to look at disagreements with the following rule;

There are three sides to every story.

There is Yours

There is Mine

…… and The Truth is somewhere in-between.

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

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

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

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

MidiMike

Available on iTunes and CD Baby

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MSK original Songs

Posts Tagged ‘#tips’

Naming the Mysterious 12

Advice of the Day – Encouragement Goes A Long Way

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

Live Sound Reinforcement Series Chapter 17 – The Ins and Outs

Live Sound Reinforcement Series Chapter 16 – Coke or Pepsi? Mac or PC?

The Truth is Somewhere in Between

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Available on iTunes and CD Baby

Social Media

MSK original Songs

Posts Tagged ‘#tips’

Naming the Mysterious 12

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Advice of the Day – Encouragement Goes A Long Way

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

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Live Sound Reinforcement Series Chapter 17 – The Ins and Outs

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Live Sound Reinforcement Series Chapter 16 – Coke or Pepsi? Mac or PC?

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The Truth is Somewhere in Between

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