This also acts as a shock mount, but can be very inconsistent after travel - ***not recommended for the AT2035.
Placing microphones in the correct position is just as important as choosing the microphone. The right microphone in the wrong position will not produce the desired results. Here are some good starting points: • Vertical Placement should be approximately 18” – 28” for condenser microphones or slightly closer for dynamic microphones
• Horizontal placement depends on the playing areas for each performer; vibraphone mics can go in the center. For marimbas, you can divide the instrument into thirds and place a microphone on each dividing point.
Cabling: Cable maintenance is an important part of effective sound reinforcement and is often over-looked. Keeping a clean and organized space allows for faster setup/tear down, quicker troubleshooting, longer cable life, and will help maintain a safe environment for your performers.
Daisy chaining: This is a method where keyboards plug in to one another until reaching the desired plug-in point (usually, a snake) and is often used in setups where keyboards are relatively close to each other. It requires a bit more extensive preparation and initial setup as well as requiring many cables to be zip-tied to each keyboard, but is the cleanest and fastest on- the-field setup. Troubleshooting can be difficult at times; but if done correctly, can greatly extend the life of your cables. Another option is to run a cable from each microphone to the desired plugin point – this can get very messy very quickly. This is a much more budget friendly route, but may end up costing more in the long run as you replace broken cables and risk the safety of your performers.
spring 2017 |
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Synthesizers: Modern synthesizers come with a myriad of built- in sounds that can help create depth of sound for your program. If your marching band music is pre- made, then chances are it comes with some kind of synthesizer staff that should fit most programs – but sometimes does not. When those sounds don’t seem to work for your show, adaptability is key. To give your program a feeling of being “larger than life”, you can use the synths to reinforce the low end of the frequency spectrum. Strings, choirs, and synth pads are great options to enhance your low end. You can also use the synths to reinforce mid-range sounds that may be getting lost because of drill. For instance, a mellophone counter-melody coming from far backfield may be doubled by a synth voice. Again, strings and choirs are helpful sounds here; however, it’s important to keep articulation and style in mind. The right sound should blend attack and decay with the sound it is reinforcing.
Strings and choir sounds are popular choices for reinforcing wind sounds – but don’t forget how guitar, harp, or even 80s sawtooth sounds can enhance percussion-only moments. Most modern synthesizers have the ability to stack sounds on top of one another and split the keyboard in half. For instance, it’s possible to program the synth where every note below Middle C produces a Bass Guitar sound while every note above produces a Harp sound.
To most effectively utilize your synth performers, make sure to use both a Sustain pedal and an Expression pedal. The Expression pedal will allow the synth performer to control their dynamics hands- free. When your front ensemble is rushing onto the field, it’s also important to consider boot-up time. Quick-Tip: you can start up your synth off the field with a UPS battery pack, then plug in when you get to the field. Recommended Synthesizers: • Yamaha MOTIF series (XF7, XF8) • Yamaha Montage series (Montage 6, Montage 7, Montage 8)
• Korg M3 • Roland Juno-G
More modern sounds – Sampling: Many groups are relying heavily on sound samples, which range from voice narration to bass drops
See NEUDIGATE, pg. 52 27
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