NEUDIGATE, from p. 27
and electronic sound effects. Whether you’ve hired someone to create these sounds for you or are doing them on your own, one thing is for certain: you’re going to need a device to trigger them. Many programs rely on the Yamaha DTX MULTI12 which features 12 trigger pads on one machine with 64 megabytes of WAVE memory to add samples. Since the method of playing these pads is usually striking with a drum stick – this is very friendly for front ensemble members. Another popular choice is the Roland SP-404SX which features 12 touch pads and up to 32 gigabytes of expandable memory. The method of triggering on the SP-404SX is by finger buttons, which is friendly for synth players. Recommended Sampling machines: • Yamaha DTX MULTI12 (Drum pad triggers, easy to use, limited memory)
• Roland SP-404SX (Finger button triggers, more complicated, expandable memory)
Mixing: Most of the competitive programs in the activity have switched to Digital mixers from their Analog predecessors. Digital mixers allow for advanced grouping options, enhanced processing power, remote iPad mixing, and so much more. Since most people are using digital mixers, let’s focus on a few of the more frequently used features of digital mixers: Scenes: With many digital mixers, you have ability to set levels for a certain portion of your production, then save those levels as a “scene.” Many mixers will have available space for up to 100 scenes – this makes it much easier to create consistency of live sound for your production. You could program one scene for each half of your show, one for each movement, or several for each movement. For shows where the soundscape is constantly exchanging between soloists and ensemble moments, I usually program more than 30 scenes. Flipping through scenes can be easy as a press of a button on the mixer, but can be a nuisance while trying to remote mix – because of this, I recommend dedicating a person to scene changing at the mixer.
Dialing in your sound: With the processing power of a digital mixer, it’s easy to utilize EQ and Gate functions to filter out unwanted sounds. You should EQ microphones based on desired sound (ex. Top end mics on
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marimbas should be EQ’d differently than bottom end mics). Gates can be used to stop all sound below a certain decibel level from producing sound through the speakers. This is great for reducing wind noise and extra noise when keyboards are not playing.
Remote mixing: Required: Wireless Router. Many programs are interested in remote mixing with an iPad or other tablet. With the Yamaha TF series, and the Behringer X32 – it’s as simple as creating a network with a wireless router, plugging that router into your X32 or TF series mixer, and downloading the correct app for your iPad/tablet. Your tablet should connect to the mixer and you’re ready to mix. Remember that wireless routers have a range limit and are subject to interference at larger venues. It’s possible to do remote mixing with a mixer that does not have iPad/ tablet integration, but still allows communication with a computer. For instance, the Yamaha 01v96 does not have integrated iPad connectivity – but can be worked around by connecting a dedicated laptop to the mixer, then establishing remote connectivity to the laptop. Recommended digital mixers: • Yamaha TF series (iPad compatibility, touch screen, user friendly)
• Behringer X32 (iPad compatibility, user friendly) • Yamaha 01v96 (slightly more complicated, fade times – allows fade time between scenes, which can be used to program dynamics).
Marcus is an active educator and designer in the Kansas City area. He serves as the Drumline Coordinator as well as an Adjunct Instructor at the University of Central Missouri. In addition to his work at UCM, Marcus has worked with many schools in the Midwest as an arranger, educator, and electronic designer. Marcus has a B.M. in Percussion Performance from the University of Central Missouri, as well as an M.A.T. in Education. Marcus was a member of the Phantom Regiment Front Ensemble (2011, 2012) and became the section leader in 2012. He received the Zildjian player of the year award in 2011 and was also nominated for the Mark Glasscoe member of the year award. Marcus served on the Sacramento Mandarins percussion staff (2014 – 2016), the Carolina Crown Percussion staff (2015 - 2017), and is the Front Ensemble Coordinator and Electronic Designer for Gateway Percussion.
MISSOURI SCHOOL MUSIC | Volume 71, Number 3
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