tency of live sound for your production. You could program one scene for each half of your show, one for each move- ment, or several for each movement. For shows where the soundscape is con- stantly exchanging between soloists and ensemble moments, I usually program more than 30 scenes. Flipping through scenes can be easy as a press of a but- ton 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 marimbas should be EQ’d dif- ferently 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 mix- ing with an iPad or other tablet. With the Yamaha TF series, and the Beh- ringer 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 in- terference 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 01 v96 does not have integrated iPad con- nectivity, but can be worked around by connecting a dedicated laptop to the mixer, then establishing remote connec- tivity 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 Drum- line Coordinator as well as an Adjunct In- structor 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 mem- ber 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. Mar- cus served on the Sacramen to Mandarins per- cussion staff (2014-2016), the Carolina Crown Percussion staff (2015-2017), and is the Front Ensemble Coordinator and Electronic Designer for Gateway Percussion.
&
When MUSIC CAN BRING A
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it’s worth advocating for REGISTER TODAY
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hillday.nafme.org TEMPO 44 MAY 2017
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