Yamaha Products at 2026 NAMM

Written by Yamaha Corporation of America on January 22, 2026. Posted in Gearguide, Trade Shows.

It’s NAMM time again! Can’t make this year’s show in person? Here are some of the hottest products that Yamaha will be displaying on the show floor — all of which offer intriguing new ways to make yourself heard.

YTR-8335IIRSKG NAMM26 Limited Edition Xeno Trumpet

A silver trumpet. — *YTR-8335IIRSKG NAMM26 trumpet.*

Premiering at the 2026 NAMM Show is the YTR-8335IIRSKG NAMM26 Limited Edition Xeno trumpet, which offers a rare opportunity to own a piece of Yamaha history. Limited to just 100 pieces, it features a distinct “KANGAKKI” bell engraving inspired by the Japanese kanji for “wind instrument,” a specially engraved unit number, and upgraded components.

Built on the Xeno platform and designed for advanced performers and collectors alike, the YTR-8335IIRSKG NAMM26 delivers a bold, resonant tone with refined playability. Unique features include a U-shaped finger hook on the 1st slide for enhanced control and a distinct feel; phosphor bronze bottom caps that add tonal depth and visual contrast; and black mother-of-pearl finger buttons — an elegant, exclusive aesthetic not found in the current Xeno lineup.

SVC300C/SVC300F Silent Cello™

SVC300C SILENT Cello.

SVC300F SILENT Cello.

The two new Yamaha SILENT Cello models are groundbreaking instruments built to elevate every performance, rehearsal, and practice session. They provide a rich, vibrant, and realistic cello experience by combining the feel and response of an acoustic cello with the flexibility of electric expression. Their proprietary Studio Response Technology (S.R.T.) brings out the natural acoustic sound while giving the player the control to dial in the blend of the Piezo and the internal microphone.

Both models — the SVC300C and SVC300F — are lightweight and easy to transport in the included soft cases with the SVC300C model collapsing into a narrow, travel friendly footprint. The SVC300C offers show-stopping looks and expansive sound capabilities, while the SVC300F brings are more traditional, acoustic-like experience in its sound and feel. Both allow for a combination of different sound types through a blend control, onboard EQ, and easy control of multiple reverb settings, and the geared tuning pegs provide quick and easy tuning. The natural wood of the frame, body and neck showcases the beautiful grain structure on the antique brown finish, while the pearl white finish option offers a more unique, modern appearance.

EAD50 Electronic Acoustic Drum Microphone System

A black electro acoustic drum module. — *EAD50 Electronic Acoustic Drum Module.*

A black trapezoidal condenser microphone designed to be mounted on a bass drum hoop. — *DSU50 stereo condenser microphone.*

Whether used at home, on stage, or in a recording studio, the new professional-grade EAD50 Electronic Acoustic Drum Microphone System elevates every aspect of your drumming , and offers incredible flexibility and expandability. It simplifies the often complicated process of miking drums and effectively combines numerous features of professional digital mixing boards and electronic drums in one, easy-to-set-up package. A Yamaha DSU50 stereo condenser microphone specially designed to be mounted on your bass drum hoop is included in the package, making it simple to quickly mic up any acoustic drum set and achieve consistent, reliable sound in any venue.

The EAD50 module offers improved sound and expanded connectivity, with a built-in SD card reader and Bluetooth^® capability so you can use it with your smartphone and the free iOS/Android Rec N’ Share and new EAD Touch apps. It’s equipped with five XLR inputs and the ability to add up to 10 triggers, and signal can be routed to eight individual 1/4 inch balanced outputs and two XLR balanced outputs. LED rotary faders and Kit Modifier knobs allow the player to make on-the-fly adjustments such as changing gain, reverb, or other effects without missing a beat. The EAD50 also provides the ability to sample and create loops, and comes loaded with 250 scenes (70 preset kits, 200 user kits), 2,317 sounds, and 252 digital effects. In addition, Live Set capabilites allow you to to instantly recall prearranged kits, tempos, and audio files with one press of a button.

MODX M Synthesizers

Three black electronic keyboards with different amounts of keys: 61, 76 and 88. — *MODX M6, MODX M7, MODX M8.*

MODX M synthesizers combine expressive control, streamlined workflow, and exceptional sound in a lightweight design ideal for stage or studio. With three engines that create a stunning variety of sounds, along with shared DNA from our flagship MONTAGE M, MODX M elevates expression everywhere.

Features include 268 notes of total polyphony, plus upgraded navigation with a color touch screen, eight faders, and six display knobs for quick, intuitive sound editing and operation, as well as a Stereo A/D input with two insertion effects. There’s even a built-in USB MIDI and multichannel 10 output/4 input audio interface so you can streamline MIDI recording, virtual instrument monitoring, and multi-track audio recording through a single USB cable. In addition, the Expanded Softsynth Plugin (ESP) replicates MODX M in your favorite Digital Audio Workstation (DAW), allowing you to create, edit, and mix performances anywhere you happen to be — without the hardware — offering an unprecedented level of stage and studio integration.

MGX Digital Mixers, URX Interfaces, and CC1 Controller

Several new Yamaha MGX mixers and URX interfaces, as well as a CC1 controller, made their debut at NAMM 2026. Together, they form an innovative collection of tools built to help musicians, performers, streamers, podcast and content creators sound their best anywhere.

A mixing board with 16 channels. — *MGX16V.*

Acclaimed for exceptional sound quality, versatility, and intuitive design, Yamaha MG Series mixers have long been an industry standard for musicians, performers, and creators. The new MGX Series builds on that foundation and steps confidently into the digital era, bringing Yamaha signature “true sound,” trusted reliability, and the flexibility modern production workflows demand. Advanced features like an intuitive digital interface, onboard recording, Simple/Expert modes, scene recall, “touch and turn” control, and built-in audio and video streaming (on select models), make it ideal for a wide range of applications such as live sound, multitrack recording, podcast production, and hybrid video shoots.

An audio interface with a touchscreen. — *URX44.*

URX interfaces are designed for creators moving beyond entry-level — streamers dialing in broadcast quality sound, podcasters managing remote guests, gamers balancing chat and gameplay, or musicians tracking polished demos. Each model includes onboard DSP tools, effects, a touchscreen GUI, tactile knobs, and support for external controllers. Bundled Steinberg software completes the workflow, making URX a strong all-in-one hub for home studios, gaming setups, and portable production kits.

A controller with a fader and several switches and knobs. — *CC1.*

The CC1 controller adds hands-on precision with motorized faders and ultra-responsive LCD keys. Seamless integration with OBS, Elgato, and Steinberg makes it ideal for livestream scene switching, music production automation, podcast editing, or hybrid live performances where audio and visuals need to move in sync. By streamlining complex workflows, CC1 keeps creators focused on performance — not menu diving.

Pacifica SC Standard Plus Electric Guitars

Seven electric guitars in different colors. — *Pacifica SC Standard Plus lineup.*

Designed for today’s guitarist, the new line of Yamaha Pacifica SC Standard Plus guitars offer versatile tones, smooth playability, and reliable performance in any setting. These stylish single-cutaway electric guitars take this classic shape to a whole new level of aesthetic and musical expression, with a proprietary Acoustic Design process that delivers exceptionally balanced tone.

Pacifica SCs come in a wide range of California sun-drenched colors and offer a wide array of modern features that include dual Reflectone pickups created in collaboration with Rupert Neve Designs; an H-S pickup configuration with a focus switch for the bridge pickup; Gotoh locking tuners and a black Graphtech Tusq XL nut; dual string trees on the headstock (one for the top E and B strings, and one for the G and D strings); and a round C-shape maple neck with your choice of maple or rosewood fingerboards, a natural smooth satin finish and stainless-steel frets. There’s also a unique truss-rod spoke wheel at the neck heel/ body joint that allows precision truss rod adjustments to be made quickly, without the need to remove a truss rod cover on the headstock or unscrewing the neck. This design also allows for more headstock mass, which equates to increased sustain, tuning stability, and a richer sound.

RS02CB Chris Buck Signature Revstar Electric Guitar

The RS02CB is our first mass-production signature Revstar ever. Designed in collaboration with Chris Buck, the highly acclaimed Welsh blues-rock guitarist known for his unique “pick and fingers” technique, it’s based on the acclaimed Revstar Standard line, with the same body size and chambered body, but with a striking “Honey Gold” polyurethane finish, and with Chris’s signature on the rear of the headstock. It features custom inlays and a white nut, custom-voiced Yamaha Guitar Development P90 pickups, a TonePros wraparound bridge, a 1-ply parchment pickguard, amber hat knobs, and a 3-way blade pickup selector switch.

RSP20B and FG9 60TH 60th Anniversary Guitars

An electric guitar and an acoustic guitar, both on stands. — *RSP20B (left), FG9 60TH Anniversary Edition (right).*

Celebrating six decades of excellence, the RSP20B 60TH Anniversary Revstar debuting at NAMM 2026 showcases a flame maple top in a refined Noble Black finish, blending luxurious aesthetics with unique character. Featuring a Göldo tremolo unit and Gotoh locking tuners, it delivers dynamic range and expressive tones with smooth playability, with a bone nut that further enhances the guitar’s natural and balanced resonance. The RSP20B also features a chambered body and carbon reinforcement developed with Yamaha exclusive Acoustic Design process to sculpt tone, reduce weight, and ensure optimal balance. Dual humbucking pickups, combined with a 5-position pickup selector and a passive push/pull focus switch, provide unique versatility for a dual-pickup guitar.

The Yamaha FG9 60TH Anniversary Edition landmark acoustic guitar embodies six decades of innovation, tradition, and uncompromising craftsmanship. Designed for discerning singer-songwriters, this limited model offers outstanding projection, shimmering highs, and a rich low-end response. The hand-selected Adirondack spruce top, supported by scalloped X-bracing, delivers a bold yet articulate sound that responds dynamically to every strum with power and nuance. Guatemalan rosewood back and sides add complexity and depth, with striking grain variations that make each instrument visually unique. Subtle Japanese design elements blend elegance with understated humility, honoring the past while shaping the future of acoustic performance.

TAS3 C TransAcoustic Guitar

Modern musicians are constantly looking for ways to push their creative boundaries. The TAS3 C, the newest addition to the revolutionary line of Yamaha TransAcoustic guitars, helps push those boundaries even further by providing reverb, delay, chorus, looper, and even Bluetooth capabilities right at your fingertips — with no necessary gear but the guitar itself. Whether you’re writing, rehearsing, performing, or recording, the TAS3 C is the perfect simple-to-use yet incredibly powerful tool for the job. High quality construction featuring a Concert cutaway-style body, solid Sitka spruce top treated with A.R.E. and solid mahogany back and sides ensures top-notch acoustic sound quality, made even better by TransAcoustic’s professional high-fidelity effect options.

We hope to see you at NAMM — and remember, if you can’t make the show in person, you can always catch the highlights here!

For more information about these and other great Yamaha products shown at NAMM, click here.

Benson Boone: Musical Expression Through Physical Performance

Written by Yamaha Corporation of America on January 14, 2026. Posted in Acoustic Pianos, Artists.

He may be best known for his energetic live performances and backflips, but there’s no question that Benson Boone is a musical powerhouse. His first two albums, Fireworks & Rollerblades and American Heart, released in 2024 and 2025 respectively, were both chart-toppers, as were the accompanying hit singles “Beautiful Things” and “Mystical Magical.” Today, he’s a major touring artist selling out arenas worldwide, with a massive online following.

Boone’s athletic abilities were evident at a young age — he was a member of his high school’s competitive diving team as well as the tennis team — but he discovered his musical talent when a friend asked him to play the piano and sing in a battle of the bands during his junior year. After graduation, he decided to focus on his music exclusively.

A man dressed in black flying through the air upside down.

Benson began posting singing videos to TikTok in late 2020, eventually amassing 1.7 million followers. His debut single, “Ghost Town,” was released soon afterwards, with Boone playing drums, guitar, and piano on the recording, which charted in 14 countries, including the Billboard Hot 100 in the U.S.

In the years since, Boone has won several prestigious awards and has made many unforgettable live appearances, including opening for Taylor Swift and playing at Coachella 2025, where, using a Yamaha-created custom piano, he covered the Queen song “Bohemian Rhapsody” with original Queen guitarist Brian May joining him onstage. Benson has also appeared on numerous TV shows, including The Ellen DeGeneres Show, The Kelly Clarkson Show, and Late Night with Seth Meyers, and gave memorable performances at the 2025 Grammys and AMA shows.

THE AMERICAN HEART TOUR

A huge arena with a man on a raised circular stage playing a piano.

In the summer of 2025, Benson embarked on his first all-arena concert tour, titled the American Heart Tour, spanning 50 shows across North America and Europe. Incredibly, 29 dates were sold out in just nine seconds.

For the tour, Boone opted to perform on two customized Yamaha pianos: a C7 Concert Grand for the main stage and a C2 Grand for the B-stage. These instruments would not only be at the heart of a landmark live moment and a consistent visual focal point across changing venues, they would play critical musical, visual, and physical roles in the live production, and so they had to be musically exceptional and designed to meet the demands of a high-energy, theatrical, emotionally driven show, while also supporting Benson’s uniquely physical performance style.

A man on top of a silver grand piano singing into a wireless microphone.

The C7 was chosen because it has a large, commanding sound suitable for arena-scale venues, as well as a visual presence appropriate for center stage and full dynamic range for expressive playing. The C2 matched the physical space and staging footprint of the B-stage, while still providing true Yamaha tone and professional playability. The two pianos — the C7 with a silver-flake finish and the C2 with a blue-sparkle finish and adorned with jewels — reflected and amplified stage lighting and motion, reinforcing the scale, intensity, and emotion of the live experience.

Because Boone physically interacts with the pianos he plays, Yamaha did significant structural planning, along with extensive testing to ensure stability during movement and jump-off moments. Both pianos were outfitted with custom legs and a reinforced lid with a special high-traction grip coating applied to the top surface, along with rubber-coated locking casters for secure staging and solidity. Also, because these are active touring pianos, custom high-durability finishes designed not to crack or dull under travel conditions were applied.

Even with all these custom visual and structural modifications, the instruments remained fully professional, fully expressive Yamaha pianos, with their action quality, tone, and responsiveness preserved. They were, after all, built to be played, not just looked at.

A Creative Collaboration

Benson Boone’s collaboration with Yamaha grew naturally as his live performances continued to scale. After working with Yamaha on select key performances, including Coachella, his production team recognized the level of craftsmanship and attention required to support an artist whose show blends music, movement, and spectacle. When planning the American Heart Tour, the team reached out to Yamaha to design custom pianos that could serve as visually iconic centerpieces while also being structurally reinforced for physical performance and durable enough to withstand a multi-continent tour.

During the tour, the C7 Concert Grand served as the bold visual and musical centerpiece of the main stage. Yamaha and Benson’s creative team worked with great attention to detail in order to ensure that the instrument would integrate seamlessly with the staging, lighting, and screen content. Piano designer Justin Elliott (who has worked on numerous projects for Yamaha) finished the piano with a custom multi-layer silver-flake paint that required 17 to 20 layered coats. Each coat used different flake sizes to create depth and varying light reflection, resulting in a highly reflective, sparkling, light-amplifying surface.

The C2 Grand was conceived by Benson’s creative team as the focus of a surprise theatrical moment, when the piano rises in darkness from below the B-stage at the far end of the runway just as an enormous chandelier is traveling from the main stage with Benson riding on it. Boone would then jump down onto the piano lid and perform atop the instrument. It was an interaction that created a cinematic visual storytelling moment and one of the tour’s most dramatic live reveals — one that garnered an explosive reaction from the audience every night. For even greater impact, the C2 was finished in a deep blue sparkle and adorned with jewels to visually match the chandelier.

A man in the spotlight playing a piano onstage.

Benson Boone’s rise has been meteoric, and the emotional intensity of his live shows have become a defining part of his artistry. He is an artist who thrives on connection, energy, and authenticity. His piano is not just an instrument on stage. It is central to how he performs and how he communicates with his audience.

Yamaha was honored to support Benson Boone by building custom world-class instruments that were visually iconic, structurally engineered for performance, and musically exceptional. These pianos were not background; they were part of the narrative, part of the choreography and emotional arc of each show, supporting an artist whose performances demand both musical expression and physical freedom.

The silver-flake C7 used by Benson Boone during his American Heart tour will be on display at the Yamaha booth during NAMM 2026. Stop by and check it out!

For more information, visit https://www.bensonboone.com/

New Year’s Resolutions for Musicians

Written by Howard Massey on January 1, 2026. Posted in Creativity.

We’ve completed another revolution around the sun, and it’s time to celebrate — but it’s also time to take stock and think about how we can make the coming year even better.

Things like losing a few pounds, developing new work skills, taking that long overdue vacation — those are all pretty standard. For musicians, though, New Year’s resolutions might need to be somewhat more specialized. Here are seven suggestions that can help you improve your chops and expand your musical horizons in the months ahead.

1. Feed Your Creativity

Set a goal of writing some new music every week. This doesn’t have to be a full song — even a simple melody, riff, phrase or beat will do. The idea here is to stimulate the creative area of your brain (until recently, thought to be the right hemisphere, though some recent studies show that the left hemisphere can play a role too), and, honestly, the results don’t matter all that much: for the purposes of this exercise, a bad piece of original music is better than no piece of original music.

Like so many other things in life, this is a case where practice makes perfect. The more music you write, the easier it will become over time. Eventually you’ll find yourself stringing together those basic melodies, riffs, phrases and beats into complete musical compositions. If you’ve got a flair for lyrics (or can partner with someone who does), they can even turn into pop or rock songs that might eventually become hits! (Interested in pursuing your songwriting muse? Check out our blog postings from Grammy-nominated singer/songwriter Shelly Peiken.)

2. Expand Your Repertoire

Learn one new song or composition every ten days. If you’re good at learning by ear (a skill that also gets better with practice), all that’s involved here is finding a song you like and listening to it repeatedly until you can play the chords and melody. If not, instructional YouTube videos, sheet music and/or “fake” books can provide you with the chords and notation to just about every song and composition out there. (Yamaha offer hundreds of sheet music titles, all available for immediate download.)

3. Master Your Instrument

Make a point of tackling a new playing technique every month. This can be as simple as learning new scales or chords, or as complex as developing drumming polyrhythms or learning circular breathing techniques. Instructors can be very helpful in achieving this goal, but there are plenty of online resources to help in that endeavor too, including postings here on the Yamaha blog such as our Well-Rounded Keyboardist series and the many guitar tutorials presented by renowned educator/clinician Robbie Calvo.

4. Record Your Muse

Learn a new recording skill every other month. After all, if you want to put your music out there for the world to hear, you need to be able to record it, and the better it sounds, the more likely you are to find an audience. This can encompass a wide variety of aspects, including:

A basic understanding of sound, acoustics and microphone design
Knowing how to set levels correctly and avoid distortion
Learning the importance of room treatments and proper monitoring
Trying out different mic placements to see how they affect the sound
Experimenting with new plug-ins and advanced features offered by your DAW software
Creating mixes that sound good in all different environments and on different systems
Understanding the basic principles (and importance) of mastering

You can find lots of great tips about all of the above — and more — in our ongoing series of Recording Basics blog postings.

5. Open Your Ears

Expose yourself to a new genre of music for an extended period of time every few months. This one’s super-easy: all you have to do is listen. But you need to make a conscious decision about what you want to listen to, and you need to listen intently, to try to get “inside” the music, to understand what makes it tick.

You might want to start slowly by sticking to genres similar to the ones you already like — for example, classic rock fans will probably enjoy blues music too. After awhile you can begin to stretch things by experimenting with genres that are significantly different from your personal tastes: If you’re a classical music aficionado, try some hip-hop; if you’re a rap fan, go for some gentle folk or country music. You may not like what you’re hearing, but there’s also the possibility that you will. Either way, you’ll be expanding your musical horizons, which can only help you develop as a musician.

6. Step Outside Your Comfort Zone

Try to learn a new instrument in the coming year. Notice we said “learn,” not “master,” because it’s impossible to master any musical instrument in that short a space of time. (When asked why he still practiced at the age of 90, the legendary cellist Pablo Casals replied, “Because I think I am making progress.”)

So we’re talking about the basics here, but even getting that far will help stimulate your brain and improve your chops on your chosen instrument (as learning sitar did for Beatle lead guitarist George Harrison) … though it’s also entirely possible that you’ll gravitate to the new instrument instead. For example, Tower of Power saxophonist Stephen “Doc” Kupka started on oboe but switched over to baritone sax in his college years because he wanted to play rhythm and blues; similarly, the group’s drummer David Garibaldi initially wanted to play trumpet, but found himself practicing violin instead before discovering the joy of drumming. The alternative instrument you pick should ideally be somewhat similar to what you already know — for example, if you’re a guitarist, try taking up bass, or vice versa — as this will help you make progress more quickly. But if you’re up for a challenge, by all means go for something completely different!

7. Get Critical

Over the course of the year, develop critical listening skills so you can better evaluate your own recordings and those of other musicians. You want to be able to listen like a producer, like an arranger, and like an audio engineer. Some people are born with those skills, but they can be learned, though there are no shortcuts here — you have to put in the time.

Being a critical listener allows you to delve beyond the gut-level reaction you have when you first hear a song and appreciate it intellectually, which can only aid you in your development as a musician and as a composer or songwriter. There’s a reason, after all, why your favorite music is your favorite music … and once you develop these kinds of listening skills you’ll be able to know what that reason is and apply it to your own music-making.

Here’s to a great year ahead!

Best New Year’s Day Movies to Watch on Your Home Theater

Written by Rich Tozzoli on December 31, 2025. Posted in TV & Movies.

After the noise and excitement from your New Year’s Eve celebration quiets down, it’s a great time to kick back and watch a film or two in your home theater. Here are eight selections with an Auld Lang Syne twist, perfect for curling up with a warm blanket and enjoying on your big-screen TV and extra speakers.

Forrest Gump

This multiple Academy Award^® winner is a great-looking and great-sounding film that will have you smiling broadly from start to finish. In one sequence, Gump (played by Tom Hanks) spends the 1972 holiday season and New Year’s Day with his lieutenant Dan Taylor, whom he saved during the Vietnam War. They later run a shrimp boat together and create the Bubba Gump Shrimp Company, after which they invest in Apple^® Computer and become millionaires … and those are just a couple of the plot twists and turns in this powerfully moving film. Check out the trailer here.

Trading Places

In this 1983 comedy, Eddie Murphy is a homeless street hustler and Dan Akroyd is an upper-class commodities broker who are unwittingly involved in an elaborate experiment that entwines their lives. One particularly hilarious scene takes place onboard a Philadelphia-bound train on New Year’s Eve. It involves a gorilla — and that’s all I’ll say about it for now. Check out the trailer here.

Ghostbusters II

There’s nothing like having the likes of Bill Murray, Dan Aykroyd, Sigourney Weaver and Harold Ramis entertain you with some ghostly high-decibel adventure. When slime rises from the streets of New York City on New Year’s Eve and chaos ensues, the Ghostbusters intervene. They even get the Statue of Liberty into the action and drive it through the streets of the city! Check out the trailer here.

Dick Tracy

Based upon the comic strip sleuth of the same name, this visually stunning film is set in the 1930s and features a slew of colorful mobsters, kidnappings, card games and investigations, with a star-studded cast that includes Warren Beatty (as Tracy), Madonna, Dick Van Dyke, Dustin Hoffman, Mandy Patinkin, Paul Sorvino and James Caan. In one memorable New Year’s Eve scene, Tracy faces gun battles and action galore after interrogating the bizarre criminal called Mumbles (Hoffman). Check out the trailer here.

The Godfather Part II

Directed by Francis Ford Coppola and starring Al Pacino and Robert De Niro, this sprawling 1974 classic covers a span of more than half a century. Interestingly, the film was both a sequel and prequel to the original Godfather. In 1997, the American Film Institute ranked it as the 32nd greatest film in American film history. (The Godfather ranked 3rd.) New Year’s Eve celebrations feature prominently during the mesmerizing scene where Michael Corleone (Pacino) finds out that his brother Fredo (John Cazale) betrayed him. Check out the trailer here.

New Year’s Eve

This 2011 romantic comedy takes place — you guessed it— on New Year’s Eve, with a series of intertwining stories and an all-star cast that includes Halle Berry, Jon Bon Jovi, Robert De Niro, Sarah Jessica Parker, Michelle Pfeiffer, Ludacris and Zac Efron. Directed by Garry Marshall, it’s a feel-good film with a driving New York City energy that will leave you hungry for more popcorn. Check out the trailer here.

The Poseidon Adventure

This 1972 multiple award-winner is considered by many to be the mother of all disaster films. It takes place on an aged luxury liner on her final voyage from New York City to Athens before being sent to the scrapyard. As the ship’s band rehearses for a New Year’s Day celebration, the captain gets word that an undersea earthquake has triggered a tsunami. The vessel is hit by the wave and capsizes, leading to a saga of survival … and the need for more oxygen. Check out the trailer here.

The Horn Blows at Midnight

This black-and-white 1945 chestnut features Jack Benny as the character Athanael, who plays third trumpet in a late-night radio show orchestra. One night, as the announcer drones on, he falls asleep and dreams he is a junior grade angel and trumpeter in the orchestra of Heaven, with the mission of destroying an over-indulging Earth by blowing his trumpet at exactly midnight on New Year’s Eve. With a doomsday plot like that, it may not sound like a comedy, but it’s actually hilarious! Check out the trailer here.

Full-length versions of all the movies listed here are available on YouTube™ and Amazon Prime except “The Horn Blows At Midnight,” which is available for streaming on Max.

How to Land a Freelance Bass Gig

Written by E.E. Bradman on December 29, 2025. Posted in Bass.

Your chops are in shape, your gear is dialed in, you’re feeling good about your reading skills, and you’re itching to play. Out of the blue, someone recommends you for a gig with a band you’ve never heard of, playing songs you’ve never heard, with only a couple weeks of prep time. How do you rise to the occasion?

When an East Coast indie-rock quartet needed a sub for their SoCal tour earlier this year, they reached out to their guitarist (a friend of mine), who asked if I’d consider doing the gig. I listened to the songs on the band’s Instagram page, decided it’d be fun, checked my calendar, and said yes. The next few weeks were a whirlwind!

Here are a few things to consider if this happens to you.

THE MONEY

First things first: Be clear about how much you’re getting paid. How much time do you expect to put in, and how would you like to be compensated? Can you afford to do a gig that’s interesting but doesn’t pay well, or do you need every opportunity to help you make rent? Whatever you decide, communicate clearly with whoever handles the band’s finances, and if the agreement includes reimbursement for things like gear or transportation, make sure to save all your receipts.

For this short tour, the band asked if I wanted to be paid as a hired gun (guaranteed a certain amount for every gig) or as a member of the band (given an even split of the door money). I chose to be paid as a band member, but they generously made sure I was paid well for each gig, even if there was very little money to split.

THE SONGS

When you set out to learn a band’s material, it’s tempting to plug right in and turn up, but deep listening will serve you better. I had a couple of weeks to learn 20 originals and 10 covers, so besides listening to the songs continuously, I played through the setlist at least once a day. I dug into live versions to hear how far the band strayed from their recordings, asked which versions were their favorites, and inquired how closely they wanted me to emulate the bassist I was subbing for. When I had trouble hearing exactly what the bass player was doing, I used a stem splitter and muted everything else so I could focus on the nuances.

I was ready to make my own charts, but fortunately, the drummer/musical director (also known as the MD) sent me a link to the band’s charts on Google drive. This barebones guide to the Kinks’ cool 1967 tune “Waterloo Sunset,” a staple of the band’s setlist, is one of the charts he prepared:

A chord chart. — *A chart for the Kinks’“Waterloo Sunset.”*

His charts were a welcome starting point, but I had to figure out the chord qualities — mostly major, minor and dominant — by arpeggiating the chords, hearing them in context and consulting other sources, including the band’s guitarist. I also learned a lot by recording myself playing along with each tune, and I absorbed the setlist in sequence so I knew when to adjust my tone or add effects.

THE GEAR

If you only have one bass, decide what kind of strings are best suited for the gig. Flatwounds and old roundwounds have a vintage sound that’s noticeably different from the tone of bright new strings. It’s hard to go wrong with a good 4-string bass, but if you have options, determine whether the songs require a 5-string (or down-tuned 4) for low notes. Looks matter, too: what bass fits the band’s vibe? It might be a good idea to check with the MD before bringing that purple-sparkle fretless to an old-time bluegrass gig.

A cream-colored four-string electric bass guitar. — *The Yamaha **BBP34** covers a lot of tonal ground.*

Choosing the right amp, effects and playing techniques is important, too. It’d be a mistake, for example, to lug an 8 x 10 speaker cabinet to a coffeeshop gig or show up at a 500-seat theater with a tiny practice rig. When I wasn’t playing through rented equipment or a DI on this tour, I used my 350-watt amp/1 x 12 rig, along with compression, DI, overdrive and — most importantly — a tuner. My beat-up old 4-string with flatwounds was just what these songs needed, and it was good to know that I didn’t have to play every song with a pick.

THE REHEARSAL

We’d been emailing back and forth about songs and logistics, but by the time the band flew in from New York, we only had time for one rehearsal the night before the gig.

As the saying goes, you only get one chance to make a first impression. I made sure to arrive early enough to plug in and tune up before the band arrived, and I earned a chorus of appreciation when the band saw my binder full of charts, arranged alphabetically just in case they wanted to change the setlist (which they promptly did). It was great to finally get all my burning questions answered and to observe the dynamics between band members, who were all longtime friends. I watched the drummer and listened closely so I could get on the same page about intros, groove, tempo, fills, dynamics and endings; as the MD, he knew the songs best and was the final word when it came to arrangements. In my experience, a well-run rehearsal is a surefire indicator of a band that’s organized, and the drummer kept us in line as we made our way through the setlist.

When it was over, I was grateful for the notes I’d hastily scribbled on my charts and the rehearsal recording on my phone, which gave me a clear idea of how I sounded with the band. They were relieved that I’d done my homework, and I knew precisely what I needed to improve before the next day’s show.

THE SHOW

Some rock ‘n’ roll bands prefer to not have music stands onstage, but although I had the songs under my fingers, I was glad these new friends were OK with me reading sheet music during the show. Having my charts accessible at a glance gave me confidence.

Being late to soundcheck is a big no-no, especially if the venue has a tight schedule or there are other bands on the bill. (I’ve found that aiming to arrive at a club half an hour early usually gets me there right on time.) Treat soundcheck as an opportunity to make any last-minute adjustments, and if you want to make a good impression on bandmates and sound engineers, don’t play unless you’re asked to.

As showtime approaches, it’s normal to be nervous. When I’m feeling pre-gig jitters, I take deep breaths, stretch, do pushups, warm up on my bass and go through the setlist one more time. If there’s a backstage huddle before we go on, I’m there. And when we hit the stage, I do my best to go with the flow, get acclimated to the crowd, keep my ears open and be as present as I can. I’ve worked hard to make my musicianship seem effortless. It’s important to take this moment in!

After the show, be grateful for the high points and make a note to fix your mistakes. Cultivating good vibes in those first few minutes after you come off stage is important for your mental health, as well as your bandmates’. Emotions can run high, and it’s hard to remember that your inner critic can’t always be trusted. No matter what, congratulations! You did it — and with any luck, you’ll have many more chances to do it again.

Check out E.E.’s other postings.

Brown and white dog with antler headband in front of green background.

The Twelve Most Loved Holiday Songs

Written by Yamaha Corporation of America on December 25, 2025. Posted in History, Music, Music and Streaming.

It’s that special time of year again when holiday music dominates the airwaves, stores, elevators and just about any other place you can think of — all to get us in the proper spirit to enjoy friends and family (not to mention shopping!). Here are the stories behind a dozen of the best-loved songs of the season:

1. Deck the Halls

One of the first Christmas carols, this is based on a Welsh melody from the sixteenth century, with lyrics added in 1862. Check it out here.

2. O Come All Ye Faithful

No one is really sure who wrote this! The oldest known manuscript is dated 1751 but the song may have been written as much as a century earlier. Check it out here.

3. Silent Night

This was composed by an Austrian schoolmaster in 1818. The melody that is used today differs slightly from the original rhythmically, and is also played at a slower tempo. Check it out here.

4. Jingle Bells

Written in 1857, this was actually intended as a Thanksgiving song but became associated with Christmas music in the late 19th century, when it was often used as a drinking song at parties: people would jingle the ice in their glasses as they sang. Check it out here.

5. Santa Claus Is Coming to Town

First sung on Eddie Cantor’s radio show in November 1934, this song found instant success, with half a million copies of the sheet music and more than 30,000 records sold within 24 hours. Check it out here.

6. Rudolph the Red-Nosed Reindeer

This 1949 hit by Gene Autry was based on the 1939 story of the same name popularized in a booklet distributed by the Montgomery Ward department store. Check it out here.

7. Little Drummer Boy

Originally known as “Carol of the Drum,” this was written in 1941 by composer and teacher Katherine Kennicott Davis. The most well-known recording of the song was made in 1958 by the Harry Simeone Chorale … but perhaps the most unusual was Jimi Hendrix’s cover version — his last recording prior to his tragic death in 1970. Check it out here.

8. White Christmas

Think the best-selling single of all time is a Beatles song, or perhaps something by Michael Jackson? Think again. This classic, written by iconic American songwriter Irving Berlin, has sold over 100 million copies worldwide, half of them the Bing Crosby rendition … although he had to re-record it in 1947 when the original 1942 master was found to be damaged due to frequent use. Check it out here.

9. Have Yourself a Merry Little Christmas

First introduced by Judy Garland in the 1944 movie Meet Me in St. Louis, but the Frank Sinatra version we all know and love was recorded in 1950, with slightly modified lyrics that changed the song’s focus from anticipation of a better future to a celebration of present happiness. Check it out here.

10. Blue Christmas

This was a hit for various country artists in 1950, but it was Elvis Presley’s iconic 1957 recording that cemented the song’s status as a rock’n’roll holiday classic. The King’s version is notable musicologically in that the backing vocals utilize numerous minor thirds (so-called “blue” notes) that act as a musical play on words. Check it out here.

11. Do You Hear What I Hear?

Twenty years after “White Christmas,” this was another holiday hit for Bing Crosby, even though it was actually written as a protest song in the midst of the 1962 Cuban missile crisis. Check it out here.

12. Feliz Navidad

Written and recorded by José Feliciano, this not only charted when it was first released back in 1970 but then proceeded to re-enter the Billboard Top 100 in 1998, and again in 2017 — a rare hat trick! Check it out here.

Closeup of sheet music with a graphic of a silhouette of snowy hills, a deer and trees in foreground.

Holiday Sheet Music and Software Buying Guide

Written by Yamaha Corporation of America on December 24, 2025. Posted in Gearguide.

It’s that time of year… so the song goes. Music plays such an important part in the holiday spirit, and Yamaha has all of your favorite songs ready for download today.

Looking for a gift for a Disklavier owner? Yamaha offers numerous Christmas-themed PianoSoft music titles in our online store. If they’re a Disklavier Radio subscriber, we have special channels on for the entire holiday season, including “Holiday Party,” “Holiday Favorites,” “Christmas Eve” and “New Year’s Eve Party.” In addition, ENSPIRE owners can tune into a special “Original Artist Holiday Favorites” channel featuring recordings from holiday legends like Bing Crosby and Frank Sinatra.

We’ve also got lots of holiday MIDI Songs available for download, including classics like “Jingle Bells,” “Silent Night” and “Blue Christmas” by Elvis Presley.

Last but not least, if you need a backing band to play along, or would like to lead your friends and family in a holiday sing-along, choose from the dozens of Christmas Style Files we have available for downloading. Here are descriptions of a few of them:

– Christmas Style Files contains several holiday Styles with a dynamic mix of genres.

– Christmas Blue lets you play “Blue Christmas” in the style of Elvis Presley. A solid backbeat with added layers of orchestration, guitar and flute make the somber Christmas classic come alive.

– Christmas Swing 2 provides a perfect country swing style for songs like “Rudolph the Red Nosed Reindeer” or a mellow version of “Jingle Bell Rock” a la Hall & Oates.

– Ready to try mixing up your holiday songfest with a little tropical inspiration and reggae flair? Check out Jamaican Christmas.

May your holiday season be filled with music and cheer!

For more information, visit the online Yamaha PianoSoft store.

BAND AND: A New Concept for Band Class that Students Love

Written by Eric Songer on December 23, 2025. Posted in Teaching Tips.

Many years ago, I was searching for a thesis project idea for my Curriculum and Instruction master’s program at the University of St. Thomas. I wanted to find something that would help secondary music educators look beyond the traditional idea that class time for a large ensemble course should be used solely for rehearsing music for performance. So, I wrote a composition curriculum for my students at Chaska Middle School West in Minnesota to create their own music. Then, I took one week of classes following a mid-year performance cycle to try out the first part of this curriculum.

Original Lessons Learned

Through this process, I learned so much.

The creativity coming out of my students was like nothing I have ever seen before. Instead of the typical large ensemble rehearsal where students are wrong if they don’t play or sing exactly what is written on the page, they were able to figure out what they thought sounded great.
In some cases, students who struggled with playing their instruments excelled at composing. This was the most engaged and excited they had been about music class all year.
The “lost” rehearsal time did not affect the band’s ability to perform an amazing concert. If anything, it made students better musicians and faster learners during rehearsal. Sometimes we would replace doing a traditional band song with the students’ original compositions.

All Music

Many music educators are big proponents of “Music for All.” What happens when you turn that statement into “All Music” instead? I took my composition project to a new level by taking a few class periods to teach not only composition, but music from around the world, different genres, production and technology, and different instruments. This is where my BAND AND concept was born.

In our program, we have A-day and B-day band that meets every other day. In any given week, A-day band will meet on Monday, Wednesday and Friday, and B-day on Tuesday and Thursday. The following week, the days switch for A-day and B-day. Every Monday is “BAND AND Day,” which means that every other week, students have one class period that is not a traditional rehearsal. Instead, they learn a different element of music. Below is a list of eight different themes that I developed for BAND AND.

1. Jazz Lounge

I dim the lights, get out some battery-operated candles and put some tablecloths on a few stands and dress semi-formal to set the mood. We start class with a brief history of jazz along with a few quick videos of jazz legends like Louis Armstrong, Duke Ellington or Ella Fitzgerald. We talk about the form of a jazz standard including the part that is improvised.

That’s followed by me and/or a student or two from our jazz band performing a standard like “Satin Doll” or “One O’Clock Jump” with a YouTube backtrack. Then we get all the students involved with call and response.

Use the first three notes from a concert B-flat blues scale. Play along with a B-flat blues backtrack on YouTube to make it sound better. Follow this up with a Q&A where students can make up their own response but only using the same three notes. Then have each student solo on their own. Just one measure per student, and I tell them they must play something, even if it’s just one note. After every student has soloed, ask for volunteers to take longer solos.

2. Rock Festival

If you have some stage lights, set them up. Crank some Queen or Bon Jovi as students enter the room and dress in your best 1980s hair-band garb or 1990s grunge-rock flannel. Class starts with a brief history of rock and roll dating back to Elvis Presley and The Beatles and then classic rock of the ‘70s, heavy metal of the ‘80s, grunge and post punk of the ‘90s. Then discuss how rock and roll still lives on in this century with brief video clips of songs like “Twist & Shout,” “Bohemian Rhapsody,” “Livin’ on a Prayer,” “Smells Like Teen Spirit” and “Ain’t It Fun.”

Hand out a classroom set of guitars or ukuleles or both and teach them basic chords like G, A, C and D. You can even set up some keyboards and a bass guitar if you like. The class culminates with playing along with the YouTube videos “Sweet Home Alabama” by Lynyrd Skynyrd and “Sweet Child O’ Mine” by Guns N’ Roses (down a half step using the Google Extension “Google Transpose”). Have the students play the chords, not the riffs (which are more advanced). Both these songs are very repetitive. Other songs that work well are “The Middle” by Jimmy Eat World and “All The Small Things” by Blink-182. Don’t forget to teach the power stance and throw in an occasional leg kick.

3. Country Festival

This is similar to Rock Festival, but your attire is jeans and a cowboy hat. And your history includes Hank Williams, Johnny Cash, Willie Nelson, Dolly Parton, Garth Brooks, Shania Twain, Carrie Underwood and Kenny Chesney. Great songs to play along with are John Denver’s “Take Me Home, Country Roads,” Dolly Parton’s “Jolene” and Darius Rucker’s “Wagon Wheel.” If you have them, you might want to demonstrate a banjo, violin and steel guitar as well.

4. Recording Studio

Demonstrate how to use a digital audio workstation (DAW) like Cubase or BandLab. If you need a demonstration yourself, most DAWs have tutorials on their sites or on YouTube. A good first basic lesson is to show students how to use the beatmakers and on-screen piano keyboard to create music as well as recording their voice or live instrument. Then show them how to use the pre-programmed loops. Demonstrate how to loop and split tracks as well as control volume. Then show students how to save and export a file. Talk about how pop songs of virtually any genre have a beat, bass part, harmonic content/hook and vocals, so they should have at least these four tracks.

A second lesson might include a discussion on the typical verse-chorus-verse-chorus-bridge/solo-chorus form and then have students create a song using this form. Play a couple of examples — I like to use two contrasting genres/eras like Bon Jovi’s “Livin’ On A Prayer” and Miley Cyrus’ “Flowers.” Different songs but same form. If you are feeling courageous, create a song in front of your class — students love this!

5. Hip-Hop Club

Draw some graffiti on your white boards, crank some hip-hop and choose your favorite hip-hop styles to wear to welcome kids for this amazing day. Then talk about the history of hip-hop from the streets of New York with DJ Kool Herc in the 1970s to Run-DMC and Grandmaster Flash of the 1980s and then the explosion of hip-hop into the mainstream in the 1990s with 2Pac and Notorious B.I.G. followed by the wealth of hip-hop stars of this century like Beyonce, Eminem and Drake. Then spend some time doing the four elements of hip-hop:

Rap: Have students play a game called “I Know a Word.” Each student one at a time will say, “I know a word, and the word is …” and they say a word. The next student says the same phrase and comes up with a word that rhyme with the first word. Another fun activity is to rap children’s board books that they read when they were little. A great one is called “The Story of Rap.” Both these activities are great while using a beat created on a DAW.
DJ: This starts with creating beats, which most DAWs have. The site you.dj is great because it has a virtual DJ controller, but you must check for the appropriateness of song lyrics. If you have room in your budget, purchase a DJ controller. You can find them for under $200, and they come with Serato, which is pro-level DJ software that is very user-friendly. If you have a controller, have a couple students come up at a time and spin the hits. A final option is teaching beatboxing. There are some great tutorial videos on YouTube by TylaDubya.
Breakdancing: I usually bring in a guest artist or another staff member to teach this. Or honestly, there is always a student who knows some basic hip-hop dance that wants to try to teach their skills.
Graffiti: Some teachers shy away from graffiti because they think it has a negative connotation. Actually, it’s a wonderful form of expression and you might want to see if the art teacher can come in and demonstrate. There are also many great YouTube graffiti tutorials.

6. Drum Circle

Drum circles are a wonderful way to teach improvisation, learning music by rote and learning music from different cultures. I’m a huge fan of Will Schmid’s “World Music Drumming” books. They have so many great songs, activities and curricular ideas that will provide hours of BAND AND fun.

A drum circle activity that my students enjoy is “When is Your Birthday?” The students and I play the cadence of the words, and we go around the circle and ask each student “When is Your Birthday” and they answer. All the while, we play the rhythm and create a repetitive song.

A second activity is to teach the circle an ostinato pattern that they repeat while different students take turns improvising over the top of the ostinato. Or consider having two or three ostinato patterns that happen simultaneously, which helps students gain rhythmic independence and teaches them layers of a song.

student holding clarinet and student holding flute

7. Movie/Video Game Scoring Room

Start by showing your class some of the greatest movie scores and video game themes of all time like anything by John Williams or Hans Zimmer for movies or “Mario,” “Halo,” or “Tetris” for games. Then find a short clip (less than a minute) from a movie or a game and use WeVideo or another movie-editing app to take all the sound out of it. Share this with your students. Then, have them use a DAW to create their own music, making sure that they notice where transitions and big moments are so they can create a timeline of when the music should change or climax. After they export their song onto WeVideo, have them record their own voices to create dialogue, singing or sound effects. Students love this project and usually want to choose their own movie or game scene. Leave them wanting more!

8. Composers Desk

It all comes back to where it started. Have students write an eight-measure song for their instrument. Set basic guidelines like range restrictions, key and time signature options, and make sure they know that every measure must have at least one note and no measure can be repeated more than once. Add at least one dynamic, articulation and tempo. Here’s my favorite guideline: “You have to be able to play it.” Maybe you actually have them play it!

The first Composer Desk BAND AND day is on staff paper so students learn how to write notes, rests and symbols as well as placing the right number of beats in each measure. Second day is on a notation site like Dorico or Noteflight. The next project could be a duet where you talk about good intervals first. Another project might focus on themes and variations.

Outro

BAND AND has become a favorite activity for students. They can’t wait for Mondays. You will be amazed at the number of students who will randomly come up to you to say that they are now taking guitar lessons, wanting to join jazz band or showing you their new original song or movie theme. This is definitely a way to get students on fire about music.

Young boy jumping in air while playing electric guitar.

Buying Your Child’s First Guitar Amplifier

Written by Mac Randall on December 22, 2025. Posted in Gearguide, Parents. 1 Comment on Buying Your Child’s First Guitar Amplifier

Here’s an indisputable fact for which I can personally vouch: Electric guitars make great holiday gifts. And here’s a second indisputable fact: Recipients of electric guitars won’t fully appreciate the gift unless they’ve got an amplifier to plug into. Granted, you can kind of hear the sound of unamplified electric guitar strings as they thwack against the frets, but how much fun is that, really?

If you’re just coming to this realization the hard way — i.e., you bought your loved one an electric guitar but neglected to get an amp to go along with it — don’t worry. You’re not the first person to make such an error, and it can be easily remedied. All you have to do is find a good amplifier to add to the equation.

Doing this may seem a little intimidating if you’re a newbie, but choosing a suitable amp is actually not all that difficult. The main reason is the rise of something called “digital modeling technology,” which convincingly imitates the tonal properties of a wide variety of amp types. In other words, these days, pretty much any guitar amp can sound like pretty much any other guitar amp.

So really, the main questions you need to ask yourself concern size and power output (the latter is measured in wattage). Your principal choice will be between smaller “desktop” amps and larger (but not necessarily huge) “traditional” models — though in many cases the most traditional thing about those will be their size and shape.

Desktop Amps

Just to be clear, a desktop amp has nothing to do with the virtual desktop on your computer; it’s not a piece of software and in fact there’s nothing virtual about it. These are actual amplifiers that are small enough to fit on an actual desktop. Take the Yamaha THR10II, for example. It’s just over 7 inches high, 14½ inches wide and 5½ inches deep. There are two different varieties of the THR10II (one has a built-in wireless receiver) but both come with dual 3-inch speakers and put out 20 watts of power — more than enough for learning purposes. Perhaps even more importantly, both have auxiliary inputs and Bluetooth^® capability (so they can be used with smartphones, tablets and other music players) as well as headphone outputs so your child can practice to their favorite music in complete privacy … and without disturbing you, other family members, or the neighbors.

Several small desktop amplifiers. — *Yamaha THR-II Series desktop amps.*

Obviously, desktop amps are perfect for practicing at home, but with the THR10II Wireless and larger, 30-watt THR30II Wireless models in particular, your child can practice pretty much anywhere, since they run both on AC power and on batteries. What’s more, their use of VCM (Virtual Circuitry Modeling) means that they can produce a range of sounds much bigger than they are. There are multiple amp tones to choose from, each offering a different amount and/or type of distortion — plus settings for bass, acoustic guitar and other instruments. Add two distinct effects circuits, one for modulation effects (chorus, flanging, etc.) and one for delays and reverbs, and you’ve got an amp that sounds great right out of the box. But if your child is not satisfied with the presets, he or she can download free THR Remote editor software (available for both iOS and Android^® devices) which will allow them to tweak those amp tones and effects to their heart’s content.

Another nifty feature of THR-II amps is that they provide an integrated USB port and come with a bundled copy of Cubase AI software, making it easy to take the sound coming out of the amp and turn it into digital audio — going from an actual desktop to a virtual one.

“Traditional” Amps

Rectangular guitar amplifier with row of knobs and inputs along top front edge. — *Line 6 Spider V 20 MkII.*

You wouldn’t want to try putting most traditional guitar amplifiers on a typical desktop, and none of them run on batteries. But just as modeling technology has raised the potential of desktop amps, it’s also made a huge difference in what the so-called “traditional” amp can do. Line 6 is a company that has long been a leader in the development of modeling amplifiers, and they’re continuing their pioneering ways with the Spider V MkII Series.

There are five combo amps in the Spider V MkII line, each including a speaker and each classified principally by its wattage, from the 20-watt 20 MkII to the 120-watt 120 Mk II. As the wattage grows, so do the number of features that the amps offer. For example, the 30-watt V 30 MkII has 128 presets to the 16 in the V 20 MkII, while the V 60 MkII and the V 120 MkII have a 60-second looping device built in, allowing users to play along with parts they’ve created themselves. But no matter which size and power level you choose, every Spider V Mk II model provides more than 200 types of modeled amplifiers, cabinets and effects — meaning that your child can shift from a chiming, delay-heavy sound à la U2’s The Edge to a gritty Stevie Ray Vaughan-style blues tone with just a few button pushes. As a bonus, they also offer both a “classic” speaker mode for a traditional amp sound and a “full range” mode that lets the user plug in an acoustic-electric guitar or jam track playback.

Although desktop amps are more easily portable than traditional ones, the traditional style tends to work better in more professional settings, including the stage and recording studio. So if your loved one is planning on joining a band or is really taking his or her music seriously, you may be better off investing in a traditional amp right at the outset.

The bottom line is that today’s entry-level amps are way less cumbersome and far more versatile than ever before, making them adaptable to all kinds uses … and good for years of enjoyment to come.

Click here for more information about Yamaha guitar amplifiers, cabinets and accessories.

Click here for more information about Line 6 guitar amplifiers.

A Guide to Proper Stick Grips

Written by Riley Warren on December 19, 2025. Posted in Percussion.

Before a sound can be produced on a drum, a percussionist must consider the physical aspects of their playing. Posture, hand and feet position, and proximity to the instruments can be applied relatively universally across many disciplines of percussion playing, but one physical aspect of drumming is notoriously multiplicitious: GRIP.

Mastering a variety of grips for a diverse range of performance environments is an essential process to becoming a well-rounded and marketable percussionist-musician. Let’s dive in and explore several grip options, their applicability and their transferability.

UNDERSTANDING FULCRUM

Before exploring our grip options, we must understand the term fulcrum, which will be used in all grip explanations. The Oxford Dictionary defines fulcrum as “the point at which a lever rests or is supported and on which it pivots.” The lever is the drumstick, and in most circumstances, it rests between the pad of the thumb and the first or second joint of the index finger and pivots back and forth using a combination of hinges — fingers, wrist and arm.

MATCHED GRIP

This is the most common grip used for today’s percussive world of instruments. Often referred to as “the grip that keeps on giving,” matched grip is popular for its ability to be transferred across most percussive mediums without much need for change. It’s called matched grip because of the identical hold used by the left and right hands. Simply grab the stick naturally as if you are picking up a small object off a desk or table.

Most percussion students start their musical journey by playing matched grip, often on practice pads or practice keyboard instruments. Matched grip can also be used when performing concert snare drum, concert toms, timpani, drum set, crash and suspended cymbals, and all major keyboard instruments, lending to its applicability across most areas of percussion playing.

To achieve the correct matched grip, address these seven checkpoints.

Proximity to instrument: Ensure that you are positioned comfortably to be able to play the instrument in the proper beating zones. Be careful not to stand or sit too far or too close to the instrument.
Front fulcrum: The stick should be held firmly by the pad of the thumb and the second joint of the index finger, about a third of the way up the stick.
Back fulcrum: The back three fingers (middle, ring and pinky) should wrap around the stick naturally and completely.
Stick direction: Underneath the hand, the stick should cross the hand diagonally with the butt end of the stick traveling across the “meaty” part of the palm
Wrist orientation: When in set position on the drum, keyboard or cymbal, the backs of the wrists should be almost completely flat, facing the ceiling
Stick angle: When playing on a single drum, the angle of the sticks should create a 90° angle. When performing on multiple drums or large intervals on a keyboard instrument, the angle of the sticks can be flexible to accommodate for the space. Stick and mallet angles should almost never go past parallel.
Bead placement: In most cases, beads or mallet heads should be placed in the center of the drum or keyboard bar. Special considerations should be made for cymbal and timpani playing.

When working on your matched grip, avoid the following common pitfalls.

Gap between thumb and hand: A firm fulcrum is one that does not leave a large gap between the thumb and the side of the hand. Ensure that the thumb is resting flat on the stick and close the hand around the stick to eliminate this common problem.

Stick directionality: Oftentimes, young players will keep the butt end of the stick either in the webbing of their fingers, or without any back finger contact at all. Ensure that the butt end of the stick is traveling diagonally across the palm, crossing the meaty part of the underside of the hand.

Choked up too far: When looking straight down at the stick when your wrists are flat, there should only be about one inch coming out of the back of your hand. If you are looking on the underside of your hand, two to three inches is appropriate.

Hanging index finger: Ensure that the index finger is contacting the stick on the second joint and is not pointing down.

When using matched grip, strokes can be achieved by utilizing wrist, arm and finger motion. For faster playing, focus on the smaller groups like the wrist and fingers. For slower, fuller playing, the fingers should remain relatively intact with the stick, and the player should focus more on the larger muscle groups to achieve their best sound.

FRENCH GRIP

In some contexts, a similar grip called the French grip is appropriate and necessary. This grip can be achieved by following all the same checkpoints as matched grip, except for one main difference: The thumbs should face upward and the inside of the palms should face each other. By implementing this wrist orientation change, players can better utilize the smaller finger muscles to incorporate faster movements into their playing. This grip is often used by timpanists but is also utilized by drum-set players as well as orchestral snare drummers.

TRADITIONAL GRIP

Stemming from the tradition of military snare drumming, which required wearing field drums on sling harnesses, the traditional grip was originally the most popular grip for marching snare drum players (dating back to the late 17th century) and drum-set players (dating back to the late 18th century). In this grip, the right hand utilizes the same overhand grip as the matched grip, but the left hand uses an underhand grip to account for the tilted angle of the sling drums. Traditional grip can be achieved by following all the steps listed in matched grip for the right hand, but the left hand requires a significantly different approach.

To achieve the correct left-hand traditional grip, follow these five steps.

Hold your left hand out like you’re shaking someone’s hand, then rotate it slightly outward.
Place the drumstick in the webbing of the hand, between the thumb and index finger.
Form a “T” shape by placing your thumb on the side of the index finger’s first joint.
Place the middle finger underneath the index finger, letting the stick travel underneath the middle finger and above the ring finger, making contact with the first joint of each finger.
Rest the pinky finger underneath the ring finger, keeping it relaxed.

When working on your traditional grip, avoid the following common pitfalls.

Index finger placement: This is where the index finger floats in the air (too loose) or is placed too far down the shaft (too tight) instead of guiding the stick in a relaxed fashion.
Lack of finger engagement: This occurs when fingers do not play an active role in controlling the rebound motion of each stroke and “ride along” with the wrist rotations.
Arm-over-wrist: To compensate for the unnatural wrist rotation required of traditional grip, players often resort to using their arm or elbow for rebound strokes, which results in inconsistent stick heights and adds fatigue and tension to the stroke.

Due to the underhand nature of traditional grip, players must develop their wrist muscles to be able to rotate back and forth (like turning a door knob). Many drum-set players, especially jazz musicians, prefer this grip for the greater level of control it gives them at the low-end dynamic levels, including executing “ghost notes” and brush strokes.

MATCHED GRIP VS. TRADITIONAL GRIP ON DRUM SET

From the inception of the drum set through the late 1950s, traditional grip dominated the style and approach from most players. This was due in part to the historical norm for drummers to use traditional grip on military sling drums, but was also necessary for the lighter, more intricate figures used in the popular music of the times: jazz. As rock and pop music took over in the late 1950s and early 1960s, famous drum set players like Ringo Starr of the Beatles and Jon Bonham of Led Zeppelin popularized the implementation of matched grip in contemporary drum-set playing. As the need for heavier backbeats of this newer style of music grew, matched grip playing in band settings became the standard, while traditional grip remained popular in jazz playing. Despite this dichotomy, traditional grip was still used by notable drum-set players like Steve Gadd, Dave Weckl, Vinnie Colaiuta and Todd Zuckerman.

MATCHED GRIP VS. TRADITIONAL GRIP ON MARCHING SNARE DRUM

The conversation between matched and traditional grip in the marching percussion world has evolved dramatically over the last half-century. Historically, traditional grip dominated marching snare performance because of the tilted playing angle required by the sling-mounted drums of early drum corps and military bands. This setup made an underhand left-hand position not only logical but necessary for comfort and efficiency. Even after the introduction of modern harness systems, many ensembles retained traditional grip as part of their stylistic identity and visual heritage.

In more recent decades, matched grip has gained traction in the marching percussion community, particularly as drumlines began leveling their snare drum playing surfaces. With a flat drum angle, matched grip offers greater symmetry, balance and power, as both hands operate with identical mechanics. This can lead to improved endurance, dynamic range and consistency of sound — especially important in today’s high-velocity, high-demand competitive environments.

However, many performers and instructors still favor traditional grip for its refined visual aesthetic and distinct tactile sensitivity. The subtle rotational motion of the left hand can allow for nuanced rebound control and a more connected feel to the drum at softer dynamic levels. Additionally, for groups emphasizing tradition or seeking a specific stylistic flavor, traditional grip remains a powerful visual and cultural symbol.

Ultimately, the decision between matched and traditional grip in marching percussion often comes down to ensemble philosophy, individual comfort and visual identity. Some programs even teach both, ensuring players are versatile enough to adapt to any ensemble setup or artistic vision.

proper wrist orientation and drumstick angle

WHICH GRIP IS RIGHT FOR YOU?

Let’s face it — there are pros and cons associated with both traditional and matched grip. Each offers its own advantages depending on the musical context, physical setup and stylistic goals of the performer.

Matched grip provides clear benefits in terms of symmetry, ergonomic efficiency and transferability across all areas of percussion playing. It’s often easier for beginners to learn and allows seamless movement between concert percussion, marching battery, drum set and keyboards.

Traditional grip, on the other hand, connects players to the rich history of drumming and offers unique expressive possibilities — especially for styles that value finesse, articulation and visual presence. Its specialized mechanics reward players with enhanced control at low dynamics and a characteristic touch that can’t quite be replicated with matched grip.

No matter which path you choose, a complete all-around percussionist should develop a working understanding of both grips. Mastery of one should not preclude familiarity with the other. The modern percussion world values versatility, and the most successful players are those who can adapt to a wide range of musical and physical demands.

In short, the best grip is the one that allows you to produce your best sound comfortably, consistently and musically. The drumstick is merely an extension of your hand, and your technique should always serve your musical intent. Keep your mind open, your hands relaxed and your sound at the forefront of every technical decision you make.

Woman watches as two young children play the keyboard.

Top Gifts to Encourage Your Child’s Love of Music

Written by Mac Randall on December 19, 2025. Posted in Gearguide, Parents.

When my daughter was in preschool, she took piano lessons, which she appeared to enjoy — until she figured out where all the notes were on the keyboard and came to the conclusion that she didn’t need to learn anything else. A little later on, we bought her a half-size guitar. She liked to plink around on it occasionally but wasn’t motivated to go any further than that. Violin was a total non-starter. And despite having a beautiful voice and a good sense of pitch, she was reluctant to sing in front of people.

Then, in fourth grade, something clicked, and she discovered that she loved being in a chorus. Two years later, her shyness about singing has gone away, even when she’s doing it solo, and her confidence as a performer has grown by leaps and bounds.

All of this is just to say that there’s no sure way for parents or grandparents to predict what’s going to engage a child musically. For every kid who’s pulled like a magnet toward every instrument he or she encounters, there are many others (like my daughter) who aren’t certain what excites them most. But the fact that they are excited about music is something to support, and often that support requires trying out several options, until one clicks. When it does, a lifetime of pleasure awaits. With that in mind, here are some gift suggestions that could help spur your child on to new musical heights.

A Starter Keyboard

You can’t go wrong with an entry-level digital keyboard, especially if it’s designed to make playing simple and fun. The Yamaha PSR-E383 falls squarely into this category, with 650 sounds — enough to fuel countless hours of experimentation — plus touch-responsive keys, onboard lessons, a downloadable songbook and 260 styles of auto accompaniment. It also offers a personal favorite feature: a central display screen that shows the staff position of every note being played, along with the location of middle C — a lifeline that can really help beginners when they get lost on the keyboard.

An electronic keyboard musical instrument. — *Yamaha PSR-E383.*

A Bigger Keyboard

The PSR-E383 has a lot going for it, but it only has 61 keys. If you feel your child is ready to move up to something that’s closer to a standard piano, but still has the flexibility and portability of an electronic keyboard, consider a model like the Yamaha PSR-EW425. It’s got a great feature set and it offers 76 keys, making it possible for budding virtuosi to play more demanding and far-ranging pieces.

A Starter Acoustic Guitar

Keyboards are nice, but what if the child on your gift list seems more like the pickin’-and-grinnin’ type? Based on my past experience as both a guitar student and guitar teacher, I strongly recommend that beginners start off using nylon-string acoustic models. Electric guitars require amplification, which adds an extra layer of hassle that beginners shouldn’t have to deal with, and nylon strings are much easier on the fingers than steel ones, leading to a kinder, gentler callus buildup. Your child should also play a guitar that matches his or her size. I once tried to teach basic chords to a seven-year-old boy on a full-size electric guitar, only to realize that his arms were too short to reach the frets. (It wasn’t a fun experience for either of us.)

Luckily, finding half-size or 3/4-size models shouldn’t be much of a challenge. The Yamaha CGS line of nylon-string acoustic guitars offers both, as well as a full-size model. Or you might consider a Yamaha APXT2, which is a 3/4-size version of the company’s APX500II — the world’s best-selling acoustic-electric guitar. It’s available in a variety of finishes and has a built-in pickup so its sound can be amplified; it also comes with a tuner and a soft “gig bag” carrying case. In general, half-size guitars are best for ages 5 to 8, while 3/4-size is ideal for 9- to 12-year-olds, but you may want to see how the different sizes actually fit your child before making a commitment.

Yamaha CGS guitars.

Yamaha APXT2 guitars.

Essential Beatkeepers

Four metronomes in use. — *Yamaha MP-90 metronomes.*

Compared to a keyboard or guitar, a metronome may not seem like such an exciting gift. But if your child has been struggling to play a piece of music without speeding up or slowing down, a metronome can help him or her reach that goal. Old-school pendulum metronomes like the Yamaha MP-90 continue to be a fine choice: they’re simple and durable and are available in a variety of colors, plus they have the added advantage of never needing a battery or a wall socket. Alternatively, you can go higher-tech and pick from a number of excellent apps for smartphones and tablets.

The Joy of Being (and Staying) in Tune

Electronic tuner with clip. — *Yamaha GCT1 tuner.*

Although being able to keep their instruments in tune may or may not contribute to your child’s love of music, it will definitely contribute to others’ appreciation of the music he or she makes. Clip-on digital tuners like the Yamaha GCT1 tuner make the tuning process easy and convenient. What’s more, although it has specific settings for guitar, bass, viola, cello, and ukulele, the GCT1 can be used with any instrument.

Starting on Winds

It’s just as customary for aspiring wind players to start on the recorder as it is for guitarists to start out on nylon string instruments … and in the right hands, recorders can actually sound pretty terrific. They’re also a lot easier to get a grip on — both literally and figuratively — than any other wind instrument, and for sheer portability, they’re hard to beat. The Yamaha YRS-24B recorder, made of ABS resin, is a school standard. My daughter owns one, and playing it in elementary school definitely helped her develop a better sense of pitch and overall musicality.

Recorder made of resin. — *Yamaha YRS-24B recorder.*

Another great beginner instrument for kids is the Pianica. This small, portable keyboard is super easy to play—all that’s required is to simply blow air into it while pressing down on the keys. While the resultant sound is similar to an accordion or a harmonica, it uses the same notes and familiar black-and-white keys as a piano. This makes it easy to get started right away, since your child can choose from thousands of easily available piano book and sheet music titles to learn the notes to their favorite songs. Yamaha offers a variety of Pianica models, from the small P-25F, with its two-octave range, to the slightly larger P-32D, to the three-octave P-37D. Each comes with an extension pipe that allows it to be played on a tabletop, as well as a durable lightweight plastic case that can double as a music stand. The top-of-the-line P-37E2 also has a three-octave range but a somewhat richer tone due to its being made from plant-based materials.

Woman playing Yamaha Pianica flat on a table. — *Yamaha P-37E Pianica.*

Drums with a Volume Control

Kids love banging on things, and eventually some become very good at it. But a lot of parents can have a hard time with the concept of supporting a family percussionist’s development, for fairly obvious reasons like noise, noise and noise. That’s where a set of compact digital drums like the Yamaha DD75AD comes in. It’s got eight touch-sensitive pads and two assignable foot pedals that can be used to play 75 pre-programmed kits and 10 custom ones your child can create from scratch. And there’s a headphone jack! Will wonders never cease?

Electronic drum pad with 9 heads and controls. — *Yamaha DD75AD compact digital drums.*

If your child shows a real propensity for drumming, you can take things a step further by buying him or her a full electronic drum kit like the Yamaha DTX402K. Not only does this provide everything they need to play along with their favorite tunes and jam with their friends, it comes with 10 built-in training exercises that make learning fun, which is always a good thing. Plus, like the aforementioned DD75AD, the 402K has a headphone jack, so you can enjoy peace and quiet while your young drummer unleashes their creativity.

Better Ways to Listen

Black studio headphones. — *Yamaha HPH-MT5 headphones.*

If your child is like most kids, they probably do most of their listening on ear buds or computer speakers. Unfortunately, the audio quality of those kinds of products leaves a lot to be desired. You can help your kids appreciate the rich sound tapestry of music — and perhaps even encourage a budding composer, producer or audio engineer — by buying them good-quality headphones or speakers. Yamaha HPH-MT5 headphones deliver a balanced sound that is faithful to the source, plus they’re lightweight and comfortable, with an extended frequency range that will allow your child to hear the entire sound, from the lowest lows to the highest highs. These headphones also include a carrying bag and a 1/4″ stereo adapter.

Small vertical oval shaped audio speaker. The touchscreen controls on top are displayed. — *Yamaha MusicCast 20 wireless speaker.*

The Yamaha MusicCast 20 is a wireless speaker that’s great on its own or as a part of a stereo setup. Its compact size means that it can fit in even the smallest bedroom (it’s wall-mountable too), plus it offers a variety of connection choices, including Wi-Fi, Bluetooth^®, AirPlay 2^® and Spotify^® Connect. It provides excellent sound quality, and because it can be voice-controlled from Alexa and Google Assistant devices, or with Siri^® via AirPlay 2, it’s definitely got the cool factor too.

Songs to Play

Okay, so your gift recipient’s got an instrument — maybe one of those mentioned above. Now what’s he or she going to do with it? Hint: Make sure there’s some sheet music handy. This is good advice whether the player in question is a beginner, intermediate or advanced; everybody enjoys learning a new tune or figuring out how to play an old favorite. It just so happens that Yamaha offers a wide selection of sheet music for immediate downloading. There are well over 30,000 items available, covering just about every genre imaginable, so you’re sure to find something for even the most finicky performer.

The App Zone

If your young musician is into tech, there’s certainly no shortage of apps and software out there. Sequencers, synthesizers, notation programs, digital audio workstations, you name it — these products just continue to become more powerful and easier to use. And they’re not just for the pros, either. In fact, there are a wide range of apps specifically designed for beginners. For example, Playground Sessions is a piano learning program developed in association with legendary producer Quincy Jones. The free Yamaha Chord Tracker app (available for iOS^® 15.2 or higher and Android™ smart devices) helps players figure songs out by analyzing the chord progressions of recordings, and Kittar (also from Yamaha, and also free) breaks music down into phrases based on a given song’s structure. All three are remarkable in the way they approach the various pieces of the music-making puzzle.

Learning with Lenny

Watching my daughter progress through school has been further confirmation of a venerable truism: Great teachers make all the difference in a child’s life. The teachers she likes best are thrilled to do what they do, and they pass that feeling on to their students. So if your child is interested in learning more about music, its history, and all its many wonders, you should consider exploring DVD options that present that kind of information in a simple, easy-to-digest fashion …and you couldn’t find a better teacher than Leonard Bernstein.

From 1958 to 1972, the famous conductor conveyed his immense knowledge of and passion for music to millions of television viewers through his series of Young People’s Concerts with the New York Philharmonic. The inspirational spirit of these programs shows no signs of diminishing over time. You can find 25 of them on a nine-DVD set titled simply Leonard Bernstein: Young People’s Concerts with the New York Philharmonic. There are few better ways to pass an abiding love of music on to the next generation.

Ethan Bortnick

Written by Kenneth Westling on December 18, 2025. Posted in Stories, Three440.

Piano Prodigy Ethan Bortnick on Learning Before an Audience

At age 25, a lifetime of performance and philanthropy evolves into artistry

Written by Lisa Battles

A globally recognized piano prodigy by age 9, Ethan Bortnick performed alongside artists including Elton John and Beyoncé, met almost every major television show host of the era and raised over $50 million for charities. He made the Guinness Book of World Records in 2010 for being the “World’s Youngest Solo Musician to Headline His Own Concert Tour.”

Now, at age 25, Bortnick has developed his repertoire to become a singer, songwriter and producer. With the gifts of perfect pitch and an endlessly supportive family, he’s ever grateful for both and keen on expanding his artistry, always looking up and moving forward.

Over the past five years of his early adulthood, Bortnick has attracted millions of followers on social media. It’s been as natural an evolution as possible for someone who has spent almost his entire life in front of audiences, learning and growing in real time.

What audiences see now is an artist blending introspection and new skills to shape his sonic identity. At the same time, he continues to balance his innate talent with seeking new avenues for expression and applying both toward meaningful ends.

Grounded and reflective about an exceptional life, Bortnick shares with us formative stories that have shaped what he’s up to now and next.

Baby Einstein and a toy piano

Bortnick’s origin story is not in formal conservatories with classical training but in Montessori learning at age 3 and Baby Einstein videos on repeat featuring mesmerizing puppets and music. He began imitating their melodies on a toy keyboard, and before anyone realized what was happening, he was recreating complex passages by Mozart and Beethoven from memory.

Although his parents were not musical, he says he gravitated toward his aunt, who played and taught piano. While she did not teach children younger than age 5, she made an exception when Bortnick continued to demonstrate his abilities. After a few years, she recommended he pursue more advanced teaching, which he did. During that time, he began playing many recitals and competing, the latter of which he hated. When his parents saw he wasn’t enjoying it, they pulled him out of it.

That discernment and joint decision-making have been recurring themes throughout Bortnick’s life, with his parents listening and honoring his exceptionality while keeping him grounded and preserving his love for music.

“I feel so lucky that I had such a supportive family who didn’t care about anything other than making sure that I was doing what I loved. All I knew of music was that, but I loved performing and playing for people,” he says.

From recitals to The Tonight Show to benefit shows

Although removed from competition, videos of Bortnick performing eventually made their way to “The Tonight Show” producers, who invited him to perform on the show. Then came “The Oprah Winfrey Show,” “Good Morning America” and more.

Requests to perform increased, and he began absorbing a lot of different styles of music to meet the requests. While it became a bit “all-consuming” for an 8-year-old, Bortnick says one thing that resonated instantly was seeing the impact he could make by performing for charity.

Bortnick’s brother, Nathan, was born with a serious heart condition, Hypoplastic Left Heart Syndrome, or HLHS, which means the left side of the heart is underdeveloped. All the while the young musician’s unusual career took off, his brother was undergoing a series of corrective heart surgeries. He seized opportunities to play and raise money toward research and awareness about what his brother and children like him were going through.

“That triggered something in me to where I thought, ‘That’s all I want to do. I just want to do that!’ . . . Nathan’s condition was always at the top of my mind and what really opened my eyes to how much music can change things,” Bortnick says.

Using gifts to uplift others

The benefit shows grew, and at age 8, Bortnick found himself hosting a huge benefit gala and private concert at the former American Airlines Arena in Miami, just south of his hometown of Pembroke Pines. That’s when he performed “Over the Rainbow” alongside Beyoncé and shared the stage with other stars, including Smokey Robinson and Gloria Gaynor. The event raised $12 million for research and programs at Miami Children’s Hospital Foundation.

“It didn’t really compute in my head at 8, but my dad told me how much money we had raised at that event, and when he said it was millions of dollars, it just sounded big,” Bortnick says. “When he told me where it would go and how it would help, I thought, ‘Whoah. This is cool!’”

Bortnick traveled the world early, too. In his preteens, he visited Japan in the aftermath of a devastating tsunami, performing in support of a foundation that helped children who’d lost their parents.

When he was 12, he visited South Africa to support another program that assisted children living through the residual effects of apartheid-era inequities. As part of his time there, he performed a free concert for the children, after which he had an exchange with a young woman that has stuck with him. She confronted him about the song he’d performed, titled “Anything Is Possible,” questioning how he dared deliver that message when she had a dream she couldn’t imagine ever fulfilling, considering she had no family and barely any food, water or clothes.

Bortnick asked what that dream was, and when she replied it was to become a dancer, he invited her onstage to dance, encouraging the audience to film them performing together. Afterward, he apologized for having put her on the spot. Meanwhile, a wealthy foundation sponsor saw the whole thing and committed to paying for dance lessons over the girl’s lifetime.

“I realized that music is really, really moving for people, and specifically on a human level . . . It also informed how political I also wanted to be in my music later on. I have a strong connection with a lot of artists who are, and who I really look up to,” Bortnick says.

Playing for PBS and performance hall crowds

Following his appearances on TV talk shows, Bortnick also performed on programs including “Yo Gabba Gabba!” and “Little Einsteins,” and there were even conversations about building a full children’s TV franchise around him.

This was another critical time when he and his parents had many frank talks about what that path might mean. To Bortnick, it sounded creatively restrictive, and, like the classical competitions years before, “the opposite of what I wanted from music,” he says.

Instead, he committed to PBS specials and drives and gravitated to performing arts centers, often playing to older crowds who listened attentively. He says those audiences became his training ground, as well as PBS pledge drives, which taught him how to hold a room for long stretches. Learning while experiencing became the unofficial theme of his early career, and performing live never felt daunting, he says.

“That started a trajectory that informed most of my career alongside my philanthropic work up until I was about 17,” Bortnick says. “I toured consistently every year, and I couldn’t get enough of it. I must have done somewhere up to a thousand headline shows in those years.”

He also began writing music during his teen years, picking up influences quite different from the music he performed on stage. He’d do Frank Sinatra for the crowd, then listen to everything from Death Grips to Paramore to Björk back at the hotel.

Pushing beyond performance

As he matured, Bortnick began to feel a bit restricted creatively, somewhat obligated to stick with the carefully scheduled, familiar and profitable performing arts center circuit. He then made social media an outlet, creating a separate space to experiment outside the expectations of his established audience.

Around the same time, he met collaborator Dylan Edmunds, who joined him on the road as a bass player just after graduating from Berklee College of Music, where he’d studied production. Bortnick credits Edmunds for helping him push through his struggle with songwriting. While he was comfortable with the mechanics of it, writing from a place of lived experience did not come naturally. Growing up on the road had left little room for a typical life, much less situations to fuel relatable storytelling.

He came to realize he was in a bit of a holding pattern, being musically gifted and publicly known, while not yet fully aligned with his own artistic vision.

“Dylan straight up was like, ‘Dude, you’re super boring, low key. We need to figure out what to write about and find an angle because we’re getting into corny territory,’” Bortnick says, laughing. “I was like, ‘You’re not wrong!’”

The duo focused on those angles when the COVID-19 pandemic brought a major shift in 2020, Bortnick says. The long pause made him realize things he’d missed as a teenager, while at the same time, how much he was actively missing not performing and doing what he loved.

“It was almost like a test tube for me, really pushing myself to be as honest as possible and learning a lot about writing music . . .That’s where things started to emerge,” Bortnick says.

The song that ‘cracked the code’

Over one intense week, Bortnick and Edmunds wrote 10 songs, the first of which was “Cut My Fingers Off,” a raw expression of imposter syndrome. Bortnick says it reflects how he felt like he was stepping into a new space without having earned the title of “artist.”

Ironically, that song became the moment he found his sound, he says.

His influences, including Kendrick Lamar’s “To Pimp a Butterfly,” especially, along with the great song storytellers like Joni Mitchell, Bob Dylan and Joan Baez, began to blend into something that’s becoming uniquely his own. He also learned Ableton, which gave him control of production and expanded his capabilities.

When he teased “Cut My Fingers Off” on social media, the response was immediate, and the resonance with people validated what he’d been feeling internally with the drive to pursue his own voice and sound.

“It was the first time that I had felt comfy in a song, comfy performing a song, comfy singing a song, and the lyrics were very true to me. All of it converged into this thing, and then I started doing [more of] that,” Bortnick says.

Looking up, moving forward and keeping family close

Today, Bortnick speaks of still learning and expanding boundaries while refining what he wants to say.

“My goal is to really experiment with where I can go as an artist. I have been trying different ways of writing songs and growing as a songwriter. Part of that was me stepping away from the piano for a bit . . . I think really good artists have a lot of things that people know them for,” Bortnick says.

After that period, he’s been returning to the piano, finding new and creative ways to reincorporate it. He’s even returned to some of his classical music influences while taking it in new directions.

Bortnick toured for part of 2025 and looks forward to returning to the road in 2026. When he goes, most of his family often joins. His grandmother has even been his merch girl on tour.

He wouldn’t have it any other way, and it’s a paramount part of who he is.

“I often say that I attribute nothing to my piano playing or being a musician and everything to them. There are so many talented people in this world, and there are so many people who are a thousand times better than me and a million times just more put together,” Bortnick says. “I feel like so much of the opportunities that I’ve had, the fun that I have had – and this never being like a job for me, is so much because I have my family on the road with me.”

The Three440 Artist Story Series takes you beyond the spotlight and into the real lives of Yamaha Performing Artists. Each story is a window into the creative process, pivotal moments, setbacks and victories that define an artist’s path.

Coty Raven Morris speaking to pianist with choir behind her

A Framework for Healing-Centered Music Classrooms

Written by Nicole Sipe on December 18, 2025. Posted in Case Studies.

The secret to building a people-first curriculum starts with the heart, not the sheet music. That’s what Coty Raven Morris strives to do in her classroom at Portland State University in Oregon. The Hinckley Assistant Professor of Choir, Music Education and Social Justice builds her curriculum around the idea that music is a vehicle to better understand yourself and each other.

“Social-emotional learning (SEL) must be woven into the lesson, not pulled out as a separate thread,” Morris explains. “So, when I plan, I’m not just thinking, ‘I need to teach blend and vowel shaping.’ I’m thinking, ‘How can this piece help my students practice self-awareness or build better relationships?’”

To illustrate her point, Morris points to “The Violet” by Mark Patterson. “On the surface, it’s a beautiful choral piece. But in my classroom, it becomes a self-awareness lab,” Morris says. “We analyze the character’s emotions in the text and then make personal connections, like ‘When have you felt overlooked but still strived for bravery like the violet?’ Suddenly, we’re not just singing notes; we’re exploring our feelings and identities while building our emotional vocabulary — all through the music. The musical technique serves the human connection.’”

What SEL Looks Like in the Classroom

Morris explains that an SEL-rich curriculum means that the classroom is less of a lecture hall and more of a workshop to practice life skills through music. “It looks like a classroom that hums with humanity!” she says.

She finds the following tactics helpful for her students, and uses them regularly:

Wellness checks as warm-ups: “We might start with a quick emotional temperature check — a ‘how-are-you-really-feeling?’ journal prompt or just holding up fingers on a scale of 1-5. This immediately honors where they’re at,” Morris says.
Breathwork as a tool: “Before a rehearsal, we don’t just dive in,” she explains. “We might do a minute of intentional breathwork, framing it as our most fundamental musical instrument and a way to manage performance anxiety. The breath powers the voice! Whether students are having a stressful day or even if the energy is just getting a bit overstimulating, this helps re-center the room.”
Student-led everything: “You’d see students running sectionals, leading discussions about the ethical ideas in a piece, and even helping to set the classroom expectations,” Morris explains. “It’s their community. In Andrea Ramsey’s ‘Three Quotes by Mark Twain,’ it says, ‘If you tell the truth, you don’t have to remember anything.’ This text provides a catalyst for critical thinking and discussion of why and when telling the truth is important. Repertoire that invites critical thinking helps students to be more independent and have better problem-solving and solution-oriented abilities.”

Coty Raven Morris in foreground with her choir behind her during rehearsal

Strategies to Heal and Empower Students

Instructors regularly encounter students with a wide range of backgrounds, including those who are dealing with current or past trauma. Morris knows firsthand how the impact of trauma can affect learning because she was houseless from the age of 15 through her undergraduate studies. She offers these tips to help educators heal and empower students who are undergoing trauma.

Make it predictable: “People need routines, and kids dealing with trauma need to feel safe, and safety comes from predictability,” Morris says. “Start every class with the same ritual — a specific song, a breathing exercise, a check-in. That consistency is a gift.”
Give them control through choice: “Trauma takes away power, so we give it back in small, musical ways,” she says. That could be asking questions like: “Do you want to sing this phrase piano or forte?” “Should we clap this rhythm or stomp it?” “What informs that choice?” “These tiny choices are hugely empowering,” she says.
Use music for co-regulation: “If the class energy is chaotic, put on a slow, steady piece and have students just breathe with the pulse,” she suggests. “If they’re drained, do a silly, energizing call- and-response. Use the music itself as a regulating force.”
Focus on the process, not just the product: “Celebrate the messy middle! Praise the effort of collaboration, not just the final, in-tune performance,” Morris exclaims. “The goal is the journey and the joy of creating together.”

Seeing the Fruits of Her Labor Outside the Classroom

Morris, who was recognized as a Yamaha “40 Under 40” educator in 2025 and a three-time nominee for the GRAMMY Music Educator Award, says that it’s fun to watch her students use the social-emotional skills they’ve learned in choir out in the real world. “Students talk about using the breathwork we practice before a big test,” she says. “I’ve seen a student gently mediate a conflict in the hallway using the ‘I believe’ language we use in songwriting.”

The goal, she says, is to help her students internalize the concepts and use music as a personal tool for well-being. In this way, they’re not just choir students; they’re becoming more empathetic and self-aware people.

“One of my favorite moments was during ‘The Gift to Sing’ by Reginal Wright,” Morris shares. “The text is all about how singing can lift you out of sadness, and it serves as an excellent tool for self-awareness. While rehearsing this song, a student said, ‘I finally get it. On my rough days, humming in the car on the way to school is my way of ‘singing the gloom away.’”

How to Be Guides, Not Gatekeepers

“Forget the top-down model!” Morris exclaims and suggests that educators need to be guides, not gatekeepers. “Your job is to set the stage and provide the tools, then step back and let your students create. It’s about trusting them to lead the way.”

One of the ways educators can do this is by getting comfortable with silence. “Ask a question like, ‘How should we express this line?’ Then, just wait. Let them problem-solve. The first person to talk shouldn’t always be you,” Morris says.

She added that waiting for students to respond is also a way to keep yourself from becoming overwhelmed with the need to talk — and sometimes ramble — all the time. “Don’t feel the need to fill the air with words. Pause, reset and begin again. Your students will admire you for practicing self-awareness and giving them clarity,” she explains.

Developing and Refining Curriculum

A social-emotional approach to learning wasn’t always the basis of Morris’s curriculum. When she first started teaching, her curriculum was more product-oriented. “My main question was, ‘Will this sound good for the concert?’” she explains. “Now, it’s completely flipped. My central question is, “How can this music serve as a vehicle to my students’ well-being and the betterment of our community?”

This night-and-day shift is why Morris is so passionate about the SEL framework. “I don’t just teach a song; I teach a song for a reason,” she says. “We sing Kenny Potter’s ‘O Sing!’ not just for the mixed meter and theory lessons, but to practice social awareness — interpreting beyond the text to understand different perspectives. The setting of the text discusses carrying on stories and lessons of ancestors for generations — something that all our cultures have in common. It presents an opportunity for us to discuss and share how we all elevate our loved ones differently. Music is the means, and the end result is their growth as human beings.”

Putting People First

If there’s something that Morris wants people to take away from her approach to an SEL-rich curriculum, it’s that she wants everyone to know that this isn’t “touchy-feely” fluff. “Social-emotional learning is rigorous, meaningful work that, when executed correctly, results in enriching, meaningful and even playful experiences,” Morris says. “We are literally building brains and building hearts at the same time. When a student analyzes a score to connect it to their personal history, that’s critical thinking. When they collaborate to solve a musical problem, that’s real-world teamwork.”

Morris explains that this approach doesn’t replace musical excellence — it unlocks it. “By tending to the well-being of the musician, we get more beautiful, connected and courageous music,” she says.

How to Shop for a Sound Bar

Written by Joy Frye on December 18, 2025. Posted in Audio Gear Guides.

You’ve finally decided to improve the sound coming from your TV — or you know someone who’d really appreciate better sound too — and you’ve decided that a new sound bar will make the perfect gift for them… or for yourself.

But which one to get? Here’s a quick overview of the key factors and features you should consider when buying a sound bar.

Surround Sound Capability

Despite their small form factor, sound bars can deliver immersive audio experiences. Advanced models like Yamaha True X sound bars with Dolby Atmos^® provide multi-dimensional sound that surrounds you from every angle, creating a theater-like experience at home.

Virtual surround sound and true 7.1.2-channel surround sound visualization.

Signal processing is often used to generate virtual surround sound, while premium options such as True X sound bars deliver a true 5.1.2-channel audio experience for Dolby Atmos content. Before choosing, consider your room layout — closed spaces tend to enhance the effect of surround sound, while wide open layouts may require more powerful solutions.

Will It Fit?

Decide where you want to put the sound bar and check the dimensions to make sure it will fit there. Keep in mind that some sound bars can be mounted on a wall (normally below the TV), and some are meant to sit on a tabletop below the TV. If the sound bar will be sitting on a surface, make sure it is not tall enough to block the TV.

Sound bar mounted on a wall.

Sound bar placed on a tabletop.

For smaller spaces or minimalist setups, compact models like the Yamaha SR-C20A offer a great solution without compromising audio quality.

What Can I Connect To It?

HDMI^®

If your TV supports the eARC or ARC function, you only need one HDMI cable to output TV audio to the sound bar. To use the ARC function, you have to turn on the HDMI Control function.

CEC (Consumer Electronics Control)

Allows control of TV and sound bar with a single remote; adds convenience and reduces clutter.

Optical

Reliable digital audio connection for TVs without HDMI ARC; supports high-quality sound but no advanced features like volume sync.

Connectivity

A sound bar is more than a speaker for a TV – it can be an entertainment source. Many come equipped with Wi-Fi, Bluetooth^® or even AirPlay 2^®, so you can play music from a phone or computer and listen to streaming services and internet radio through the sound bar. If enjoying music through your sound bar is key, check for connectivity options like these:

Subwoofer: Built-in or Stand-alone?

A subwoofer is a speaker that reproduces only the lowest bass frequencies. In other words, it puts the oomph in explosions and those low rumbles you can feel in your chest. It’s an integral part of any home theater system.

Some sound bars have subwoofers built in, while others come with separate subwoofers. Stand-alone subwoofers are often more powerful and effective than the built-in variety, but if there isn’t a lot of floor space where the sound bar is going to be positioned, you might want to go with one that has a built-in subwoofer. Built-in subwoofers can still sound great!

Built-in subwoofer in sound bar. — *Sound bars can use built-in subwoofers or external stand-alone subwoofers.*

App Control

If you’re not comfortable with voice control, but you don’t like looking between the couch cushions for your remote control, many sound bars can be controlled with an app from your smartphone or tablet. Apps are especially handy if you’re playing music from a streaming service through your sound bar and scrolling through your playlists. For example, with the free Yamaha MusicCast Controller app, you can link MusicCast wireless speakers, sound bars and receivers in other rooms and control playback throughout your home from your smartphone or tablet.

Warranty

You hope you never have to use it, but it’s good to know how the manufacturer stands behind its product. The most common warranty period is one year, with premium brands like Yamaha offering two years.

How / Where / Features

The main thing to consider when shopping for a sound bar is how and where it will be used. In addition, when doing your research and reading reviews, identify the features that are most important to you. These are the factors that will enable you to choose the sound bar that is the best fit.

Click here for more information about Yamaha sound bars.

Dialing in Tube Amp Tone with a Digital Rig

Written by Robbie Calvo on December 17, 2025. Posted in Electric Guitars, Gearguide.

In 1998, Line 6 introduced a revolutionary device called the Pod. This compact amplifier, speaker and effects modeler with a distinctive red color and “kidney bean” shape sat on the desktop of recording studios the world over, and soon became a “plug and play” tonal option to larger rack systems, tube amps and speaker cabinets.

A red, kidney bean-shaped effects processor called The Pod. — *Line 6 Pod.*

Seventeen years later, the company released Helix, which took amp modeling to the next level by providing extremely convincing digital replicas of classic amps and speaker models, along with a comprehensive list of studio-quality effects. It also provided exhaustive programmability, I/O (input/output) options, effects loops, MIDI control, USB recording and firmware updates that regularly added more models.

A black guitar effects processor with twelve footswitches and a footpedal. — *Line 6 Helix.*

I remember listening to A/B shootouts between a Helix guitar patch and a full-blown tube amp, cabinet and effects rig. And while I could hear minute differences between the two signals when listened to in isolation, I defy anyone to be able to tell the difference between the two rigs in a full band recording or onstage performance.

Recently, Line 6 announced the long-awaited release of their latest flagship modeler: Helix Stadium XL. In this posting, we’ll explore the many ways you can use this advanced device to add amazingly realistic tube amp tone to your electric guitar.

A black guitar effects processor with twelve footswitches, a footpedal and a large touchscreen. — *Line 6 Helix Stadium XL.*

Helix Stadium XL Features

Stadium XL offers numerous advanced features, including a touchscreen control panel, Agoura Amp modeling, a Focus View feature and increased DSP (Digital Signal Processing), such as a “Hype” parameter. Let’s look at each in turn.

The Touchscreen

The ergonomic, intuitive and visually inspiring 8″ hi-res touchscreen allows you to create signal chains directly on the screen with your finger rather than scrolling through menus with rotary knobs … although you can still create your signal the “old-fashioned” way if you prefer.

Focus View

Choosing your amps, speakers and effects can also be done via the Focus View feature, which provides a realistic graphic representation of the available amps, speaker cabinets and effects in a scrolling visual menu format.

After selecting an amp, for example, you can use the Focus View feature to create the exact tone you want by sliding the center detent of the screen between each of the tonal variations shown on the four corners of the screen. This allows you to audition tonal nuances in-between any of the four suggested sounds. You’ll notice that the digital readouts above the rotary dials that control each of the amp parameters will also change with your finger locations on the screen. Absolutely amazing for dialing in sounds on the fly!

You can also use the Focus View feature to move your selected microphone models across the axis and proximity of your favorite speaker cones and change multiple parameters in an effects pedal.

Agoura Amp Modeling

The Agoura amp modeling methodology sets a new benchmark for authentic amplifier sound and responsiveness. This is why Helix Stadium is best experienced hands-on, thanks to its exceptional touch responsiveness to your playing style and dynamics … just like a real tube amplifier.

Hype

Stadium XL also adds a new amp control that Line 6 calls “Hype.” In effect, this allows the listener to morph between 0% and 100%. 0% would be an ultra-authentic amp tone, and this can be increased all the way to an extreme version of what that amp would sound like at 100% Hype.

Pair the Hype control with the numerous Focus View touchscreen parameters and you have almost endless tonal variations.

Additional Features

Helix Stadium XL retains all the comprehensive I/O connectivity offered by the original Helix, plus your original user presets can be loaded into Stadium XL via the new editor app. (Legacy speaker cabinets will automatically be upgraded to new, and better-sounding models.) But Stadium XL also provides direct WiFi and Bluetooth^® connectivity so you can update the firmware without connecting to a computer. This also allows you to connect it to your mobile devices and use the onboard shuttle controls to activate and control backing tracks.

Although Stadium is called XL, the physical size is actually smaller than Helix, and the overall weight has been reduced dramatically as well.

Amp

So how do you dial in a realistic tube amp tone using a digital modeler? Well, first and foremost, you’ll want your tube amp tones to sound warm, responsive and dynamic, just like the real thing, so it’s best to approach modeler tones as if you were dialing in an analog rig.

A typical signal chain for most guitarists may look like this:

Guitar
Pre-effects
Pre-amp
Post-effects (this will emulate an all-in-one amplifier head or combo)
Power amp
Speaker cabinet
Microphone (to pick up the sound of the speaker cabinet)

That said, obviously the guitar you choose will have an impact on the tones produced — more on that shortly.

Pre-Effects

I like to use a compressor (usually the studio compressor model) and overdrive (usually the Minotaur model) before the Stadium XL pre-amp. The compressor can be used to smooth out the input dynamics, which I believe enables the signal to hit the amp better. A compressor can also “push” the input gain harder on the amp, altering the gain structure before it even hits the tone-shaping within the pre-amp.

Using an overdrive will also increase the input gain hitting the pre-amp … and of course the gain levels you choose will affect how the pre-amp reacts to the input signal.

I’d suggest judicial use of these pre-amp effects until you have an overall sense of the tone you’re trying to achieve. Perhaps even dial in the amp first, and then add the pre-effects to taste, or try switching them in and out when needed.

Pre-amp

Tube amps use vacuum tubes to amplify the electrical signal from your guitar. These tubes add a touch of natural compression, shape the tone, and, when pushed hard, can produce varying degrees of harmonic distortion … which most of us find incredibly pleasing.

This pre-amplified tone can then be further shaped by the EQ (bass, middle, treble and presence) controls. Don’t be afraid to experiment with these controls, but remember that when you add EQ to cabinet models, the bass response and overall tonality can change drastically.

A couple of additional tone stack considerations: If the sound is muddy, consider reducing the bass and middle before adding treble and presence. Reduce the treble if the sound is harsh and thin-sounding before boosting the bass.

Power Amp

Screenshot. — *Helix Stadium XL power amp window in the editor app.*

A large part of tube amp tone comes from the type of power tubes a specific amplifier uses. If you have a wide knowledge of amplifiers, you’ll probably know what power amp tubes are used in those products.

If you like the sound of a particular amp model in Helix Stadium XL, research what kind of tubes are used in those physical amplifiers, and learn about their characteristics. In general, I think you’ll find that low-wattage amplifiers will feature EL84, 6V6 and 6L6 power amp tubes; high-wattage amplifiers will favor larger tubes like the EL34, KT66 and 5881. That said, some 50-watt amplifiers utilize EL84, 6L6 and 6V6 power tubes — there will just be more of them.A good approach is to create a full rig in your modeler, and if the amplifier isn’t sitting quite right, save your patch, and then try changing the amp in your signal chain instead of trying to produce a sound that a specific amplifier wasn’t capable of in the real world.

There are also ways of tweaking the overall feel of an amplifier within Helix and Helix Stadium XL. The “Sag” control, for example, can make the amp feel looser or tighter. Think of this as the responsiveness to your playing style. The rectifier tube found in some amps will create this “Sag” feeling.

The two main types of rectifiers in guitar amps are tube rectifiers and solid-state rectifiers. Tube rectifiers use a vacuum tube to convert AC to DC, creating a softer, more compressed sound. Solid-state rectifiers use diodes (semiconductors) for a faster, firmer response with less voltage drop.

Speaker Cabinet Models

As mentioned previously, the speaker cabinets you choose will impact your tone substantially.

I like to use two speaker cabinet models: a 4 x 12 cabinet (that is, four twelve-inch speakers) and a 2 x 12 (two twelve-inch speakers). The 4 x 12 model will generally produce more bass response, and the 2 x 12 more clarity. Blending the two in a stereo signal chain can sound amazing.

The type of speakers used in each of the cabinet models will also affect the sound. This is where characteristics are hard to put into words, so let your ears be the judge. For example, Line 6 has modeled well-known speaker manufacturers like Celestion, whose blue, silver, green and gold back speakers all have different tonal characteristics. A 2 x 12 cabinet loaded with “bluebacks” will sound different from the same cabinet loaded with greenback speakers.

Microphone Models

A finger touching a touchscreen on a guitar effects processor to change the microphone model positioned in front of an image of a speaker. — *Choosing the mic model in Focus View.*

You can also choose which microphones are being used to capture the sound coming from the cabinets. Both Helix and Stadium XL offer a ton of microphone models to choose from. I suggest auditioning them all before making a decision. Common choices include a 121 ribbon microphone and an SM57 condenser mic.

The axis (that is, the placement between the center cone and speaker’s edge) and the proximity (distance from the grill cloth) can be adjusted to find your preferred “sweet spot.” Here, even subtle changes will affect the tones. If you are looking for more bass response, try moving the microphone closer to the grill (at around 1.5 inches) and moving it off axis slightly. If you’d like to capture more of the room sound, move the microphone back from the speaker and add a touch of early reflections (the sound of the speaker in the room).

You can also angle the microphone model(s) for an even softer “capture” of the speaker cone. As you can see in the photo above, the microphone can be placed at an angle of 45 degrees or kept forward-facing.

Don’t underestimate these details. Real tube amps need to be recorded or captured live with the use of microphones, and are therefore an integral part of the overall sound you produce with your own rigs.

Post Effects

Touchscreen on a guitar effects processor displaying an image of a stompbox. — *Post effects in Focus View.*

I like to use a dual delay and reverb for my post effects. I run a hall reverb in series after the amp and speaker signal, much the same as would occur in a real amp with an onboard reverb. I keep the reverb mix pretty low … just enough for a touch of ambiance, rather than effect.

I like to run my delays in parallel (i.e., in a separate signal path). I split the signal off after the speakers to bypass the reverb. This allows me to add more delay without the sound getting affected by the reverb ambience.

Big Sounds

A word of caution: While creating a monstrous tube guitar tone in isolation can be very inspiring, remember that these massive patches can often be too overwhelming in a mix, or in the context of a live performance, so try creating realistic patches that sit well in the track or fit in with your band’s instrumentation. This can best be accomplished in Stadium XL by using the Focus View and Hype features.

The Guitars

For this video, I chose to use what I believe to be three of the best Yamaha guitars currently available. They all have unique pickup configurations and body styles that lend themselves perfectly to the blues/rock instrumental piece I’m playing.

Revstar RSS20

A green solid-body electric guitar next to an effects processor. — *Yamaha Revstar RSS20.*

The Revstar RSS20 features a pair of Alnico V humbucking pickups. Its pickup selector switch allows the player to select bridge, neck or both pickups, including those nice “out of phase” sounds you often hear in rhythm guitar parts.

The Revstar sounds great with the tube models in Stadium XL, and by engaging the focus switch (by pulling up on the tone pot) you can push the midrange forward and create a sound similar to that of overwound (more powerful) pickups.

The Pacifica Professional

The Reflectone pickups in Pacifica Professional guitars are clean, clear and expressive — perfect for chordal shimmers using the Gotoh tremolo bridge.

I love this guitar for just about every situation. The body is beautifully balanced, the neck fast and smooth, and it covers a wide range of styles with aplomb.

The SA2200

A sunburst semi-hollow-body electric guitar next to an effects processor. — *Yamaha SA2200.*

Semi-hollow-body guitars exude a unique warmth and earthy tone. The SA2200, with its laminated sycamore top, back and sides, definitely flavors the tone … in a good way. Combine those tasty tonewoods with coil-tappable humbucking pickups and you have the perfect guitar for blues, rock and jazz.

The Video

I paired the Yamaha Revstar RSS20, Pacifica Professional and SA2200 with the Line 6 Helix Stadium XL to create all the tones in this video.

I wanted the Revstar to take the lead role, main rhythm guitar part and first solo. The Pacifica Pro then comes in, adding a nice touch of sheen to the chordal arpeggios, and then the SA2200 takes over for the last two solos, double-stops and crescendo parts, adding its gorgeous, distinctive tone. I think you’ll agree that the blend of these three powerhouse guitars, along with the superb modeling provided by the Stadium XL, makes for an extraordinarily rich sound.

The Wrap-Up

In my view, we’ve reached a point where digital models of classic tube amps, speakers and effects sound just as good as the real thing … without your having to own every one of the hundreds of physical options.

Today’s advanced onboard and app-based editing allows you to put together almost any signal chain you can imagine, and re-routing can be done in seconds. The options for multiple rigs, setups and setlists on one device are almost endless.

What’s more, complete digital guitar rigs are easy to transport, lightweight and can go anywhere we go, without the need for cartage, roadies and a chiropractor! This means we can have all of our chosen guitar rigs at home, on the plane or in a hotel, backstage green room, recording studio or onstage. It’s a brave new world out there. What are you waiting for?

PHOTOGRAPHS COURTESY OF THE AUTHOR.

Check out Robbie’s other postings.

How to Choose Your First Bass

Written by E.E. Bradman on December 16, 2025. Posted in Bass. 1 Comment on How to Choose Your First Bass

Congratulations on deciding to buy your first bass! There’s never been a better time to jump into the low end. No matter what style of music you want to play, there are tons of resources to help you get started — and plenty of solid, versatile instruments for every budget.

If you’re reading this, you’ve already begun the first step toward getting a new instrument: research. The internet contains an ocean of opinions about every facet of bass, some more trustworthy than others, but the facts — dimensions, colors, options, weight, prices — are easy to find, too. Besides visiting retailers, reading bass magazines, and checking out online forums, be sure to talk to your bass-playing friends, who most likely have thoughts about what’s hot and what’s not. YouTube, of course, is always useful when it comes to seeing and hearing an instrument you’re interested in.

IN YOUR HANDS

That said, the truth is that you won’t know if a bass is right for you until it’s in your hands. Visiting your local music stores to play the basses they have on display can be an important first step toward owning a great first instrument.

Here are some important questions to ask yourself as you consider whether the bass you’re trying out is the right one for you:

Is the neck the right size and shape for your hand?
Does the instrument feel too heavy or too light when you stand?
Does it balance well on your knee when you sit?
Does the bass’s control layout work for you?
Is the bass correctly intonated? (That is, do some notes sound slightly sharp or flat of what they should be?) This is something that can be easily checked with a tuner, and will be more apparent as you play higher up the neck. Poor intonation can sometimes be fixed with a correct setup, but not always, so it’s a potential red flag.

Keep in mind that basses that have been hanging in a music store and played day in and day out may sometimes need a setup to return to the optimum playing condition in which they left the factory. If the gap between the strings and the frets is uncomfortably high, for example, it could indicate that spending days, weeks, or months in the store’s fluctuating temperature has affected the neck — another potential red flag. It’s also not uncommon for a bass that’s been on display for awhile and played by many hands to have dead strings, finger grime, and dust. If you’re excited about an instrument but concerned about wear and tear, talk to a salesperson. You can also ask if the store can include a setup and/or fresh set of strings when you buy the bass.

MAKING THE TRANSITION FROM GUITAR TO BASS

Guitarists who pick up a bass for the first time will immediately notice that the necks are longer and the strings are fatter. The scale length of an electric guitar — the distance between the bridge and the nut — is usually between 24″ and 26″, but with electric bass, 34″ – 35″ is standard.

Electric guitars are strung with much thinner strings than bass, with the thickest typically being a .042 E string, while a standard EADG set for bass consists of a .100 or .105 E, an .085 A, a .065 D and a .045 G. Guitarists might therefore want to opt to substitute light- or even extra-light gauge strings on their bass, at least at first until sufficient finger strength is achieved, but just know that this comes at a sacrifice in terms of beefiness and low-end thud. And if you feel attached to using a pick, just know that some bassists use them and some don’t, but most agree that learning to play with your fingers is crucial.

FOCUS ON SONICS, NOT JUST LOOKS

The look and feel of a particular bass may be what immediately attracts you, but it shouldn’t be the end of your decision-making process. Sound is extremely important too — maybe even more so! Once you find a bass that captures your interest, try playing it through different amps so you can hear its unique voice. See if the knobs and tuners turn easily. Do you hear crackling or static when you twist the knobs or plug in a cable? This would suggest a problem with the electronics, and could be cause for concern.

Another thing to listen for is consistency in tone and volume. Do some notes buzz or sound significantly louder or softer than others, even when played with equal intensity? This could indicate a potential issue with the basic construction of the instrument, or it could be a simple fix that can be easily rectified with a setup. Either way, it’s worth having a discussion with the salesperson.

FINDING THE PERFECT STARTER BASS

Price, of course, is always a major consideration when it comes to choosing your first bass — or when making any purchase, for that matter. It used to be that, when it came to musical instruments, you got what you paid for, but the good news is that advances in technology mean that you can find high-quality starter basses today, such as the very affordable Yamaha TRBX line.

Electric bass guitar. — *Yamaha TRBX174EW.*

As an example, the TRBX174EW 4-string model is light in weight (just around 7 lbs.) yet solidly built, and it sounds great too. The three knobs — a volume control for each of the two pickups, plus a master tone control — are straightforward and make it easy to dial in the meat-and-potato tones every bass player is expected to have. The neck is slim — a bonus for guitarists looking to make the transition to bass — with access all the way up to the 24th fret, so it’s easy to reach those high notes. Adjustments you’ll have to occasionally make (such as tweaking the truss rod) are simple, and it comes strung with standard-gauge D’Addario nickel strings, which are ubiquitous precisely because they work for most styles. The TRBX174EW is also handsome, small-bodied and travel-friendly, as well as genre-agnostic: It doesn’t feel designed to cater to a particular era, style or trend.

Many of the greatest bass players began on instruments that were less than ideal by today’s standards, but your first bass will likely be far better built and more versatile than any starter bass they used. As recently as just a few years ago, many experts would have suggested that a first-time bassist should consider buying a used instrument to save money, but that’s no longer the case. In terms of price-to-performance ratio, we live in a golden age of musical instrument possibilities … and that’s good news for aspiring bassists everywhere!

Check out E.E.’s other postings.

The At/Over/Under Programming System

Written by Don Stinson on December 15, 2025. Posted in Teaching Tips.

Ask any seasoned director about the piece they wish they didn’t program, and you’ll see them instantly relive one of the most stressful career moments of their lives. They might say something like:

“Well, we started together and ended together. I’m just not sure what happened in between.”
“Ah yes, that piece. Great piece. I just didn’t have the group for it.”
“Why are you ruining my lunch? Please leave and never bring that piece up ever again.”

Programming for your ensemble is difficult. Ensembles change each year, and the music selections continue to grow. We consider additional variables such as strong and weak sections, rehearsal time and endurance. And that’s not even mentioning how the audience may react to our program!

Of course, we must speak about learning and growth. If you only select pieces at the grade level your kids are currently playing at, they may never get better. However, if you exclusively play music that’s too difficult, your ensemble will become frustrated, and they just won’t sound good. If the music’s too easy? Kids get bored and they get way too creative, and now you’re addressing behavioral issues you never dreamed about.

The next time you program, consider the At/Over/Under System. This is an approach that will meet your kids where they are, make them feel like pros and stretch their abilities just enough to make them feel accomplished.

The core of this system is you program one piece at their grade level, one piece above their current grade level and one piece under what they can handle. Here’s how it works. For our purposes, we will use a band that primarily plays at a grade 2 level.

Programming At Grade Level

This is exactly what it sounds like — if your band is playing at grade 2, find a grade 2 piece that fits them well. This could be the main feature of your program, or it could simply be just one of the pieces you program. Make sure it fits your ensemble well, the students react to it and you enjoy teaching it.

Programming Above Grade Level

Next, find a piece above their grade level. For younger bands, I would go up a half grade level — in this example, look for a grade 2.5 or a medium easy piece, depending on how the publisher categorizes them. With all grade levels, take special care to really research the piece. One publisher’s grade 2 may be another publisher’s grade 3.

Look for elements that will push your students a little bit but not shove them into a musical wall. For example, if your trumpet players have a range from low C to A, the piece should have them playing a few Bs and Cs — just not the whole time. Take a similar approach to rhythms and find a piece with a few more syncopated sections or challenging rhythms than the grade 2 piece.

Another thing to consider is how many aspects to work on with your students. It’s OK to select a piece that only pushes one musical element. Maybe it’s a new time signature but the range is the same. Or maybe the range is higher, but the rhythms are easier than the grade 2 piece. That’s OK! There is nothing wrong with taking things slowly (unless you program a march — kidding, kind of).

You’ll know you’ve selected a piece that hits when students begin playing this in their warm-ups or at the end of rehearsal.

Programming Below Grade Level

Now why would anyone program something easier than the kids can already play? Because this is how you can help bring students to the next level. Chances are, even if you have a grade 2 band, not all your students are at grade 2 individually. The grade 1 or 1.5 piece gives these students at least one piece in the concert cycle that they can play confidently. A band playing a piece at their grade level may be playing to their limit; they can sound great, but a few students may be in fight or flight mode just trying to get to the end of the piece.

Performing a grade or half grade below lets you dive into other musical concepts right away —you know, the fun ones like balance, intonation, and expression. You don’t have to fight as many notes and rhythms, and you can go right into working on that crescendo and phrase from rehearsal one. You can even go into some score study/harmonic analysis with the kids (sorry for causing PTSD for any director who thought they’d never have to hear those dreaded words again).

A below grade level piece can also provide other opportunities. Performing a solo can be nerve-wracking because all kids focus on is just getting through it! Why not make it more accessible for their first exposed musical performance? For my ensemble, we go another step up and have students conduct these pieces. This instantly brings the focus up. Many of my students become excited about the possibility of conducting the band someday. An easier piece presents an appropriate but comfortable approach to what could be a stressful situation.

music student pulling out sheet music from folder on music stand

Structuring Your Rehearsal Time

The added benefit of the At/Over/Under System is that you can adjust your rehearsal time based on the difficulty of the piece. When you program pieces that are at the same grade level, you may be tempted to give them equal amounts of rehearsal time. You can still do this by programming varying levels, but now you can focus on different aspects, such as intonation in the under-grade level piece as mentioned above.

You can also adjust. There are times where I used about 30% of our rehearsal time for the piece at-grade level, 40% on the above-grade level piece and 20% on the under-grade level piece. We spend the remaining 10% of rehearsal going over the concert dress code ad nauseam.

thinking woman wearing headphones and sitting at desk with open laptop

Post-Concert Reflection

The At/Over/Under System isn’t magic. It doesn’t require a doctorate in literature reviews or a six-hour score study session. It’s simply a structured way to make sure your kids learn, sound good and stay motivated across an entire concert cycle.

Most importantly, this approach gives your ensemble three different “wins.”

A win of identity: The at-level piece gives them confidence. They hear themselves sounding like a real band.
A win of growth: The above-level piece gives them a challenge that feels attainable. They get to step up without feeling set up.
A win of musicianship: The below-level piece lets them actually make music — balance, blend, phrasing, nuance — all the things that make the difference between pushing down some buttons and making music.

The At/Over/Under System gives you a reliable structure. Use it as a foundation and adapt it as needed. Your ensemble will change over time — sometimes dramatically — but a system built around identity, growth and musicianship will never steer you wrong.

So, the next time a colleague asks how you managed to get your group sounding so polished, you can smile and say: “We just programmed smart. And the kids did the rest.”

Closeup of guitars, both electric and acoustic.

How to Choose Your First Guitar

Written by Mike Levine on December 15, 2025. Posted in Guitars How-to. 1 Comment on How to Choose Your First Guitar

Congratulations on deciding to buy your first guitar! Whether you’re looking for an acoustic or an electric model, a guitar can make your life more fulfilling and fun. One of the advantages of taking up guitar, as opposed to other instruments, is that you can learn enough chords to play some songs relatively quickly. The feeling of accomplishment you’ll get is likely to inspire you to put in plenty of practice time, and like so many worthwhile endeavors, the more you put into it, the more you will get out of it.

If you’re buying a first guitar for your child, that’s great news too! Studies have shown that music education and a musical household can benefit childhood development. It can also help with spatial skills and improve test scores and IQ. Those are the measurable benefits, but the intangible “vibe” or “mojo” of being a musician is the most fulfilling part. And that feeling is easy to access any time by just picking up the guitar.

So what do you need to know to find the ideal instrument? Let’s start with some basic terminology and definitions.

Acoustic vs. Electric

There are two types of guitars: acoustic and electric. An acoustic guitar is an instrument that creates its sound without needing an amplifier. An electric guitar requires an amplifier to be heard in all its glory. Acoustic guitars always have hollow bodies made of wood; electric guitars can have either hollow or solid bodies (again, usually made of wood), though some electric models are termed “semi-hollow” because they have a solid block of wood running through the center of their otherwise hollow body.

All electric guitars use steel strings, as do many acoustic guitars. Those kinds of strings tend to be bright-sounding and vibrant. Some acoustic guitars, typically termed classical guitars, use nylon or composite strings instead, which have a gentler, more mellow tone.

There are also acoustic guitars that come with built-in electronics so you can plug them in and amplify their natural sound. Such instruments are sometimes called “acoustic-electric” guitars.

How Guitars are Built

Knowing a few things about the construction of a guitar will help you in your search for the right instrument. Here’s an illustration that shows the various parts of an acoustic guitar:

An acoustic guitar with its various elements indicated. — *The various parts of an acoustic guitar.*

In both acoustic guitars and electric guitars, the density and weight of the woods used help determine the tone and resonance that the guitar produces.

Most of the tone of an acoustic guitar gets generated from the wood in its top, which is the face of the instrument. Spruce is commonly used for steel-string acoustic guitar tops, although sometimes you’ll see mahogany. In the case of classical nylon-string guitars, you’ll occasionally encounter models with cedar and cypress wood tops. A guitar with a solid top will produce a richer tone than one with a laminate or plywood top. The wood used for the back and sides of an acoustic guitar is equally critical for tone creation. Typically, guitar manufacturers use mahogany, nato, rosewood or maple for fuller tone. Make sure to find out the composition of the wood in a guitar before buying it.

The woods used in the construction of electric guitars are usually alder, basswood, ash, pine, maple or mahogany. Some models will even use one kind of wood for the back of the body and a different one for the top. For example, you can find electrics with a maple top on a mahogany body. The type and combination of woods used has a major impact on the tone of an electric guitar.

Find Your Fit

You’ll want your guitar to be comfortable to hold and easy to play. After all, if it doesn’t meet both of those criteria, you might get discouraged from practicing! One critical factor in selecting a guitar is finding one that’s size-appropriate for you. An instrument that’s too big or too small will make learning difficult and not as enjoyable.

To determine if a guitar’s size is right for you, try sitting down and holding it in your lap. See if you can reach the far end of the fretboard (the part closest to the tuning machines) with your left hand. If you can’t do that, choose a guitar with a neck that has a shorter scale length. The scale length refers to the distance between the nut and the bridge. (Refer to the illustration above to see where those components are.) Another advantage of a short-scale neck is that it reduces string tension, making fretting (pressing down the strings) easier. The Yamaha FG800J is designed for easy playability and has a short scale length.

The shape of a guitar’s body also affects comfort. For example, a concert-style shape, such as the one used by the Yamaha FS800J, is narrower across the waist and has a shallower depth than the larger Dreadnought body size (which is used in the Yamaha FG800J), making it easier to hold.

An acoustic guitar with a concert-size body. — *The Yamaha FS800J has a concert-style body.*

The Yamaha STORIA line of acoustic guitars are also a great choice for beginners, as they all have short-scale necks, small bodies and low action. (See the “Tweaked for Comfort” section below.) Although designed for first-time players, they offer quality and features you can grow into, including built-in electronics.

Beautifully wood-grained acoustic guitar. — *Yamaha STORIA guitars combine first-time-player features with a stylish look.*

If you’re especially petite or are buying a guitar for a child, you might want to consider a compact acoustic guitar such as the Yamaha JR1 or the three-quarter size Yamaha JR2. Both models are mini-versions of the famed Yamaha FG Series of acoustic guitars, delivering big tone despite their small size. They’re also ideal for practicing in the park, on the beach, or anywhere your muse takes you.

Young man sitting under a tree playing an acoustic guitar. — *Compact Yamaha JR guitars make it easy to practice anywhere.*

It’s best to try out guitars of different shapes and sizes at your local music store and see which one feels most comfortable. There’s a model out there that’s perfect for everyone!

Tuning In

Another important issue is the quality of the tuning machines (often called “tuning keys” or “tuning pegs”). They should turn smoothly and easily and shouldn’t bind or jump when you turn them.

But even when playing an instrument with the best tuning machines, beginners sometimes have trouble getting their guitars in tune. The solution is simple: make a small investment in an electronic tuner. Today’s tuners are simple to operate and can help you save time and frustration. There’s no shame in using one, either: Virtually all guitarists — even the top professionals — use them.

Clip-on tuners are the easiest to use. They attach to the headstock and sense the pitch of a string through vibrations in the wood. A good choice here is the Yamaha GTC1, which can be used not only for guitar, but other stringed instruments such as bass and ukulele too.

Close-up of small electronic screen on a clip. — *A clip-on tuner like the Yamaha GTC1 makes tuning easy.*

Tweaked for Comfort

As stated earlier, when you buy a guitar, it should be comfortable to play. Of course, you can’t change its body size, type or scale length, but there are many aspects that can be adjusted. Most can be done on your own, but if you’re a beginner, you’re best to have them done by a qualified luthier (a craftsperson who builds and repairs guitars and other stringed instruments). Most music stores can refer you to such a person, or may even have one on the premises.

The most common problem you might encounter is that its action — the height of the strings over the fretboard — is too high. Low action, like you’ll find on Yamaha STORIA guitars, improves playability, but if it’s too low, there can be string buzz or some notes may not ring out properly (a phenomenon known as “fretting out”), so some compromise may be in order.

Side view of a guitar. — *The lower the action, the easier the guitar is to play.*

Another common problem is a guitar being unable to play all its notes in tune, which requires adjusting its intonation. In the hands of a skilled luthier, this is usually fixable if the basic construction of the guitar is sound.

If you find a repair person you like, try to build a long-term working relationship with them, similar to what you do with a good auto mechanic. You want to find someone you can trust. Someday, you may end up doing the maintenance work yourself, but in the meantime, leave it to the professionals.

Add a Case

To protect your new instrument, a case is necessary. Many beginner guitars come with one; if not, it can be bought separately. Alternatively, you can opt for a gig bag like the Yamaha AG-SC, which can have either soft or semi-rigid sides and is typically made from a heavy-duty fabric or leather, with padding for protection. Gig bags are generally lighter than cases and most offer shoulder straps. Those with a single strap allow you to sling your guitar over your shoulder; a double strap lets you carry your guitar like a backpack, keeping your hands completely free.

A hardshell case like the Yamaha AG3-HC provides the most protection from bumps or the occasional drop — although there are no guarantees your guitar won’t get damaged if you drop it while it’s in the case. However, hardshell cases are heavier and typically more expensive than gig bags, and they don’t have straps, so you can’t carry them as easily.

Views of open and closed guitar cases. — *A Yamaha AG3-HC hardshell case (left) and AG-SC gig bag (right).*

Consider a Guitar Bundle

You can simplify the process of finding and purchasing all the gear you’ll need with a bundle such as the Yamaha GigMaker. These comprehensive and affordable packages include the guitar itself, as well as a tuner, strap, cable, gig bag and even picks. There are versions available for steel-string acoustic, classical nylon-string acoustic and electric guitars; the latter also includes a practice amp.

Collection of guitar accessories. — *The Yamaha GigMaker Electric package.*

Click here for more information about Yamaha guitars.

Young girl practicing the piano in the living room with a headset on while her parents are relaxing in background talking on mobile and working on a tablet.

Yes, There Is Such a Thing As Silent Practice

Written by Mac Randall on December 12, 2025. Posted in Gearguide. 1 Comment on Yes, There Is Such a Thing As Silent Practice

You love music. You love your kids, too. But do budding musicians really have to practice so much?

Whether you are that budding musician, or are the parent of one, we’ve got a newsflash: The people within earshot could use a break once in a while. Hearing that same étude five times in a row is fine, but hearing it 20 times is starting to get irritating, and around the 30th replay everyone within listening distance may start to feel a definite headache coming on.

Okay, the logical side of you knows that musicians really do have to practice that much. But couldn’t they maybe just take it down a notch in volume?

As a matter of fact, they can. Thanks to modern technology, the volume of most major instrument types — keyboards, guitars, strings, brass, woodwinds, even drums — can be drastically reduced without diminishing players’ ability to hear themselves. And leading the way is the extensive line of Yamaha SILENT™ products. Here’s an overview of these potential sanity-savers.

Piano and Keyboards

Of course, electronic keyboards of all stripes (and from all manufacturers, including Yamaha) come with headphone jacks, making silent practice an intrinsic and important feature. But what about acoustic pianos?

Young girl playing piano while wearing headphones. — *SILENT piano.*

At first glance, a Yamaha SILENT Piano™ looks just like a normal acoustic piano with weighted keys, pedals, strings, and hammers. But these instruments lead a double life. They can be played just like any other piano, or they can be switched into Silent mode, in which case the hammers stop hitting the strings, and the sound can be heard only via headphones. The way this works is nothing short of magic: A series of optical sensors beneath the keyboard and pedals measures the nuances of the playing and then uses them to trigger the digital sound of a piano, which can be turned up or down as desired — without disturbing anyone in proximity. SILENT Pianos are available in a variety of upright and baby grand models; some even include sounds sampled from the famed line of Yamaha CFX and CFIIIs full-size concert grands.

Drums

Full electronic drum kit. — *DTX6K3-X electronic drum kit.*

Like digital keyboards, electronic drums always offer a headphone jack for private practice. These instruments are built around pads (similar to practice pads) that produce little noise but can still be remarkably sensitive. In fact, some Yamaha electronic drum kits offer pads that are divided into three separate zones, allowing for a greater variety of expression than even acoustic drums. They also include built-in practice tools such as a programmable metronome, onboard recording and training songs that allow the player to master various genres. With an electronic drum kit, the drummer in your house can thwack away to their heart’s content, producing a staggering range of sounds that only they will hear in their headphones.

Acoustic Guitar

How do you lower the volume of an acoustic guitar? By taking away its most resonant component: its body. This explains the strikingly minimal outline of the Yamaha SILENT Guitar™. Instead of having an actual front, back and sides, these instruments resonate virtually through a special pickup that uses digital modeling to replicate the sound of a typical acoustic guitar as captured by a high-quality studio microphone. The result is an instrument that produces next to no sound on its own, yet still has a realistic tone, the loudness of which is completely controllable. A number of different SILENT Guitars are available, including one based on a folk-style guitar and others styled after classical guitars. All are collapsible, making them easy to travel with.

Guitar Amplifiers

Think that a guitar plugged into an amplifier means an inescapable blast of sound? Think again. Many of today’s practice amps, such as the Yamaha THR-II desktop series, have headphone jacks, allowing silent practice … without disturbing anyone else nearby. These amps also have the benefit of built-in digital effects such as distortion, reverb, etc. — meaning that you won’t have to spend extra on pedals or other signal processing hardware.

Yamaha THR desktop amps. — *THR-II desktop amplifiers.*

Strings

Four open bodied stringed instruments: two violins, a viola and a cello. — *SILENT strings.*

The first SILENT Violin™ was designed over 20 years ago to offer players the ability to practice in an environment where they wouldn’t disturb family or neighbors around them. Today’s lineup of Yamaha SILENT Strings ™ suits a variety of player needs, including silent practice, studio recording and stage performance. There are a range of models available, from practice only and intermediate models all the way to professional performance instruments. With the ability to connect to either headphones or an amplifier and endless creative opportunities with external accessories such as pedalboards, SILENT string instruments offer something for everyone.

Brass

Brass instruments can be very loud when you get up and close and personal, but there’s already a long-established way of making these instruments quieter: It’s called using a mute. The problem is that mutes dramatically alter tone as well as volume. Yamaha has addressed that issue with its revolutionary SILENT Brass™ system, which consists of a mute fitted with a pickup that connects to a small electronic “personal studio” unit. That little box contains exclusive circuitry that simulates a standard acoustic tone, making the instrument sound as though there’s no mute being used. There are versions for trumpet, flugelhorn, trombone and French horn, as well as for tuba and euphonium, and the SILENT Brass mutes for the latter two actually have extra adaptability in that the position of the mute head can be adjusted to match different bell sizes and personal preferences — which also means that the same mute can be used on B♭, C, E♭ and F tubas. The tuba and euphonium models can also be disassembled into parts that are stackable, making storage easier.

A trumpet with an electronic muting device. — *Trumpet SILENT Brass System.*

Woodwinds

Electronic saxophone shaped similarly to a clarinet. — *YDS-150 Digital Saxophone.*

The Yamaha YDS-150 Digital Saxophone plays and feels like an acoustic saxophone, but its wealth of digital technologies offer a number of enhancements, including 73 onboard sounds and a headphone jack that enables saxophonists to practice in privacy. The mouthpiece has a design just like that of an acoustic sax and the standard key layout ensures natural playability and smooth operation, plus there’s a breath sensor that detects the intensity of the player’s breath for precise control of both volume and tone. Bluetooth connectivity and a wired aux input even allow the player to jam along with music being played on an external source such as a smartphone or laptop, all in complete silence and without disturbing others in the vicinity.

When you think about it, every one of these instruments and devices is remarkable in that they achieve something that wasn’t possible until relatively recently: They give both musicians and listeners an unprecedented degree of control over what they hear. All of which means that you or your child can practice to their heart’s content at a drastically reduced volume with no corresponding loss of tone, while your long-suffering neighbors (or long-suffering you) enjoy only peace and quiet.

Teenage girl playing electronic drum kit.

Buying Your First Drum Set

Written by Yamaha Corporation of America on December 11, 2025. Posted in Drums How-to.

You’ve always wanted to play drums. Or perhaps your child or grandchild has expressed an interest in (and perhaps shown an aptitude for) playing drums and you want to encourage them. Either way, you’re a bit conflicted about it.

On the one hand, you feel ready to indulge yourself (and of course you’re always ready to indulge your kids and grandkids!), but on the other you think it’s going to be a noisy and costly activity. In addition, there’s the intimidation factor: Some folks find the prospect of buying a drum set both time-consuming and confusing, especially if they’re not familiar with the jargon and don’t know what to ask for.

The good news is that none of these things are necessarily true. Drums today can be almost completely silent, and they can be affordable, too. What’s more, thanks to online resources (like this blog!), navigating the maze of options is easier than ever before. Here’s what you need to know before you start shopping for that first drum set:

What is a Drum Set, Anyway?

A drum set (sometimes called a drum “kit”) is simply a collection of drums, cymbals and mounting hardware, similar to those you’ve seen played onstage by your favorite band. There are two kinds of drum sets: acoustic and electronic.

An acoustic drum set is made up of the following five basic components:

1. Drums: There are typically at least four or five drums in a set. Each consists of a shell (typically made of wood, but also sometimes metal), across which is stretched a drum skin or “head” (usually made of clear plastic Mylar^® or calfskin) — the surface you hit with a stick. The drums that are used most of the time are the bass (“kick”) drum and snare drum, though most drum sets also include one or more tom-toms.

Steel snare drum — *Yamaha Stage Custom steel snare drum.*

2. Cymbals: Circular plates made of metal, used for a crashing sound. The most important of these are a hi-hat (two small cymbals mounted vertically, one inverted, that come in contact with one another when a pedal is pressed) and a “ride” cymbal. A starter drum set may also include one or more “crash” cymbals.

3. Hardware: Metal stands to hold the cymbals and drums, plus a throne (seat), a foot pedal (for the bass drum) and a hi-hat stand that includes a pedal for crashing the two cymbals together.

4. Sticks: Long wooden dowels used to strike the drums and cymbals.

5. Drum key: A small metal device used to tune the drums by stretching their skins.

In electronic drum kits, the sounds are produced via electronic, not acoustic means, so pads made of rubber, Textured Cellular Silicone (TCS) or mesh material are struck instead of physical drums and cymbals. Electronic drum kits also include a module (a “brain”) in which hundreds of different sounds are stored digitally.

Acoustic Drums or Electronic Drums?

When deciding which kind of drums to buy, one of the most important factors is the space required. In addition, you will want to consider the time of day you or your child will be practicing — will this disrupt your other family members or the neighbors?

Acoustic drum sets are much louder than electronic drums, have a much larger footprint and will require some sort of isolated room for practice.

Electronic kits are smaller, quieter and easier to use since you don’t have to worry about tuning or changing drum heads. An electronic drum kit like the Yamaha DTX6 Series or DTX402 Series is often the best choice for beginners since you won’t need to soundproof the room where they are located — you or your child can use headphones to practice. Another big advantage to electronic drums are the built-in training functions they often provide. These allow an aspiring musician to improve the critical skills of timing and feel. This can include built-in songs the student can play along to, making training and practice more fun — and therefore ultimately more successful.

The Advantages and Disadvantages of Each

Acoustic drums:

The standard for both lessons and live performance.
Loud!
Take them anywhere: not tethered to a power outlet.
Instant gratification: nothing to plug in or set up. Just start hitting ’em!
Good for larger bedrooms, basements or garage … especially if the spaces can be soundproofed.
Produce one sound with various tunings.
Drums and cymbals come in various sizes.
Larger footprint: requires an average 5′ x 5′ space.
Requires lots of new sticks and drum heads as they wear.

Electronic drums:

Easily used at home but requires amplification for performance.
Quiet practice with headphones.
Good for apartments or small bedrooms.
Capable of producing various sounds and styles of drum kits.
Requires some setup and an electrical outlet.
Pads for drums and cymbals are typically smaller than their acoustic counterparts.
Smaller footprint: requires only an average 4′ x 4′ space.
Built-in training functions and metronome.
Less stick wear.
Heads don’t wear down and need replacement unless the kit uses mesh heads. (Yamaha offers replacements for these.)

Things to Look for in an Acoustic Drum Set

1. Mass: A good drum has some weight and feels sturdy. If the drum feels light, the metal and shell is of lower quality. While such drums are not necessarily bad, they are typically harder to tune and tend to need to be replaced sooner.

2. Expandability: If your skills and/or enthusiasm (or that of your young drummer) grows in future, make sure you can add extra components and order individual drums in the same color as your current set. Ask what sizes might be available.

3. Substantial features for your investment: Good drums, heads and hardware can cost a bit more, but they will also retain their value and make it easier to trade up when you or your child are ready.

Things to Avoid in an Acoustic Drum Set

1. Metal corrosion and poor workmanship: Examine the drum shell inside and out. Pay attention to the appearance of the seams. Are they well-crafted and without flaws? Is the finish smooth, with no “bubbling”? If the work is sloppy, chances are you’ll spend more time repairing or replacing things than actually playing the drums.

2. A manufacturer that doesn’t stand behind their instruments: Research drum brands ahead of time. Look for those that have gotten good reviews from users and/or impartial journalists. Lofty features and marketing claims are hard to substantiate without reviews! Things can break and get worn, but quality endures and is reflected in the way the manufacturer is perceived in the marketplace.

Things to Look for in an Electronic Drum Kit

1. Sounds: There’s usually a direct relationship between the price of a module (the central “brain” of an electronic drum kit) and the quality and variety of sounds it offers. Top-notch modules include all the standard drum sounds you would expect, but also offer many other sounds such as bells, wood blocks and non-percussion instruments, as well as special effects. High-end modules also provide the ability to edit and create your own sounds, and in some cases, allow you to download your own samples. Modules with editing and download capabilities can cultivate creativity!

2. Preset patterns: Every module has a selection of preset patterns — typically, short two-bar phrases or drum parts related to specific drum kits or musical styles. As mentioned earlier, these can be valuable learning tools, as well as a source of inspiration in creating your own unique drum parts. Many modules include full play-along tracks for both fun and practice.

3. Connectivity and expansion: If you plan to expand your electronic kit with more pads and triggers in the future, be sure the module has enough connectors to allow this. A USB port lets you send MIDI data to external PCs, digital audio interfaces and workstations, giving you access to a wide range of music software. Inputs for connecting multiple types of audio players (such as smartphones, tablets and CD players) let you practice and play along with your favorite music. Multiple outputs that can send your performance simultaneously to a mixer and recorder can be useful in both live and studio settings. In addition, be sure that the outputs will support the type of amplification system you plan to use.

4. Apps, apps and more apps: Speaking of connectivity, ancillary mobile apps can make any electronic drum kit easier to use, which makes learning faster and playing more fun. That’s why it’s important to choose an electronic kit that’s compatible with as many apps as possible. Yamaha has developed several free apps for DTX402, DTX6, DTX8 and DTX10 Series electronic drum kits and DTX-MULTI 12 electronic percussion pads. In addition, specialty apps like Yamaha Rec’n’Share can be used to capture the audio from any of those kits or an EAD10 electronic acoustic drum module and combine it with video taken with a smart device. The user can then download their performance and share it on social media, or send it to friends in a text or email. Want to learn more? Read our blog “Three Ways That Apps Can Help Your Electronic Drumming.”

5. A module “head” that is simple to use and sounds good: It should also allow you to download new kits and customize existing kits with fresh sounds and capabilities. There’s no better way to stay engaged!

6. Pads that are sturdy and have a good feel when played: There are several types of drum and cymbal pads available. When choosing, look for a good feel that pairs well with the sounds of the module. You can have a very good pad and an average module — or vice versa. Rubber pads are generally used in less expensive starter electronic drum kits, although some may offer mesh or foam. The pads you choose should have some give, but not too much rebound or bounce.

7. A rack that has sufficient weight to keep things in place yet is easy to adjust: The mounting hardware of your electronic drum kit should make it easy to keep components in place, using a standard drum key or knobs that stay tight.

8. Durability: Anything you hit with a stick should have some mass — and should feel sturdy.

Things to Avoid in an Electronic Drum Kit

1. A module with significant limitations: If it doesn’t allow you to personalize the feel of the kit or limits the number of pads you can add (due to only a few or single-zone inputs), keep looking.

2. A module that has poor sounds: Unlike acoustic drums, you can’t fix the sounds of an electronic drum kit with well-placed tape or muffling.

3. Pads that feel too hard: This can cause fatigue.

4. Pads that feel flimsy: Typically, these will not hold up under normal playing conditions — especially at the hands of a child.

5. Pads that are too bouncy: These can make transitioning to an acoustic drum set difficult.

Cost Versus Quality

Whether you’re shopping for acoustic or electronic drums, you’ll find that the market is full of affordable options. But remember, you or your child will be physically hitting the drums and many cheaper kits will fail over time due to heavy use, so make sure you look for a drum set that is robust, even if it costs a little extra. In addition, more expensive electronic drum kits feel more realistic and offer larger playing surfaces similar in size to those found in an acoustic drum set. Whichever way you go, starting with good quality instruments will make the experience more enjoyable — and can save you money down the road.

For more information, check out our three-part blog series, “So Your Child Wants to Learn to Play Drums”:

Click here for Part 1

Click here for Part 2

Click here for Part 3

Click here for more information about Yamaha drums.

Advocating for Funding for District-Wide Music Events

Written by Dr. Gene Butler on December 10, 2025. Posted in Funding.

I work in Lee County School District in Alabama where the band programs do not receive a budget from the school or the school district. We rely on fundraisers and student fees. Our school district is in mostly rural areas where there is only one traffic light per town, so it is important to keep costs low. With higher band fees, we limit the number of students who can afford to be in our programs. All the band directors in our school district are constantly looking for ways to fund our band programs. Below are some ways we have worked with our school district to advocate for funding to support the music students system-wide.

budgeting paperwork and magnifying glass on table

ESSER Funding

Even though our band programs do not receive a budget, we have found ways to work with our school district to get funding for district-wide band events and initiatives. Our first significant success came through the Elementary and Secondary School Emergency Relief (ESSER) federal grants, which were created during the COVID-19 pandemic. The process was not overly hard, but it was long. Although this level of federal assistance is unlikely to happen again, I will share how we obtained the funding.

It began with seeing the articles written by associations where music programs could benefit from ESSER funds. The band directors in our district came up with a comprehensive plan tied to the parameters of the funding. This plan was sent to our central office, but we received no response.

Then, the January before the funding had to be sent back to the federal government, an email was sent from our district central office to all teachers inquiring about ways to spend the remaining funds. At that point, we simply copied and pasted the plan we came up with months ago. To our surprise, two weeks later the central office set up a meeting with the district band directors. After the meeting, we finalized our full plan requesting over $1.2 million across the district. To our surprise, our full plan was accepted

Furniture = $15,000
Instrument Test Kits = $7,000
Sonic Cleaning = $26,000
Instruments = $1,226,000
Summer Music Camp = Additional ESSER Funds
Honor Band = Additional ESSER Funds

Lee County's summer band camp's trumpet class

Summer Enrichment Band Camps

One of the initiatives developed during our ESSER funds planning was a summer enrichment band camp. We came up with a way to hire staff for camps in June that were tied to summer school. By connecting the band camp to summer school, we ensured that students received transportation to and from school and free breakfast and lunch. Instead of having to find funding for each school to have a camp, we decided to have one camp at a central location. This was the first time our band students studied and played together across the school district.

Currently, the camp has three segments that run at different times. A beginning band camp is for students with no prior band experience. The middle school camp and the high school camp include large rehearsals and small-group instruction for like instruments. There is no cost to the students for summer enrichment band camps.

Lee County's summer band camp's students interacting during lunch

The first two years of the summer camp were funded through ESSER grants. Knowing that the ESSER funds would soon be gone, we constantly advocated our central office to keep funding this event. We are very fortunate that our central office sees the benefit of our programs and agreed to continue funding the summer cap as a budget line item for future years. Due to a change in summer school, meals are no longer provided nor is transportation back to the student’s home school. However, the camp is still free to students and includes instruction, music, materials, T-shirts and shuttle buses from their home school to the central campus.

Honor Ensembles

Similar to the summer enrichment camps, the honor ensembles were funded through ESSER grants, which meant that all costs were covered by our central office. The first year, we had honor bands for middle school and high school. Knowing that this event was only funded for one year, we had to ensure that the ensembles had strong representation from every school, which we knew was the best way to advocate for future budget-line funding. We heavily leaned into the fact that the summer enrichment band camps and the honor ensembles were the only opportunities for students from different schools in the district to learn and perform together.

After that first year of ESSER funding, we succeeded in securing funding for the middle school and high school honor bands. Then, we advocated and received additional funding for an honor choir, which started in the third year. Currently, we accept all students who apply to the honor ensembles. Our philosophy is simple: Anyone who wants to participate should have the opportunity. While this has resulted in very large ensembles, we are committed to maintaining this inclusive approach.

Advocate for Continued Funding

Securing funding for music programs requires persistence, creativity and a willingness to advocate repeatedly, which includes continued advocacy after receiving the initial funding. I have been told “no” way more often than “yes.” Throughout our experiences with ESSER funding and district support, we learned that advocacy is an ongoing process of demonstrating value, building relationships and showing how music programs strengthen the school district as a whole.

When our summer enrichment camps and honor ensembles were first funded through ESSER, we knew that federal funding was not going to be the forever solution. We used those initial years to show how impactful district-wide music collaboration could be. We aimed to ensure strong participation from every school and designed programs that were accessible and educational. We created a model that our central office could clearly see was worth sustaining after federal funding ended. This approach helped turn ESSER-funded events into recurring budget items.

Continued advocacy also meant staying engaged after initial funding. We regularly communicated with our central office by highlighting student successes and demonstrating how these events supported district goals. We invited central office staff to the band camp, honor band and honor choir performances. Our superintendent joined us for a day of learning trombone and percussion with the students. Each year, as the programs grew and more students participated, our case for sustained funding became stronger.

Advocacy is a continuous effort not a singular one. By remaining proactive, open to collaboration and having student-centered initiatives, we have been able to fund these events in a district with no built-in budget for music programs. The approach we took proved that meaningful funding is achieved not through just one conversation but through long-term commitment to speaking up for our students and music programs.

two students at Lee County's summer band camp holding French horns

Title Funds

The makeup of the schools across our district varies greatly in size and socioeconomic status. As a result, every school in our district receives Title IV, Part A funding. The amount and allowable uses differ from school to school. This presents an additional avenue for advocating for support within music programs. For example, one school in our district was able to use a portion of their title funding to purchase instruments for every student in its band program. This eliminates a significant financial barrier for families. Another school was able to acquire several larger instruments that would have otherwise been out of reach for the program.

The allocation of title funds is determined by our central office and each school’s principal. This means that consistent and purposeful advocacy is essential. Once again, clearly communicate how music education supports school goals, such as increasing student engagement, improving academic achievement and fostering a positive school climate. Our band directors have been able to help administrators see the value in directing these resources toward band programs, which has allowed us to build stronger and more equitable opportunities for students across the entire school district.

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Our process to secure sustainable support for districtwide music opportunities has shown that meaningful change is possible when educators stay united, persistent and student-focused. Even in a rural district with limited financial resources, we have proved that advocacy grounded in collaboration and clear evidence of student benefit can open doors that once seemed closed. While the absence of a dedicated music budget continues to present challenges, our collective efforts have resulted in lasting programs that enrich the lives and musical experiences of our students. As we move forward, we remain committed to secure funding for these events in the future. Our goal is to ensure that every student, regardless of background or ability to pay, can experience the community, growth and joy that our music programs provide.

Eight Great Tips for Learning Electric Guitar

Written by Mike Levine on December 10, 2025. Posted in Electric Guitars, Guitars How-to.

I first picked up an electric guitar when I was a teenager. I had already been playing acoustic for a couple of years, but there was something more exotic and powerful about the electric version of the instrument, with its switches, knobs and a sleek, colorful body. Once plugged into an amp, it could create an explosion of sound, power and sustain, making my acoustic guitar seem tame in comparison.

The transition wasn’t seamless, however. In fact, it took a while to get comfortable on electric. Although it shares many similarities with an acoustic guitar, its sound, playing feel and vibe are quite different.

In this posting, I’ll offer some tips and links that will help you make the transition more easily. Keep in mind that as a new electric player, it’s critical to learn solid fundamentals; otherwise, you can develop bad habits that will hold you back. The best way to ensure you’re developing those basic skills is to study with a guitar teacher. That said, there’s also a lot of good online content for learning.

(Note that this posting is written from the perspective of guitarists who play right-handed, because they’re the overwhelming majority. If you’re a lefty, simply substitute “left” when I say “right” and vice versa, when I’m talking about hands, arms or legs.)

1. GET COMFORTABLE HOLDING THE GUITAR

Holding an electric guitar when sitting is similar to the way you’d hold an acoustic, but the guitar body is usually significantly thinner.

As you can see in the picture below, the indentation at the bottom of the guitar should sit on your thigh, but the top of the guitar (the side with the strings and the fretboard) ends up closer to your body by virtue of the instrument’s thinner dimensions. The top of the guitar’s body leans against your chest, and the neck angles slightly forward and up a little.

A seated guitarist holding an electric guitar.

When performing on an electric guitar, however, you’re most often going to be standing up and using a guitar strap. The experience is somewhat different than playing sitting down, so it’s good to do at least some of your practicing standing in order to get accustomed to it.

The length of a guitar strap is easily adjustable. Shortening it raises the guitar, bringing it closer to your eyes and making it easier to see the frets.

A standing guitarist holding an electric guitar with the strap relatively short. — *Here, the strap is relatively short.*

However, many guitarists wear it lower, with the guitar’s vertical center approximately at stomach height, either because they find it more comfortable that way or because it’s considered more fashionable. For newbies to electric guitar, the most crucial factor in deciding strap height should be what’s most comfortable for playing.

A standing guitarist holding an electric guitar with the strap at standard length. — *A typical strap length.*

2. ESTABLISH GOOD HAND PLACEMENT

When you hold an electric guitar, your picking hand should angle down from the top upper right of the guitar’s body (from the player’s perspective) and hover above the strings somewhere between the two pickups. (On a three-pickup electric guitar, such as a Yamaha Pacifica model, you’d typically place your hand just in front of or behind the middle pickup.)

Keep in mind that a pickup’s location impacts significantly on the tone. The closer a pickup is to the bridge, the brighter it sounds, and the closer to the neck, the rounder it sounds. This principle also applies to where your right hand encounters the strings, regardless of whether you’re using a pick or playing fingerstyle. In other words, hand placement affects tone too.

As you get more proficient as an electric player, you may find yourself occasionally moving your hand closer or further from the bridge to alter the tone strategically. But as a beginner electric player, it’s best to find a comfortable spot and keep your strumming/picking hand there consistently.

A photograph showing typical hand positioning when playing electric guitar. — *For consistent tone, center your picking hand between the pickups.*

3. LEARN CORRECT FINGERING

Perhaps the most essential fundamental for an electric (or acoustic) guitarist to master is correct fingering when fretting notes and chords. To that end, it’s critical to involve your pinky when playing scales and chords. This might feel awkward at first, but it will get easier over time.

For scales, the concept of “one finger, one fret” is crucial. It means that, when in a given scale position, it’s most efficient to use the index finger over one fret, the middle finger over the next, the ring finger over the next one and the pinky on the last one.

In the fretboard diagram of an A-major scale shown below, the numbers refer to which fingers to use (1 = index, 2 = ring, 3 = middle, 4 = pinky). Notice the “one-finger, one-fret” concept is in effect here.

There are plenty of scale positions that cover more than four frets, such as the example below, where the first finger has to briefly move out of position for one of the notes. But the idea is to stick to “one-finger, one-fret” whenever possible.

You can find additional examples with fingering, as well as many other handy tips that also apply to electric guitar in this posting on learning acoustic guitar.

4. CHOOSE THE STRINGS AND PICKS THAT BEST FIT YOUR NEEDS

Guitar strings come in a variety of gauges (thicknesses) that affect both tone and playability. Guitars come set up for particular string gauges, but of course you can opt to put on different strings if you like (though that may require a new setup — see below).

Guitarists typically refer to their string sets by the gauge of the high-E string. So, for example, a “10s” set has a high-E string with a gauge of .010, a low E of .046, and the rest in between. Those are also referred to as “light gauge.” A “9s” set has a .009 high E and is often called “Extra Light.”

Choosing a string gauge involves a trade-off. The heavier (thicker) it is, the fuller the tone. The lighter it is, the easier it is to fret, and especially, to bend. The size and adjustment of the guitar’s neck will also impact the feel of different string gauges.

Because an electric guitar gets a good part of its tone from the amplifier, using thicker strings for tonal reasons is not as necessary, so electric players mostly go for thinner string gauges (8s, 9s or 10s) that make both fretting and bending easier.

A seated guitarist bending a string on an electric guitar. — *Lighter gauge strings are easier to bend.*

Strings don’t last forever and should be changed periodically. Otherwise, they lose brightness and slip out of tune more often. If you play regularly, you should change your strings at least once a month.

If you decide to switch to different string gauges, you may want to have a guitar tech adjust the intonation (the guitar’s ability to play in tune across the neck) and action (string height). Even if you stay with the same gauge that your guitar came with, it’s good to bring it to a guitar tech every year or two for a setup, especially if it becomes difficult to play in tune at different frets.

Although some electric players use their fingers to pick the strings, most utilize picks. Typically made of nylon, picks come in three basic gauges: thin, medium and heavy. Thin picks bend easily and are best for strumming. Heavies don’t bend at all and are best for fast picking. True to their name, mediums are halfway between and suitable for all-around playing. Experiment to find the gauge pick that’s best for you. You can always change them!

5. DEVELOP YOUR OWN SOUND

One of the coolest aspects of being an electric guitar player is the virtually endless sound-shaping options available from a full electric guitar rig (guitar, amp and effects), or from a digital equivalent. The musical style you play will likely influence some of your tonal choices. For example, the typical jazz guitar sound is clean, while rock tones tend to be at least somewhat distorted.

But before even considering how amps and effects can impact your tone, explore the wide range of sounds your guitar offers on its own. The first stop for tone adjustment is the guitar’s pickup selector switch. It lets you choose which pickup or combination of pickups is active. As a general rule, double-coil pickups (also known as “humbuckers”) sound thicker than single-coil pickups. As mentioned previously, pickup placement affects tone: the neck pickup is brightest, and the bridge pickup is the most round-sounding.

In the following audio examples, I play the same passage on the neck, middle and bridge positions of the five-way pickup selector switch of a Yamaha Revstar RSS02T electric guitar, which has single-coil pickups. Notice the tonal change as I do so.

All electric guitars have control knobs: two that you’ll always find are a master tone and a master volume. (Some three-pickup electrics have an additional tone knob.) On a two-knob guitar, the tone knob sets the guitar to its brightest setting when turned fully clockwise and its warmest setting (for the roundest tone) when turned fully counterclockwise.

A hand turning the tone control on an electric guitar. — *The tone knob lets you easily roll off the high end.*

The volume knob adjusts the guitar’s output level. The highest setting sends the hottest signal, which drives outboard gear like amps and effects harder and offers the most sustain. As a result, rolling off the volume knob slightly can clean up the sound, which can be handy when finishing a solo and switching to a rhythm part.

6. FIND YOUR FAVORITE EFFECTS

Guitar effects, most commonly found in pedal form (“stompboxes”), allow you to shape your tone in creative ways.

Ambient effects, such as reverb and delay (sometimes called “echo”), add space and dimension to your sound. Reverb, which is often built into guitar amps, simulates how sound bounces around in a room or larger space.

In this audio clip, you’ll hear a rhythm guitar part with no reverb.

Here’s the same part with some subtle reverb added:

Delay simulates the discrete echoes you hear in a large space, and you can adjust the speed, the number of echoes and more to fit the music you’re playing. Here’s a lead line with a long delay added, more as a rhythmic special effect than to add ambience.

Distortion effects alter a guitar’s tone by adding grittiness, fatness and sustain. One way to get it is to overload a tube amp’s input. But even if your amp is only capable of clean tones, you can distort your sound with pedals. You’ll find many flavors of distortion effects, designed to mimic the effect of overdriven tubes, broken speakers and more. They use different technologies, but all cause the sound to break up.

In the following three audio clips, you’ll hear the same passage, first clean through an amp, then with overdrive added and finally with fuzz instead of the overdrive. All three also have reverb.

Other effects, such as chorus, phaser and tremolo, subtly modulate the pitch, level (or both) of the sound. The following audio clips feature the same musical passage — the first time with no modulation effects, the second with chorus, and the third with a phase shifter. All three have reverb as well.

Pitch effects such as pitch shifter and octaver (which is really just a pitch shifter set to go up or down octaves) change the pitch by specific intervals and allow you to mix in the shifted and original note to create harmonies. In this next audio clip, an octaver creates a much bigger sound by adding an octave below the original.

There are also filter effects like “wah”, as well as EQ pedals for changing tone and tuners for tuning your guitar. A tuner is a must-have effect for every guitarist. Typically, it lets you mute the output so the audience doesn’t have to hear you tuning, and uses a visual display to guide you as you turn the tuning pegs on your guitar to the correct pitches.

7. CONSIDER A PEDALBOARD FOR YOUR EFFECTS

If you’re thinking about performing or rehearsing with a group, or you just want to experiment with more than one effects pedal, a pedalboard of some type will be beneficial. It’s a flat, rectangular board, usually angled up on the end facing away from the guitarist and equipped with a power supply to run the pedals.

You can buy a purpose-built pedalboard in a variety of sizes, many with the power supply built in, which you can then populate with individual effects pedals. Alternatively, you can go DIY and make your own board using a piece of plywood and attach a separate power supply along with the pedals. (Tip: Velcro works well for attaching gear to your board.)

Another option is a self-contained multi-effects unit, such as the Line 6 POD GO. The advantage of these devices is that they’re loaded with many effect choices in every category, are digitally controlled, and allow you to save custom effect settings and combinations.

A guitar footpedal and effects processor. — *The Line 6 POD GO is a self-contained multi-effects pedalboard.*

8. FAMILIARIZE YOURSELF WITH THE PARTS OF THE ELECTRIC GUITAR

When other guitarists, guitar teachers or online postings and videos mention certain parts of an electric guitar, you’re going to want to know what they’re referring to. Therefore, it’s essential to learn the names of the various parts and controls on the instrument. Here’s an illustration that shows the main ones:

A diagram showing the main parts of an electric guitar. — *The parts of an electric guitar.*

Once you’re comfortable with the basics of playing and the gear you’ll need, you’ll find that electric guitar is not only fun to play, but offers incredible potential for creativity, both in technique and sound. So what are you waiting for? Grab a pick and start playing!

All audio examples played on a Yamaha Revstar RSS02T electric guitar.

Make Yourself Heard: Blog Holiday Gift Guide

Written by Yamaha Corporation of America on December 9, 2025. Posted in Gearguide.

The holidays are here! So if you’re ready to help your loved ones make themselves heard, here are some suggestions from Yamaha that are sure to please the musician or music lover in your life.

GUITARS

C40II Full-Size Classical Guitar

A smiling woman holding a small nylon-string classical acoustic guitar.

The C40II is the perfect starter acoustic guitar. This affordable full-size nylon-string classical model offers excellent tone and easy playability, with quality construction that ensures durability, making it a real bargain for beginners and budding guitar students alike.

GigMaker Deluxe Acoustic Guitar Package

An acoustic guitar with soft case, guitar strap, tuner and picks.

Our GigMaker starter kits incorporate everything you need to start playing immediately — a Yamaha guitar, along with a protective nylon gig bag, strap, digital clip-on tuner, and a supply of picks. The GigMaker Deluxe acoustic guitar package includes a premium solid-top steel-string FG800J guitar for superior tone and projection.

Revstar RSS02T Electric Guitar

Inspired by iconic café racer motorcycles, Yamaha Revstar electric guitars are sure to help the guitarist in your life stand out from the crowd. They have chambered mahogany bodies, rosewood fingerboards, jumbo frets and gloss finishes — even ivory-colored tuners that complement the unique headstock shape. With its custom tailpiece and dual P90-style single coil “soapbar” pickups (nicknamed because they look like bars of soap), the RSS02T model has a distinctive “old-school” vibe. It offers five-way pickup switching and a Focus Switch push/pull tone control that adds a passive boost similar to that of overwound pickups. Plus, four new color options were just added, giving the Revstar line a more striking look than ever.

Pacifica Standard Plus Electric Guitar

Yamaha Pacifica guitars have long been renowned for their versatility, making them a favorite among top session players and one of the most popular electric guitars worldwide. The newest line of Pacificas released in 2024 raised the bar further still, utilizing advanced technology that incorporates 3D modeling to maximize body resonance, along with Reflectone pickups co-developed with famed audio manufacturer Rupert Neve Designs. The Pacifica Standard Plus model delivers impressive tonal balance and a smooth sound. It’s available in several different finishes and has a comfortable contoured alder body and a slim, C-shape maple neck with medium frets and a rosewood or maple fingerboard.

TRBX304 Electric Bass Guitar

A green four-string electric bass guitar.

Yamaha TRBX basses are high-quality yet affordable. The TRBX304 model has a sculpted, ultra-comfortable solid mahogany body and a five-piece maple/mahogany neck for strength and stability. Active EQ circuitry, coupled with dual ceramic humbucking pickups, enables you to easily dial in a wide range of stage-ready tones. There’s even an EQ switch with five presets so you can instantly go from locking in with the drummer to taking a solo, or from playing slap bass to using finger or pick technique.

KEYBOARDS

EZ-310 Portable Keyboard

A small white portable keyboard with lighted keys.

The Yamaha EZ-310 Portable Keyboard is an extraordinary beginner’s keyboard that has 61 lighted, touch-sensitive keys for easy learning and dynamic playing. Even if you’ve never touched a keyboard, the EZ-310 makes it simple to start with keys that literally light your way — no need to read music, just follow the lights! It comes with over 150 songs that you can learn step by step, at your own pace. You can also select from a menu of hundreds of musical instrument Voices that sound stunningly realistic.

P-145BT Portable Digital Piano

An 88-key digital piano in a black casing.

The P-145BT Portable Digital Piano has 88 weighted keys and is designed for easy playability. It offers Bluetooth^® audio and ten different Voices, including strings, electric pianos, organs, harpsichord, and vibraphone, as well as the sound of a Yamaha concert grand piano, with a damper resonance function that reproduces the rich sound you hear when pressing the damper pedal. And, since this is a digital piano, it doesn’t require tuning!

SEQTRAK Mobile Music Ideastation

A compact gray and orange music creation station with various knobs and switches.

SEQTRAK is a music creation station that allows you to capture ideas quickly with its lightning-fast, all-in-one system that includes drums, synths, sampling, and sequencing, all packed into a portable lightweight design. With SEQTRAK, you can easily create original music, then refine it with deep editing using a free smartphone app. You can also quickly shift octaves while playing, perform quantized transitions and extend pattern length — even use external MIDI devices to trigger animations, adding dynamic visuals to your performances. And when you’re ready, you can share your sounds, collaborate with other artists, and connect with fans around the world using SEQTRAK’s powerful performance features and video creator.

DRUMS

FGDP-50 Finger Drum Pad

A set of electronic finger drum pads with lighted switches in a black housing.

Yamaha FGDP Series electronic finger drums allow anyone to drum with their fingertips, anywhere, any time — no drums, no sticks needed. The FGDP-50 provides 18 ergonomically designed pads and eight assignable RGB pads loaded with 48 preset kits and 1,500 drum, percussion and instrument samples, as well as an internal speaker and a USB terminal that allows you to capture your performances and play music stored in a connected flash drive. There’s even an auto-accompaniment function that plays bass, guitar and other instruments alongside your performance. The FGDP-50 is an all-in-one solution that makes it easy to play any genre of music with more expression.

DTX6K5-M Electronic Drum Kit

An electronic drum kit with four drum pads, three cymbal pads, a high-hat, and a bass drum beater.

Housed within a rack system that enables a wide variety of configurations and additional components, the DTX6K5-M is an excellent choice for drummers looking for a kit that grows with their musical progress. The four tunable REMO two-ply mesh heads provide playing surfaces with outstanding noise reduction, durability and feel when hit. The snare pad features three sensors that precisely respond to delicate stick work, and the three-zone cymbal pads offer independent edge, bow and bell triggering, as well as choke and mute functionality. And the powerful DTX-PRO “brain” delivers standout sounds across many musical genres, while providing vital practice functions.

Stage Custom Hip Drum Kit

A four-piece drum set with a bass drum, snare drum, tom-tom, floor tom, high-hat and two cymbals.

The Stage Custom Hip drum kit has a small footprint that makes it ideal for teaching, rehearsal, recording, and performing in tight spaces such as small club venues or home studios. Its dimensions reflect its compact design: a punchy 20″ x 8″ bass drum (suitable for use on its own or even as a subkick for larger bass drums); a 13″ x 5″ snare drum; a 10″ x 5″ tom-tom; and a multi-use 13″ x 8″ floor tom, which provides a snare bed with an on/off throw that allows drummers to bring different styles of playing to life. It’s portable and lightweight too: in fact, the entire Stage Custom Hip drum set can easily be packed up in a single over-sized bass drum bag.

Tour Custom Drum Kit

A five-piece drum set with a bass drum, snare drum, two tom-toms, floor tom, high-hat and three cymbals.

Designed for the working drummer, Yamaha Tour Custom drum kits are used by some of the world’s top touring artists. They sound great and play well in any musical style, with all-maple drum shells that provide a warm, bright tone. Tour Custom drum kits are available in six different size variations and five different satin lacquer finishes, all with an extra thin coating that maximizes the resonance of the maple wood. In addition, the included Yamaha Enhanced Sustain System (YESS) mounts are designed to minimize contact between the shell and the mount to deliver a wider dynamic range and longer sustain.

EAD10 Electronic Acoustic Drum Module

A module on a stand beneath a high-hat and next to a red drum kit.

The EAD10 instantly transforms any acoustic drum set into a hybrid kit. Simply mount its sensor unit (which contains a pair of high-quality condenser microphones and a kick drum trigger) on the bass drum hoop. The microphones capture the entire kit, and the kick trigger can play any of the hundreds of drum or percussion sounds built into the EAD10 module. In addition, multi-zone snare and tom trigger inputs on the module can accept the output from a clip-on drum trigger or drum pad, making it possible to layer electronic sounds with the acoustic sound of the drums, or to expand your acoustic kit with electronic percussion, cymbals, or effects.

WINDS

SILENT Brass^™System

Young man playing a trumpet with a electronic mute.

Kids love playing brass instruments like trumpet and trombone, which is why they are among the most popular instruments in school music programs. But, as every parent knows (or eventually finds out), brass instruments can be very loud when you get up and close and personal. Yamaha provides the perfect solution with its revolutionary SILENT Brass system, which consists of a specially designed mute fitted with a pickup that connects to a small electronic “personal studio” unit that clips onto the player’s belt. Versions are available for trumpet, cornet, Flugelhorn, trombone, French horn, euphonium, and tuba. A great gift for kids and parents alike!

YDS-120 Digital Saxophone

Our YDS-120 digital saxophone makes sax playing more accessible than ever before. It eliminates restrictions on where and when you can play, while offering the same tonal diversity, deep low notes and delicate highs of an acoustic instrument. It comes loaded with 56 soprano, alto, tenor, and baritone saxophone Voices, plus an additional 17 non-sax sounds — all delivered with the variety of expression only a saxophone can provide. It’s easy to play, too, with the same key configuration as an acoustic sax, plus a breath sensor that detects the pressure of your breath. The YDS-120 can be used with either a USB power source or with batteries, and it comes with a headphone terminal and an Aux in jack. It’s also fully compatible with a free smartphone app (requires connection with USB cable to device) that further expands its performance with intuitive instrument settings and sound editing.

YDS-150 Digital Saxophone

A large digital saxophone with a gold bell.

The YDS-150 digital saxophone allows anyone to play the saxophone anytime, anywhere. Though it has a lot in common with acoustic saxophones, it offers numerous innovations such as silent practice capability and 73 preset voices that include both standard sax sounds and non-saxophone sounds. And with the use of a free smartphone app, you can control everything from pitch transposition to key response — even create custom sounds. Best of all, any beginner or pro can pick up the YDS-150 and make a great sound right away. It feels just like an acoustic sax since it uses a similar key layout, mouthpiece, ligature and a synthetic reed. And like an acoustic sax, it even has a brass bell that provides the player with physical feedback similar to that of an acoustic instrument.

AUDIO

True X Speaker 1A Portable Speaker

The size of the True X Speaker 1A may be small, but its expressive range is huge — in fact, this handheld powerhouse packs all the high-quality sound of a full-sized speaker into a small footprint. Its exterior design fits and enhances any interior, lending style and great sound wherever you go. And, since it’s wireless and has IP67 grade waterproof performance, it can be placed anywhere, even outdoors. You can pair the True X Speaker 1A with any Bluetooth device or use it with a Yamaha True X sound bar to add rear surround sound anywhere in your room.

YH-L500A Wireless Headphones

Grab some popcorn. There may be no better way to enjoy your favorite movies, TV shows and music this season than with YH-L500A wireless over-ear headphones. Featuring exclusive Yamaha Sound Field technology that immerses you in cinema-like sound, the YH-L500A can be paired with all your Bluetooth-enabled devices, including your phone, tablet, computer, or TV. It’s exceptionally lightweight too — only 9.3 ounces — and offers a fatigue-free fit, making it the perfect companion when you’re ready to do some serious binge-watching.

For more information about these and other great Yamaha music products, click here.

The Fastest Way to Improve Your Band: Hit Record

Written by Don Stinson on December 9, 2025. Posted in Teaching Tips.

You’re not lazy. You’re not missing something obvious. You just can’t catch everything in the middle of rehearsal chaos — and it’s hard to fix what you don’t hear. Here’s one small change that can make a big difference: Record your rehearsals.

Not to post for the public. Not to beat yourself up. Just to get a clearer picture of what’s really happening. It’s one of the fastest ways to improve your ensemble — and your teaching. I haven’t found anything else that gives more return on time.

cell phone secured in clamp, ready for recording

Step 1: Record Everything

Use your phone. Hit record. Don’t overthink it. Nobody sounds great at first. That’s not the point. You’re capturing what’s real so you can make better decisions, not just go off memory.

Try this tomorrow:

Set your phone on a stand or music stand.
Hit record during a full piece — or even just the first two minutes.
Drop the file in a Google Drive folder called “Rehearsal Logs.”

That’s it. You’re done. This takes less than a minute, but it instantly gives you another set of ears — one that’s not buried in a score or scanning for posture or making sure kids figure out the new digital hall pass. That outside ear will catch things you simply can’t in real time.

Yes, those first few recordings might be rough. The balance might be off. You’ll probably notice things you didn’t even know were issues. That’s the goal. Now you’re working with information, not assumptions.

male with ear buds holding notebook and pen

Step 2: Listen (But Not Right Away)

Don’t listen immediately after rehearsal. Wait until you’ve stepped away for a bit and your brain has had time to reset. On your first listen: Just press play. No score. No notes. Imagine you’re a parent in the audience. What sticks out? Then go back once more — this time, with the score — and jot down three quick things:

What sounded better than expected?
What clearly needs attention?
What’s missing that you thought was there?

That’s it. You’re not doing a deep dive — just a quick check-up. Resist the urge to fix every little thing. Focus on what’s actually worth your rehearsal time. We’re looking for consistent or repeated issues — not one-time flukes. If your euphoniums crack one note out of 90 — skip it. If your flutes are 20 cents flat for eight bars — that’s worth your time. This is what keeps this process useful.

Why you can’t hear it in the room: Sometimes directors feel bad that they can’t hear everything going on. This isn’t because you don’t know what you’re doing. It’s because you’re juggling a dozen things at once:

Taking attendance
Scanning for broken reeds
Fixing missing mallets
Watching posture
Fielding call slips
Answering questions about the bus on Friday
Tracking entrances while counting rests in your head

Meanwhile, your third clarinets are playing a rhythm that doesn’t exist. Even with great ears, you won’t catch it all. That’s not a skill issue — it’s an energy issue. Recording gives you the opportunity to hear what you missed the first time.

letter tiles spelling "to do" above a sticky note

Step 3: Use It to Plan

This is where your reflection becomes actionable. That 3-minute clip? That’s your next lesson plan. You don’t need a new rep plan or method book. You just need to respond to what you actually heard. Examples:

Balance issues? Adjust seating or mark in dynamics.
Sloppy cutoffs? Have students mark what beat to release on, and practice breathing to keep the volume strong throughout.
Dragging entrances? Rethink the count-in and isolate the transition.

Pick three things. Not 10. Just three. Write them down. Use them to start tomorrow’s rehearsal. If your next 10 minutes reflect what you heard today, you’ll start to hear changes — fast.

two students holding trumpets on lap during rehearsal

Step 4: Make This a Routine

Don’t treat this like a one-time tool. Make it part of your weekly rhythm. Keep it simple:

Record one full piece a week.
Label the file with the date and piece.
Set aside one short review block — 20 minutes or less.

One listen = three targets = hours saved. This turns “What do I fix next?” into “Let’s go after these.” It doesn’t feel good to guess. But knowing exactly what section to rehearse and then fixing a problem quickly? That’s when you move from a “let’s-run-through-it-again” teacher to an accomplished music director.

Yes, listening is uncomfortable at first. The first time I listened to a full rehearsal, I almost turned it off halfway through. Wrong notes. Strange phrasing. Long stretches of musical wandering. It made me question everything — my teaching, my ears, even my rep choice. I remember thinking, How did I not catch this in the room? But the recording wasn’t personal. It didn’t critique me. It didn’t talk poorly about me. It showed me what was actually happening. A musical lie detector, right in front of me. And this helped me to know what direction to take to begin fixing things.

someone holding cell phone and video recording band

Step 5: Try Video (Once Audio Becomes Easy)

Start with audio. That’s plenty. But once that’s part of your process, try filming one piece — especially something with transitions or heavy percussion. You’ll notice things you didn’t even think to listen for:

Are transitions actually working?
Who’s standing around?
Are percussionists reacting or waiting?
Are you stopping too much?
Are you doing more talking than teaching?

Five minutes of video will give you plenty of insight.

Before you start filming, 1) check your district policy, 2) get parent permission, if needed and 3) set up a tripod — the angle doesn’t need to be perfect. Then watch a short clip. No need to analyze every second — just let it play while you’re eating lunch or sorting music. This view may change how you rehearse!

violin students smiling during rehearsal

Step 6: Let Students Hear Themselves

Want to show progress? Record your group’s first sight-reading of a piece. Then wait. Six weeks later, play it back. Your students will laugh, cringe … then, they’ll listen and realize: Whoa, we actually sound better now! That kind of progress is hard to explain in words. So let the kids hear it for themselves. You only have to do this once for each concert cycle.

Bonus: What to Listen For

Here’s a fast cheat-sheet for playback:

Balance: What’s buried? What’s present? What’s a little too present?
Rhythm: Who’s ahead? Who’s late? Who’s not quite sure what they are playing?
Releases: Together or messy?
Energy: Where does the group start to fade? Are they finishing phrases, or are some sections only holding a whole note out for two counts, maybe three?
You: Are you over-explaining? Repeating yourself?

You’re not grading this. You’re collecting clues to make tomorrow’s rehearsal more focused.

You’ll Become a More Focused Teacher

Listening back gives you a second shot at what you missed. It lowers your stress, sharpens your priorities, and tightens your rehearsal strategy. And it helps you let go of the pressure to catch everything in real time. Because you won’t. Even seasoned veterans don’t hear it all. That’s okay. Now you’ve got tools that help you catch it later — and fix it faster. This isn’t some trendy hack. It’s not new. We’ve just avoided it because it feels a little uncomfortable. But try it anyway. That 30-minute listen might save you days of aimless rehearsal. And when you know what to do, you’ll feel better about yourself and make an even bigger impact on your students.

Man scratching his head looking at an oversized receiver.

How to Choose the Best AV Receiver

Written by Yamaha Corporation of America on December 8, 2025. Posted in Audio Gear Guides.

AV receivers act as the central hub in your home system and live up to the acronym in their name by supporting multiple audio and video formats. If you enjoy watching movies and television shows at home, they’re pretty much a necessity, as they do the important job of distributing video to your big-screen TV, monitor and/or projector, along with routing audio to your speaker system.

But there are so many models to choose from! How do you know which one is right for you? Here’s a guide to picking the best AV receiver for your needs.

I/O

The first question you should ask yourself when choosing an AV receiver is, “How many inputs and outputs will I need?” Modern AV receivers typically offer a wide variety of connectors, including one or more HDMI^® inputs for connecting video devices such as cable or satellite TV boxes, game consoles, Blu-ray™/DVD players and/or streaming devices such as Roku™ or Apple TV^®. There will also be a number of audio ins and outs, including speaker outputs for stereo and/or multichannel systems and possibly a dedicated phono input for connecting turntables — a must if you’re into vinyl. Don’t make the mistake of assuming that you’ll only need a handful of inputs and outputs; even if your current system is on the modest side, there’s a pretty good chance you may want to expand it in future. It’s always best to plan ahead, so that you don’t quickly outgrow the gear you buy.

As an example, the entry-level Yamaha RX-V385 AV receiver allows the connection of up to five speakers (front left, right and center, along with rear left and right) and a subwoofer for a total of 5.1 channels (the “.1” is the subwoofer). It also provides three analog audio inputs, three digital audio inputs/outputs and four HDMI video inputs, as well as an HDMI output.

The RX-V4A model offers similar I/O connectivity, but gives you the ability to add a second subwoofer so you can enjoy a 5.2-channel listening experience.

The mid-level RX-V6A expands on that further still by allowing you to connect two additional speakers for 7.2 channel playback, along with providing four analog audio inputs, a dedicated phono input and seven HDMI video inputs.

And then there’s the top-of-the-line RX-V8A, which provides full 11.2 channel playback, along with ten analog audio inputs, a dedicated phono input and seven HDMI video inputs.

Power Rating

The more power an AV receiver has (measured in wattage), the louder the playback can be. Having a receiver with an excess of power is generally desirable since it provides extra headroom, meaning that it can get a lot of loudness out of your system without having to be turned up very high, so there’s less chance of distortion. On the other hand, you don’t want the power rating to be so high that you run the risk of damaging your speakers.

The best rule of thumb is to match the power capacity of your AV receiver to that of your speakers as closely as possible. 50-100 watts per channel will provide more than enough volume for most home listening. (Bear in mind that wattage ratings are logarithmic, not linear, meaning that 100 watts is not twice as loud as 50 watts — in fact, it’s only slightly louder.) The aforementioned Yamaha RX-V385 offers 70 watts per channel; the RX-V4A offers 80 watts per channel; the RX-V6A offers 100 watts per channel; and the RX-V8A offers 150 watts per channel, making each of these models eminently suitable for most home theater applications.

Surround Sound Decoding and Processing Capability

Stereo may be fine for casual music listening, but if you want a true cinematic experience when watching your favorite movies and TV shows, you’ll definitely want to opt for a surround sound system. This means that your AV receiver will have to have multiple speaker outputs (as the RX-V385, RX-V4A, RX-V6A and RX-A8A all do, as noted above) and it will also need to be capable of decoding the various surround sound formats commonly used for streaming audio and video.

These formats include Dolby TrueHD^®, Dolby DigitalPlus^® and DTS-HD Master Audio™ — all supported by the RX-V385, RX-V4A,RX-V6A and RX-V8A; the latter two also provides support for DTS:X™, Dolby Surround^® and Dolby Atmos^®. (The RX-V6A and RX-V8A even offer Dolby Atmos Height Virtualization technology for the extra envelopment of height channels … but without having to add any additional speakers.)

Audio processing (sometimes called DSP — short for “Digital Signal Processing”) is utilized by most contemporary AV receivers to enhance audio signals in a variety of ways, including being able to isolate dialog so that you can make it louder or softer without altering background music and/or sound effects. Technologies such as Yamaha SILENT CINEMA (offered by the RX-V385, RX-V4A, RX-V6A and RX-A8A) can also simulate various sound spaces when listening with headphones, optimized for a variety of categories in both video and music — for example, Adventure, Drama, Sci-Fi, concert hall, club, or small room. If you only have stereo speakers, you can simulate surround sound with the Virtual Cinema DSP feature offered by many Yamaha receivers, including the three models discussed here.

DSP can also be used to automatically adjust dynamic range — the difference between the loudest and softest sounds. In Yamaha AV receivers such as the RX-V4A, RX-V6A and RX-V8A, this is called Adaptive DRC (Dynamic Range Control). It’s especially important when connecting gaming consoles to an HDMI input on your AV receiver, since it will ensure that, whatever game you’re playing, the volume doesn’t exceed an optimal listening level during the loudest moments.

Wireless Connectivity

It’s important for an AV receiver to be able to connect to the internet via your home network — in fact, it’s a necessity for streaming online content. A network connection also lets you access music libraries and other content you have on your mobile devices or home computers. Many contemporary AV receivers, including the Yamaha models described here, provide Bluetooth^® support, allowing you to stream music wirelessly from smartphones, tablets, laptops and other devices into your receiver and then route it to your speakers.

In addition to Bluetooth, the Yamaha RX-V4A, RX-V6A and RX-V8A offer numerous wireless streaming options, including Wi-Fi, AirPlay 2^® and Spotify Connect. These allow you to easily listen to your favorite music on services such as Pandora^®, Spotify^®, Amazon Music, SiriusXM, TIDAL and Deezer. They also provide support for Yamaha MusicCast multi-room technology, which enables you to control all functions remotely from a free app, as well as giving you the ability to connect optional wireless surround sound speakers.

Some MusicCast-enabled AV receivers (such as the RX-V6A and RX-V8A) also provide support for multiple zones, meaning that in addition to your main listening room, you can also listen to the same, or a different, source in another room or zone. If, for example, your family room or home theater room is where your AV receiver lives, you can designate that room as your main zone and outdoor speakers on the patio as Zone 2, allowing you to easily send music from your receiver to the patio simply by pressing a few buttons.

Other Audio Features

Another important audio feature is eARC (short for “enhanced Audio Return Channel”), which you’ll find in all three of the Yamaha AV receivers described here. You may already be familiar with ARC, which allows audio to be sent from your TV to your AV receiver through the same HDMI cable that carries the video signal in the other direction, from your AV receiver to the TV. The “enhanced” part of eARC increases bandwidth, which allows the transmission of full high-res multichannel audio without downmixing the signal to two channels as a means to conserve bandwidth. In addition, eARC allows surround sound signal to be sent uncompressed to your receiver, so you can enjoy theatrical 3D immersive sound from movies offered by Netflix^®, Amazon Prime^® Video and many other streaming services. And because you don’t need extra wiring to get sound from TV-based apps to play through your receiver, you can use your smart TV as your main streaming video source and enjoy full surround sound through a single HDMI cable.

Some AV receivers, including the three models listed here, also allow you to automatically tune your system based on the acoustics of your room. In the case of Yamaha AV receivers, this technology is called YPAO (short for “Yamaha Parametric room Acoustic Optimizer”).

And audiophiles will appreciate the Pure Direct mode offered by many Yamaha AV receivers, including the RX-V4A, RX-V6A and RX-A8A. When engaged, it feeds sound directly to the onboard amplifier and bypasses any DSP processing that might otherwise color the signal, ensuring the best possible high-fidelity sound from all audio sources — even those coming via USB and HDMI inputs. The end result is a more realistic sound and a deepening of the listening experience, making it more enjoyable than ever.

Video Features

Of course, picture quality is paramount. If you have a recently purchased a big-screen TV or are planning on buying one in the near future, you’ll definitely want to pair it with an AV receiver that has the ability to send incoming video to your TV or projector in up to 4K resolution. Such is the case with all three receivers listed here. The RX-V385 also provides support for several enhanced video modes that offer even better picture quality, including 4K Ultra HD, HDR10, Dolby Vision, Hybrid Log-Gamma and BT.2020; the RX-V4A, RX-V6A and RX-A8A models up the ante with 8K HDMI passthrough and support for HDR10+, which delivers four times as much brightness as standard HDR.

Gaming Support

If you’re an avid gamer, you’ll want to choose an AV receiver that provides features specifically designed to improve the gaming experience, such as ALLM (Auto Low Latency Mode) and VRR (Variable Refresh Rate), both supported by the Yamaha RX-V4A, RX-V6A and RX-A8A.

ALLM, sometimes known as “gaming mode,” tells the receiver to turn off all of its video processing so that the delay (latency) to display gaming video is minimized. VRR gives the AV receiver the ability to automatically vary the frame rate to match the output of the onboard graphics processor (GPU). It enables more fluid and detailed gameplay by reducing or eliminating lag and judder — jittery images caused by upscaling to the 60 frames per second (fps) required by a 60 Hz television and above — plus it reduces or eliminates frame tearing, which occurs when the frame rate exceeds the monitor or television’s refresh rate.

The end result? More realistic visuals to accompany the great audio being delivered by your surround sound system. Game on!

Learn more about the Yamaha RX-V385, RX-V4A, RX-V6A and RX-V8A AV receivers.

10 Steps to Better Intonation (That Actually Work)

Written by Don Stinson on December 8, 2025. Posted in Teaching Tips.

Your group sounds off. Not painful — just not quite right. You tuned, you balanced, you begged them to listen, but it’s still muddy.

Remember your undergrad years? You probably took the ceremonial tuning pitch and then went on with rehearsal, adjusting as you heard something. But chances are, you didn’t start that way. You developed that skill over time.

The students in front of me may not be music majors, but they can handle playing in tune. They just don’t know what “in tune” sounds like yet. Your job? Show them, one step at a time.

1. Fix Tone First

First, you can’t tune a bad tone. So, if you have trumpet pinching, airy flute sounds, thin violin tones, stuffy clarinets, etc., work on tone first. I know you want to get right to playing in tune, but we cannot skip this step. It will only lead to frustration for everyone within a five-foot radius of your group. That means long tones, breathing work, mouthpiece or headjoint exercises. Whatever gets you to a clean, focused sound.

In my room, we do tone work every day. It’s not always fun or interesting, but it’s the core of our foundation. Occasionally, I have skipped this at the beginning of rehearsal. After 15 minutes, I realized the errors of my ways, and we do what we should have done at the beginning of class: long tones, lip slurs and chromatics.

Reminder: The more characteristic the tone, the easier it is to match. You cannot tune a bad tone.

2. Start With Unison. Period.

Okay, now our trumpets sound like trumpets — we have a good tone. So, let’s move slowly. Don’t start with chords. Don’t start with intervals. Just pick one pitch and get the group to match it together. For bands, concert F and concert Bb are solid choices — familiar, stable and all over your repertoire. For string players, pick any of your open strings.

If it sounds like chaos, it’s not an intonation issue — it’s a control issue. Stay here until it locks in. Some days this takes two minutes. Other days, it takes 15 — and I fight the urge to move on because when we stay here and it clicks? It changes everything.

Goal: A consistent pitch students can hold, hear, and match. Blending comes before balance.

3. Use the Tuner

“You use tuners? Ever heard of ‘listening’?” I heard this from a band director as we sat in a director’s lounge at a conference. This director clearly did not approve of any tuner use. The kids should simply listen and adjust. He was very clear that his kids did not use tuners. And I hate to say this, but when you listened to his group, you could tell.

If you’re reading this, chances are you have something in common with me: You have a music degree or two, and chances are, none of your students have a music degree. And this isn’t to say that a degree automatically gives you great ears, but it does assume some level of experience. What I’m trying to say is that your kids probably don’t even know what in tune actually is, and a tuner can help them experience this.

For ~~beginners~~ all students, the visual helps. They can’t fix what they can’t hear, and a tuner gives them something concrete to react to. I provide a clip-on tuner to every single student the first week of school. We then tune a unison pitch, usually concert F, so we can hear what in tune actually sounds like.

Tip: Pair a tuner with a drone. Eyes + ears = better results.

4. Stick to F, Bb and Open Strings

I mentioned this earlier but want to emphasize: Don’t overcomplicate tuning. Keep your tuning notes grounded in the keys your music actually uses. Focus on concert F, concert Bb or open strings — they’re everywhere in concert band and orchestra literature. I’ve seen tuning routines bounce between six pitches with no connection to the music. Keep it simple. Tune what your kids play every day.

Think: What do my students play every day? Tune that.

5. Teach Mouthpiece/Headjoint Pitch

For brass, we do quite a bit of buzzing to help students adjust pitch. All students, including percussion (timpani in particular), hum to help internalize pitch. For woodwinds, you can do mouthpiece “buzzing” as well, as long as you have them play to a specific pitch.

Quick references:

Clarinet (mouthpiece + barrel): concert F#
Flute (headjoint): concert A
Alto sax (mouthpiece): concert G or A (depending on experience)

The first time we tried this, it sounded like a bad New Year’s Eve party. Many students had difficulty adjusting their air, mouthpiece angle or embouchure to get the correct pitch. But after a few weeks, pitch was becoming solid, and students were stabilizing sustained pitches much easier.

Reminder: A good mouthpiece pitch sets the tone for the rest of the horn.

invisible man wearing trench coat and holding umbrella

6. Teach Them to Disappear

Every time I tell a kid to “lose yourself” for good intonation, I think of the Eminem song, “Lose Yourself.” I can’t put the lyrics here because it has bad words in it. This is just one of the things that goes on in my head during rehearsal (I’m sure you have your own idiosyncrasies …).

Anyway, kids may ask, “If I can’t hear myself, am I playing?” The answer is “Yes, and it probably means you’re doing it right.”

The goal of tuning isn’t to hear yourself better. It’s to blend into the group sound so well that you’re not sure which part is yours. It’s uncomfortable for kids. Some think if they’re not cutting through, they’re doing it wrong. But remind kids often that if it sounds weird, like you’ve lost yourself, that’s good!

Teaching line: “If you’re hearing everyone else more than yourself, that’s a good sign.”

7. If It’s in Tune, Don’t Touch It

Sometimes, things will just be in tune. Not always, and maybe not even that often, but when this happens, leave it alone. If the pitch is solid, leave it. You can acknowledge it, praise your students, but if ain’t broke, don’t fix it just to feel useful.

Rule: Only adjust if you’re sure it needs adjusting. Otherwise, let it go.

8. Try Player Adjustments Before Moving Equipment

After making sure that the tuning slide or headjoint is in the right place, try these fixes:

Adjust space in the mouth — spread the teeth
Raise or lower the tongue
Adjust the embouchure shape

These micro-adjustments give students control and help them learn to self-adjust by feel. You can also incorporate these in the warm-ups. Try a descending concert F Remington-style warm-up. Go from F to E natural, but instead of fingering for the E natural, have students (brass players in particular) bend the pitch down. This is a great way to work on adjusting for intonation.

Quick guide: Pitch is flat? Raise your eyebrows up. Pitch is sharp? Frown. Simple but surprisingly effective.

9. Move to Fifths

Once unison is locked in, start building interval awareness. Perfect fifths are stable, forgiving, and fairly easy to adjust in tune once you have a solid unison foundation. Ultimately, we’re trying to eliminate any waves in the sound. For fifths, you can tell students to raise their eyebrows up, and this is often enough to get this the 2 cents sharp it needs to be in tune with the root.

Remember Step 7. Why? Because a lot of instruments play sharp. If your root is in tune and a student plays a fifth a little bit sharp? Leave it alone.

10. Then Teach Chords and Harmonic Roles

Once your ensemble can match pitch and blend intervals, you’re ready for chord tuning. Start small:

Identify roots, thirds and fifths
Assign roles clearly
Balance around the root
Explain how the third may need to sit slightly lower (and be about 20% quieter).

If you don’t spell this out, students will just guess, and guessing leads to waves in the sound, which leads back to a muddy sound. Use a drone or keyboard to model it first. Let them hear what “in tune” sounds like before you ask them to create it.

Say this: “Let’s hear what the chord could sound like. Then we’ll try to match it.”

Bonus Tool: Use a Harmony Director

The Yamaha Harmony Director (or any drone keyboard) makes tuning real. Use it to:

Sustain reference pitches
Demonstrate just-intoned chords
Train inner voices to adjust
Confirm your own chord analysis

The first time I used one, I had no clue what half the buttons did. It still made a big difference. I played a pure chord, had the group match it, and they could feel it lock in. That made me a fan. If you’re unfamiliar with the Harmony Director, take a look at the various YouTube videos available demonstrating its uses.

One Note at a Time

Your students won’t magically “get” tuning. Neither did you. And yes, they need reps, but most importantly, they need a system. So, start small. Pick one pitch. Get it stable. Build from there. Ultimately, intonation is about helping students care about what they hear and giving them the tools to change it.

Classroom Management: Build a Positive, Student-Centered Environment

Written by Dr. Gene Butler on December 7, 2025. Posted in Teaching Tips.

Managing a classroom requires more than expertise. You must also develop meaningful relationships with students, have strong organizational skills and provide clear expectations. A successful classroom or music program thrives when relationships and structure work together. As educators, our goal is to create a learning environment where every student feels supported, challenged and motivated. After this learning environment is established, you can begin meaningful teaching. Here are some strategies to build and maintain a positive, productive and student-centered classroom.

Relationships are the Foundation

Effective classroom management begins with relationships. Students will be far more engaged and responsive when they feel seen and valued. Take the time to get to know each student, which includes learning their name, interests, other activities and background. As you spend more time with students, learn about their favorite pieces of music or art, their personal goals and how they plan to improve. This will help build trust and rapport.

I had the pleasure of working with a small band program of 80 students in 5th-12th grades, and I was able to get to know my students very quickly. Currently, I oversee a band program of over 550 students in 7th-12th grades. When I started working with the larger program, it was impossible to immediately learn everything about my students. I was disappointed that I did not know my students as well. However, I was determined to glean this information about each student over their time in our program through daily greetings, check-ins and informal conversations. These interactions show students that they matter as individuals. When strong relationships exist, discipline and motivation will naturally follow.

Clear and Consistent Expectations

The backbone of a well-managed classroom is to set up students for success with clear and consistent expectations. It’s important to establish routines from the very first day, including warm-up procedures, instrument storage, transitions and rehearsal etiquette. At the beginning of the school year, students learn expectations for how to enter the classroom. If they do not enter correctly on subsequent days, they are all taken back outside the classroom to try again.

Expectations should be communicated verbally, visually and through modeling so students understand exactly what is required of them. Reinforcing these expectations regularly, even when things are going well, helps maintain predictability and confidence. Consistency reduces confusion, minimizes behavior issues and creates an environment where students know what to expect each day. Students are successful and thrive when they know the expectations. It is the teacher’s responsibility to ensure that students know the expectations and to hold them accountable.

teacher writes class rules on whiteboard

Plan for Consequences

Another essential element of maintaining structure in the classroom is to have a plan for consequences. This plan should be communicated to students at the beginning of the school year. Clearly defining what happens when expectations are not met ensures that students understand the boundaries of acceptable behavior. Consequences should be applied evenly and without emotion. It is vital that students understand there are consequences to their actions, and that consequences apply to all students.

You may choose to have a progressive system that begins with a verbal reminder, moves to a private conference, then parent contact and finally escalates to administrative support when necessary. My goal is to handle any form of discipline in the classroom. Administrators know that if I bring them a situation, then I have already followed corrective steps. Keep documentation of behavioral concerns in order to help you identify patterns, support interventions and aid in communication with parents and administrators.

Addressing Problem Students

Most classroom management issues will be addressed easily and quickly when you have relationships, clear and consistent expectations and a plan for consequences. However, there will always be that one or sometimes a handful of students who test the boundaries in your classroom. Addressing problem students requires patience, understanding and collaboration.

In the past, if I had an issue with a student, I would talk to their other teachers to see if they were having similar issues. These conversations helped me understand if this was an isolated issue in band or a larger issue. From there, I would choose my course of action with the student and parent.

As a young educator, I constantly had discussions with mentors on how to handle particular situations. Seeking advice from veteran teachers offers new strategies and different perspectives.

Other helpful tools include taking time to learn what motivates a student, what triggers frustration and where their strengths lie. This allows for more effective and compassionate intervention. Building a relationship before resorting to punishment ensures that students feel supported rather than targeted. Many behavior issues improve dramatically when students feel understood and valued.

An Organized Classroom

The physical organization of a classroom, especially a music classroom, plays a significant role in classroom management. A well-organized space with clear traffic flow, clear understanding of where all equipment goes and easily accessible materials minimize issues. In the event there is a problem, you will be able to get to the student quickly.

Teaching students how to care for the classroom fosters shared responsibility and pride in their environment. This is also a huge time-saver for busy teachers. When the classroom is orderly, rehearsals or classes run more smoothly, discipline issues decrease and students are more prepared to learn. A well-organized classroom also fosters the ability to use proximity control, which is a big help when managing individual student behaviors.

Differentiated Instruction

In a music classroom where students’ skill levels are varied, you must have daily differentiating instruction. We put students on different instruments or parts to meet the needs of that individual student. We are also encouraging to our top students to audition for honor bands or participate in solo and ensemble events. This allows the needs of all students to be met. Beginners to advanced musicians require different supports. Flexible grouping through sectionals, peer tutoring and student-led work encourages collaboration and ensures that every student receives instruction that matches their needs. Differentiation instruction keeps all students engaged and will minimize classroom behavior issues.

Positivity Makes a Difference

A positive atmosphere plays a critical role in creating a safe and welcoming classroom. Encouraging students during rehearsals, celebrating growth and recognizing character as much as talent helps build confidence and motivation. We tell our students that they cannot be a good musician without being a good person first. That is a fundamental character trait we expect from our students. Positive reinforcement in the classroom increases student buy-in and creates a space where students feel safe taking risks and pushing themselves. When students feel supported, they work harder and achieve more — and there are fewer classroom management issues.

Positive Feedback to Parents and Celebrate Student Accomplishments

Positive communication with parents strengthens the partnership between home and school. Reaching out through email, phone calls, the school portal and quick shoutouts after concerts help parents stay connected to their student’s progress. In addition, this communication builds trust in you and the program. Positive communication ensures parents hear from you even when everything is going well, and not just when there is a concern.

Celebrating student accomplishments fosters pride and strengthens the culture of the program. Recognizing achievements such as All-State selections, solo and ensemble success, leadership roles or personal improvement encourages students and builds enthusiasm within the program. Sharing this information through emails, social media or website posts showcases the success of the student and positive visibility of the program. Celebrating these accomplishments reinforces the value of hard work and determination to all your students.

By creating a consistent, positive culture rooted in relationships and consistency, educators can build classrooms where every student has the opportunity to succeed!

music educator talking to percussion student

10 Questions I Ask Before Programming a Piece

Written by Don Stinson on December 5, 2025. Posted in Teaching Tips.

You thought it was the right pick because another director recommended it. The reference recording sounded great. It checked a lot of boxes — playable ranges, solid pacing, even that “Editor’s Choice” distinction online. But three weeks in, and you have to admit to yourself that it’s just not working.

The low reeds are bored. The flutes just can’t quite get that section. The percussionists are making up parts. You’re managing more than you’re rehearsing — and worse, nobody seems to care. In fact, whenever you announce the piece, the kids groan.

You start asking yourself: Did I choose this piece because it fits my students or because I didn’t ask the right questions?

Like most of us, I used to pick music by scrolling publisher catalogs and listening to recordings late at night. I’d get excited by familiar names, clean recordings and that magical “Editor’s Choice” badge. But I was really listening for something else: The version of the group I hoped I had. If kids practiced, if everyone showed up and if they could just sound like the reference recording, this piece would be perfect. I was already warned by my mentors to teach the kids in front of you, and not the kids you “wish” you had. Otherwise, you’re just wasting everyone else’s time.

Now, before I pick anything, I ask these 10 questions.

1. Does this match where my students are right now — not where I wish they were?

When you program from a who-is-in-front-of-you perspective, rehearsals feel productive. It doesn’t mean you have to pick easy music, but you do have to know what’s attainable for the group in front of you today.

If the trumpets are 75% freshmen who picked up the instrument last fall, I’m not choosing the same opener I used when I had five all-staters — no matter how much I love how the piece sounds.
Even if a piece could be a great stretch eventually, I’d rather pick something one tier down and actually teach it well. There is nothing wrong with underprogramming and overperforming.

2. Does every section have something meaningful to do?

When a third of your ensemble is counting measures or stuck on two-note lines, they check out (every percussionist who’s ever “performed” on a ballad is nodding right now). Kids don’t join music to sit. Sure, you can have features and solos but make sure to balance your program to ensure everyone has something to work with and grow.

3. Is the piece professionally engraved?

This is a tough one, but I also have to make sure that the piece is formatted in a way that my students can quickly understand. The vast majority of the time — I mean, like 99% — you won’t encounter this problem, but when you do come across a piece that just isn’t formatted well, it can derail your whole rehearsal.

Rehearsal marks in odd places, rhythms formatted in odd patterns — most of the time we encounter this with commissioned pieces or student-arranged pieces. Other times, a piece will be engraved fine, but there will be one or two measures that are just hard to read. Don’t be afraid to change a ¾ bar to 6/8 if it makes sense and works for your ensemble.

4. Does this support the skills we’re focused on right now?

Every cycle has a focus — tone, literacy, confidence, blend, independence. If we’re rebuilding tone at the beginning of the year, I’m not picking something full of meter changes and constant counting. If we’re working on reading, I want fluency without overwhelm.

One fall, after a hybrid year, students had giant gaps in confidence. I picked a slower, more expressive piece that forced us to talk about breath, shape and sound. It wasn’t very technical, but it helped us rebuild.

5. Will students enjoy playing this or will they just deal with it?

Some pieces are more trouble than they’re worth. Not because they’re hard, but they’re just not satisfying. One year I picked a piece that looked cool. In rehearsal, nothing felt good. The transitions were awkward, the parts didn’t sit right and the kids couldn’t wait to turn it in. Things don’t have to be “fun,” but if the process is miserable and the payoff is forgettable, skip it.

6. Does this reflect my ensemble culturally, musically, socially?

Look at your students. Then look at your rep. Do they match?

If your school is 70% Latinx and you’ve never programmed a Latinx composer, that’s a missed opportunity. You don’t need themed concerts, but the pieces you present on stage should match the people you teach.

7. Does this push my strongest players without losing the rest?

I want to challenge my top players, but not at the expense of everyone else. So, I design for the middle and then look for opportunities for the exceptional: solos, divisi, alternate lines. We also have the option of finding other opportunities for above-average players, such as solo ensemble and district or state festival auditions. Push your strongest kids, but don’t forget the 80% who actually define your ensemble sound.

8. Is this something I can teach with the time and support I have?

I have selected pieces that needed sectionals I didn’t have time to run and percussion we didn’t own. That’s not because I didn’t want to work hard. I just needed to be realistic about the resources I actually had. If a piece requires resources you know you won’t have, just pick something else.

9. Will I hate this by Week 6?

You’re going to hear this piece at least 50 times. Probably more. I’ve started looping recordings before I commit. If I’m annoyed by Listen #12, it’s out. Same goes for music that only works because of one cool moment. If the lead-up isn’t worth it, you’ll find yourself counting pages, and your kids will feel that. Pick something you won’t dread. If you’re bored, students will be too.

10. If I swapped the title and composer, would I still want to do this?

It’s easy to get pulled in by big names or great marketing. If the title and composer disappeared, would you still pick it? Kids don’t care who wrote it (usually — we do have a few fans of specific composers). They care how it sounds and how it feels to play. I’ve picked pieces because they felt like “the right thing to do,” and they tanked. I’ve also picked obscure pieces with zero prestige, and the kids loved them. No awards. No lists. Just good music.

Programming Is Teaching

Your program is your curriculum. It tells students what matters, what’s worth their time and what kind of group they’re becoming. And you? You have limited time and can only perform so many pieces. Asking the right questions can help you use the most of the precious rehearsal time you have.

Here’s What to Look for When Shopping for an Acoustic Piano

Written by George Litterst on December 5, 2025. Posted in Acoustic Pianos. 1 Comment on Here’s What to Look for When Shopping for an Acoustic Piano

There is nothing quite like the joy of playing a real piano. The feel of the keys and the beauty of the tone — produced by felt hammers striking metal strings resonating through a massive wood soundboard — is an experience that is difficult to replicate with a purely digital keyboard.

When shopping for an acoustic piano, you should of course pay close attention to the touch and tone of each instrument that you audition. Naturally, you’ll also consider the instrument’s size, durability and style and finish of the cabinet, as well as the cost.

But there are other important issues to consider when it comes to today’s pianos, where technology can play a major role in your enjoyment of the instrument you purchase. In this posting, we’ll take a look at some of them.

Practice in Privacy

A smiling little girl playing a SILENT piano while wearing headphones.

Wouldn’t it be great to be able to play your piano whenever you feel like it — and not bother neighbors or members of your household?

Imagine that you could put on headphones and play the very same grand or upright piano you’ve fallen in love with – and not be heard by anyone!

This is a feature you can find on some modern acoustic pianos, including numerous Yamaha models such as the Disklavier™, SILENT Piano ™ and TransAcoustic™. In fact, nearly every size of a grand and upright piano that Yamaha makes is available in at least one of these series of technology-equipped instruments. There are even two Bösendorfer models available as Disklaviers.

Here’s how it works: When you engage silent mode, a bar inside the piano that prevents the hammers from hitting the strings is automatically moved into place. Remarkably, the action feels exactly the same — the only difference is that there is no sound of hammers hitting the strings. Instead, when you put headphones on you’ll hear the digitized sound of a real concert grand piano — a sound that matches the expectations of your ears and enables quiet, private enjoyment of your instrument.

Add a Volume Control

Or suppose you’d like to play without headphones but somehow turn down the volume. Of course, you could lower the lid of the piano, but that only gets you so far. How about having a volume knob that can do the job?

The Yamaha TransAcoustic piano does just that. By injecting the sound of a digitized 9-foot concert grand piano directly into its own soundboard, you can alter the blend of the two to your liking, giving you a variety of options:

– Play an upright or small grand piano and sound like you’re playing a large concert grand. Simply adjust the relative volume of the concert grand piano with the volume knob.

– Get your piano in tune… even if it’s actually out of tune. Turn on the Silent feature (so the hammers don’t hit the strings) and send the digitized sound of the concert grand into the soundboard. Instant perfectly tuned piano!

– Ready for quiet practice? Just put on headphones and enjoy the concert grand experience all to yourself.

– Go back to the totally “pure” sound of the piano itself. Easily accomplished: Just turn off the digitized sound.

Upright Yamaha piano with graphic effect to show interior mechanism on right half.

Live Performance Enhancement

The Silent feature can also be used in the exact opposite way: to amplify your piano. This allows you to easily perform in a large public space, such as a church or performance venue where the acoustics require amplification. As an alternative to using microphones, you can connect your instrument directly to the venue’s sound system.

Interact With Your Apps

Woman playing Yamaha piano with iPad on music stand.

If you’ve been to a concert or two in the last couple of years, you may have noticed that sheet music is going digital. It’s not uncommon to see musicians reading music off a tablet instead — the same kind of tablet, in fact, that you may already own.

A tablet can replace hundreds or even thousands of printed pieces of sheet music, plus it fits nicely on the music desk of any acoustic piano. Add a wireless connection between the piano and the tablet — another feature you’ll find in several Yamaha models — and your playing can interact with the music on the screen. You can then use an app that helps you learn a piece, or one that provides a musical accompaniment that actually follows your playing.

Not only does Yamaha provide a way of connecting acoustic pianos directly to these interactive apps, we’ve pioneered a method of doing so wirelessly, using a Bluetooth^® MIDI adapter called the MD-BT01.

Record Yourself

Creating a beautiful audio recording normally requires a combination of expensive microphones, careful mic placement and audio expertise. Yet some of today’s pianos allow you to make an audio recording without external microphones.

Man behind mixing desk recording a pianist in a sound booth.

Most Yamaha technology-equipped pianos offer this feature. The basic idea is that the piano uses its internal digital sample of a 9-foot concert grand to turn your playing into an audio recording. The recording is free of room noise and hiss and will always be in perfect tune — even if the piano itself is actually out of tune.

Enjoy Performances from Artists the World Over

Let’s take things a step further. How about the idea of inviting fine artists from around the world into your home — virtually — to play your piano, at any hour of the day, any day of the week? That’s something you can do if the acoustic piano you purchase includes a record-and-playback system.

The full-featured Disklavier models offered by Yamaha have such a system. This means that you can record yourself and the piano will actually reproduce your performance by moving the keys and pedals the same way you did when you played!

Couple on a couch in a living room watching a self-playing grand piano play.

This also gives you the opportunity to play back recordings that were made by other people on other pianos. For example, you can enjoy a piece of music being performed by a master artist or the original composer, or you can practice a piano duet by playing along with an absent partner.

The controls offered by the Disklavier are quite extensive. You can adjust the speed of playback or transpose the performance. You can even use a mobile device to record yourself with synchronized video or to enjoy a live concert that is streamed to your piano from a distant location.

Just a few years ago, these would be the makings of science fiction. Today they are reality. So when you’re ready to purchase an acoustic piano, be prepared to enter a brave new world. These aren’t your grandmother’s pianos!

Click here for more information about the Yamaha Disklavier.

Click here for more information about Yamaha SILENT Pianos.

Click here for more information about the Yamaha TransAcoustic Pianos.

Young Musicians Compete and Collaborate in a Remarkable Program

Written by John Wittmann on December 4, 2025. Posted in Student Leadership.

It is almost impossible to describe the feeling of watching the Yamaha Young Performing Artists (YYPA) walk on stage to the thunderous applause of thousands of music students and teachers cheering them on to a performance of a lifetime.

I have a vivid memory of watching a young Patrick Bartley rehearse — he won the YYPA award for jazz saxophone a few years ago. His playing and sound were big, developed and deeply soulful. This was clearly a talented young man getting ready to jump into the world of music. He was a masterful musician with a humble soul, searching for guidance on how to navigate his journey. I see Patrick in social media posts or popping up performing with stars worldwide from time to time, and I take quiet pride in knowing that the YYPA Program may have played a small part in helping him design a career on his own terms. It’s great watching him unfold as a beautiful musician and man!

The YYPA experience is one of a kind and has the potential to move a young musician to the next level of professionalism, while connecting that musician to fellow future stars and top industry professionals.

man presenting a workshop to small group sitting in a semi circle in front of him — John Wittmann, Associate Vice President for the Yamaha Artist Relations Group, engages in a workshop with 2024 YYPA winners.

What is YYPA?

The Yamaha Young Performing Artists Program recognizes remarkable young musicians studying music in the United States. The Competition phase is just the beginning of a unique and life-changing experience for those welcomed as Winners each year. Winners of this music celebration and competition are invited to attend an all-expenses-paid weekend at the Bands of America Summer Camp, presented by Yamaha, and receive a collaborative, once-in-a-lifetime performance opportunity, national press coverage as well as a recording and photos of the live performance. They also get to participate in workshops, given by seasoned music industry professionals and performers, designed to launch a professional music career. The fun and connection don’t stop there, though.

group huddle with small group of musicians — YYPA winners take one final breath together, basking in the joys of the YYPA Celebration Weekend before preparing for the Celebration Concert.

What YYPA REALLY Is

The YYPA Program has been positioned as a “competition” for many years. And while the competition does help us select our classes of Winners, YYPA is more of a fellowship — a bonding, inspirational and uplifting experience, which has lifelong impact on the future of rising stars. The workshops are small, intimate and offer real-life advice on topics such as dealing with self-doubt and mental health, managers/agents, personal mission and goals, collaboration skills and best business practices. There is also a strong focus on preparing audition materials, developing a press kit and refining interviewing skills. This YYPA fellowship is uniquely beneficial because it offers young musicians long-lasting skills and connections that are so much more relevant than a check and a photo op. The winners are responsible to form the program through collaboration and professional responsibilities and communication with each other.

The pinnacle of the Celebration Weekend is the annual Yamaha Young Performing Artists Concert — where the winners envision and deliver a world-class musical experience together. It is challenging and rewarding beyond words!

jazz performance with three saxophonists, a trombone player and a percussionist — Yamaha Artist and world-renowned saxophonist, Grace Kelly, performs with 2023 YYPA Jazz winners.

Why teachers should care

If you’re an educator, and you have a special student who has promise, dedication and remarkable musical skills, this program might be a great opportunity to build on the great foundation you have laid. Your encouragement and refinement of them as musicians should be recognized and rewarded, and applying for the YYPA Program may be an amazing next step for your student. Encourage them to apply on time, write a strong letter of recommendation and help them put together a great application package. Applicants do not need to play Yamaha instruments to apply or win.

If you know an eligible, outstanding young musician, talk to them about applying to the YYPA Program. Even the act of putting together a solid application package is an incredible educational experience that builds skills!

If you’re a student between the ages of 18 and 22 studying in the United States and looking to take your journey to the next level, apply! Nicole Liu, the 2025 YYPA Piano Winner, said that YYPA was an unforgettable experience, and that “it wasn’t just about performing but about finding inspiration, community and the purpose to keep growing as an artist.”

Apply for the YYPA Program Now!

Why I love YYPA

Working with the Winners is life-giving, but what is even more fulfilling is the quiet peace I feel when I receive a handwritten note from a Winner thanking us for helping them along their life’s path or seeing posts on social media from past Winners accomplishing great things. A source of great joy is seeing them perform in concerts with other musicians who they met through YYPA!

I started working full time at Yamaha in 1997, and YYPA was one of the first projects I oversaw. My first experience seeing the transformation of these bright, young, promising musicians from great players into confident, prepared and experienced rising stars lit a fire in me that still burns hot.

Top photo: YYPA’s 2023 winners, Jory Lane and Subin Cho, play an electrifying duo with collaborative pianist Casey Dierlam Tse.

An upright and a grand piano in living room setting, side-by-side.

What’s the Best Piano for Your Room?

Written by Yamaha Corporation of America on December 4, 2025. Posted in Piano How-to. 2 Comments on What’s the Best Piano for Your Room?

You’ve made the decision to buy a piano, and you’re eagerly anticipating the many hours of musical pleasure it will bring you and your family. But pianos come in so many different sizes and shapes, it can be difficult to know which is the best one to purchase.

Of course, you want your new instrument to sound great and look great. But first and foremost is the size consideration: after all, the piano has to physically fit in the allocated space. What’s more, the size of the room — along with the placement of the piano in it and other factors — will have an impact on sound quality.

Fortunately, there are some easy guidelines to follow that will help you determine the best piano for your space, whether you live in a cozy apartment or an opulent home. Let’s dig in!

Piano Types

As described in a previous blog posting, there are two basic types of pianos: grands and uprights. The most obvious difference is size (grand pianos are larger), but they also have different characteristic shapes due to the positioning of their soundboards, across which are stretched the strings. Because the soundboards of grand pianos are mounted horizontally, those instruments have a bigger “footprint” and a sleeker profile than uprights, which can look a little boxy by comparison.

Grand piano.

Upright piano.

Grand pianos are usually the choice of professional musicians in that they offer a richer, more dynamic sound than uprights, though there are exceptions, such as Yamaha YUS Series uprights, which offer a broad range of sonic tonalities more reminiscent of a grand piano. But uprights take up much less space and tend to be considerably less expensive than grand pianos, making them a favorite of music students and a staple of schools and conservatories all over the world.

Piano Sizes

Grand pianos vary in size from “Baby grand” models that can be as little as 4 1/2 feet in length, all the way up to “Concert grand” models, which can be 9 feet in length or more. (Note that grand piano length is measured from the key slip — the piece of wood in front of the keys on the keyboard — to the very end of the lid.)

Upright sizes range from small “Spinet” models (popular decades ago but rarely made today) to larger “Console” and “Studio” models that vary in height, up to 52″ or so. Interestingly, almost all pianos — both grands and uprights — are approximately 5 feet wide. This is due to the fact that they all provide a standard 88-note keyboard.

Yamaha offers a wide variety of grand pianos, from GB1K and GC Series baby grands (with 5′, 5′ 3″ and 5′ 8″ models) to the CX Series and SX Series (with lengths from 5′ 3″ to 7′ 6″) to the internationally renowned CF Series of concert grands (which range in length from 6′ 3″ all the way up to a full 9′).

Someone playing a grand piano in a living room as seen from above. — *The Yamaha C3X is 6′ 1″ long.*

Yamaha upright pianos range from compact, entry-level P22 and b Series instruments to the U Series — the world’s most popular upright — to the aforementioned flagship YUS Series. The height of these pianos varies from 45″ to 52″, and their depth varies from a mere 21″ to 26″. This last dimension is particularly important since, as we’ll see, upright pianos are designed to be placed up against walls.

Upright piano in a modern home. — *The Yamaha U1 is 4′ high.*

Which Piano Size Is Right for Me?

Needless to say, room size is a major determinant in deciding which piano is right for you: The larger the room, the larger the piano it can accommodate — and, in general, you should purchase the largest piano that your room will comfortably allow. Seems simple enough, but it turns out there’s a lot more to it.

For one thing, the increased surface area of the soundboard and the greater length of the strings in larger pianos translates to more vibrational energy, which increases projection — in other words, larger grand pianos can sound a lot louder than smaller ones. That said, most non-professional pianists don’t play with the velocity required to make larger pianos project to their highest potential, so it’s unlikely you’ll be filling a large room with sound when playing leisurely. (Interestingly, larger grand pianos can also be played more softly than smaller ones. This is due to the longer key length, which supports better physical control over hammer velocity. That’s why a concert grand piano is easier to play at lower volumes than a baby grand.)

You’ll also need to factor in whether or not other people in the room (or in adjoining rooms) will be disturbed when you’re playing. This leads to the issue of room treatments: If there’s lots of soft furniture in the room (such as sofas or easy chairs), carpeting on the floor and/or drapes or curtains on the walls or windows, the piano will be a lot quieter (and the sound will travel a much shorter distance) than if the room has a hardwood floor with little furniture, drapes or curtains to absorb the sound. A grand piano might be overbearing in a room like that, whereas an upright would probably sound fine.

That said, there’s no ignoring the fact that grand pianos often have a more pleasing aesthetic than uprights. If you’re set on buying a grand rather than an upright, and your room has the space to accommodate it, that’s fine, but you’ll probably be better off with a baby grand, or one of the smaller full-size grands, as opposed to a larger model.

Here’s why: The physics of sound propagation leads to the rule of thumb that, for optimum sonics, the total length of the walls of the room should be at least ten times bigger than the length of the piano. A 9-foot concert grand piano, for example, should ideally be placed in a room that has 90 feet or more of total wall length … and few living spaces meet that criteria!

A very large grand piano is therefore usually not a good choice for a typical living room. That’s one reason why these instruments are called “concert” grands — they’re really designed for the concert hall. Their sound doesn’t fully propagate for many feet, so someone standing nearby (or someone seated at the piano, playing) will not hear the instrument at its best, whereas an audience member in the tenth row of a large venue would. This is true regardless of how well made the instrument is, and even if the room is equipped with all the necessary materials to absorb sound.

Tip: It can be helpful to get a large piece of drawing paper and trace an outline on it of the dimensions of the piano you’re considering purchasing. (Dimensions like the ones shown below are readily available from the manufacturer or dealer.) Be sure to add an extra 2 feet to the depth of the outline to allow for when the bench is pulled out while you’re playing.

gb1k-dimensions — *Yamaha GB1K baby grand piano dimensions.*

p22-dimensions. — *Yamaha P22 upright piano dimensions.*

Piano Placement

As mentioned previously, upright pianos are designed to be placed against a wall. This positioning not only yields optimum sound, it also gives you the best use of available space, particularly in small rooms. (There’s an aesthetic consideration too, in that the backs of upright pianos are rarely finished.)

Woman playing an upright piano in a home. — *Upright pianos are designed to be placed against a wall.*

Grand pianos, on the other hand, sound best when they’re out in the middle of a room, or placed at a 45-degree angle in a corner of the room. However you position it, you’ll want to ensure that the pianist — especially if it’s you! — will be able to see the rest of the room (or perhaps even out a window) instead of having to face the wall.

A little girl playing a baby grand piano in a living room. — *Grand pianos are designed to be placed out in a room.*

It’s also important to protect your piano from any sudden climate changes that can harm the instrument. For example, you should never place a piano under direct sunlight. While having it near a window may look aesthetically pleasing, the heat of the sun could easily damage it. Similarly, it should not be placed near air vents, as any temperature changes will affect the instrument.

Piano AR

Yamaha offers an amazing online augmented reality tool called Piano AR that can help you decide where to place your piano … even before you buy it!

Screenshots of smartphone and tablet. — *Piano AR superimposes a virtual image of the Yamaha piano model of your choice in your room.*

Simply go to the Piano AR website on your mobile device’s browser and select the Yamaha upright or grand piano model you want to view, then tap the “View In Your Room” button and scan the area where you would like to place the selected piano. You’ll be shown a virtual image of the piano as it would appear in your room — you can even rotate the piano or change the finish color so you can see how it will blend in with your décor, then take a picture of how it would look as you explore different options. With Piano AR, it’s never been easier to envision the piano of your dreams in your home.

The Digital Option

If you have your heart set on owning a grand piano but your available space only allows for an upright (or if you already own a grand but are downsizing to a smaller space), there’s an easy solution: Consider purchasing a digital piano instead. Not only do many digital pianos offer the sound of a grand (in addition to many other kinds of instrument sounds — a feat of technological wizardry that not even the finest acoustic piano can provide), they also take up much less space than even an upright. They also allow you to practice silently by simply plugging in a set of headphones, and are much easier to maintain than acoustic pianos — for one thing, you never have to tune them!

Yamaha offers many different digital pianos, from portable models to beautifully crafted ARIUS YDP Series instruments to the full-featured Clavinova line, available in both upright and grand piano cabinets. Many include digital samples of the revered Yamaha CFX and Bösendorfer Imperial concert grand pianos found on the finest concert stages the world over.

Piano in a living room. — *Yamaha Clavinova.*

And then there are hybrid instruments like Yamaha SILENT Pianos™ and the TransAcoustic Pianos™. These have the genuine sound and feel of an acoustic piano … but they also allow you to decrease volume or even mute the sound altogether, making them capable of fitting into anyone’s lifestyle.

Whichever type of piano you end up purchasing — grand, upright or digital — you’re sure to enjoy many happy hours of making music. Time to start measuring!

Check out these related blogs:

Here’s What to Look for When Shopping for an Acoustic Piano

What’s the Difference Between a Grand Piano and an Upright Piano?

Why Aren’t There More Than 88 Keys on a Piano?

What’s the Difference Between a Digital Keyboard and a Digital Piano?

Which Digital Piano Is Right for Me?

Click here for more information about Yamaha pianos.

Click here for more information about Yamaha digital pianos.

Click here to locate your local authorized Yamaha piano dealer.

Select the Right Fundraising Company

Written by Don Stinson on December 3, 2025. Posted in Teaching Tips.

Teachers are the one profession that makes all other professions possible. Fundraisers are companies that make all purchases possible. When do these two groups intersect? If you teach music long enough, it’s when this question comes up: “Who should we trust to help us raise money?”

You’ll get flyers, emails and promises of quick cash from all kinds of companies. Some look legit. Some are charming in a “90s clipart” kind of way. Most skip a pretty important question: Do they actually understand how schools work? Or more importantly: Do they understand how your school works — with boosters, activity accounts, approval processes and music program needs?

What sounds like easy money can turn into paperwork, an uncomfortable conversation with your principal or a PR mess if they don’t get how your school actually works. That’s why picking a fundraising partner isn’t a quick transaction — it’s more like hiring someone to join your team.

Would you hire another director just because their resume had flashy graphics and said they were “fun to work with”? No. You want someone who follows through, respects the rules and makes your job easier.

Start With What You Need — Not What They’re Selling

Before you hop on a sales call or pass a flyer to your boosters, pause. Make sure you understand what your program actually needs by asking yourself:

Is this a one-time fundraiser for a trip, uniforms or festival fees?
Or are you looking for a long-term partner to support a full season of events?
Do you need something fully managed, or do you have parents who can take the lead?
Will the company handle student data, payments or parent communication?

Also, loop in your activities director or admin. Some districts require vendor approvals, privacy agreements or reporting procedures that fundraising companies must follow. Most have heard the saying, “ask for forgiveness, not permission.” When it comes to money and compliance, this is not the time to just “Try something out.” A great fundraiser builds momentum. A bad one burns hours, frustrates families and puts your program at risk.

letter tiles spelling out the word "questions"

Five Smart Questions to Ask Every Fundraising Company

You don’t need to be a lawyer. Just ask these five questions — and watch how they answer. A good company won’t flinch. A sketchy one will.

1. How do you handle student and donor information? Some states have student privacy laws in place. But even if your state doesn’t, any company that collects names, emails or payments must have policies in writing and be ready to follow your district’s rules. Ask for specific policies. Look for:

“We don’t store student data without written consent.”
“All payment data is encrypted and deleted after processing.”
“We’ll sign your district’s vendor or data agreement.”

If they get defensive, vague or confused, then it’s time to say “thank you” and move on. Your families are entitled to their privacy.

2. What’s your pricing and payout structure? Every company takes a cut. That’s fine. But how they explain it tells you a lot. Ask for:

A clear percentage that goes to your program
Any fees (credit card, platform, admin, shipping, etc.)
When and how you’ll get paid
Ask to see a sample payout report. A good company will show you. A shady one will say, “Well… it depends.” Again, if it’s not clear and easy to understand, move on.

3. How do you represent our school and program? If they will contact parents or donors on your behalf, that’s a big deal. Their communication becomes your communication. Ask to see samples of emails, flyers and websites or social posts.

Do they sound like something you would send? Is the tone respectful? Do the visuals reflect your school community? You’ve worked hard to build trust with band families. Don’t let a third party blow it with cringey graphics or constant spam.

4. What experience do you have with school music programs? Selling chocolate bars for a soccer team isn’t the same as raising $15,000 for travel to Midwest or Bands of America. Ask for references, especially from other music programs or schools like yours. “We’ve worked with schools like yours” is an okay answer. But “We helped a suburban band raise $12,000 in three weeks with a donation-based campaign and matched funds” is a much better one.

I always ask fundraising companies to name two nearby schools that they have worked with. If they can’t, and they’re an established company? Red flag. And if they can? I call those directors.

5. Can you walk us through your process start to finish? This one’s huge. The best companies have a plan. You shouldn’t have to piece things together. Look for:

A clear timeline
Templates for messaging
Wrap-up reports
Clarity on who handles questions, deliveries or refunds

If it feels vague or like “we’ll figure it out as we go,” that’s exactly what will happen. Unfortunately, I’ve had to make apologetic phone calls to families and supporters when a company delayed shipping several times. Everyone eventually got their products, but it would have been more appropriate had the company kept consistent communication.

someone taking notes with open laptop and coffee on desk

Pro Tip: Use This Script

Here’s a simple way to set expectations early: “Before we move forward, our district requires all vendors to meet our data and transparency standards. Can you send over your privacy policy and a sample payout report?” This communicates that:

You’re serious
You have your district’s backing
You have standards — and you’re not afraid to walk away

All privacy policies won’t look the same, but what’s important is that one exists. And no, you usually don’t need a privacy policy if you are selling chocolate bars or similar products; this is mainly for larger fundraisers like luxury item auctions or phone/text pledges.

Loop In Your People

Include 1) your activities or athletics director, 2) any assistant principals who oversee fundraising and 3) the person who handles payments and approvals in your building.

Even if you’re allowed to make booster decisions solo, it’s better to have buy-in early than to backtrack later. One or two emails ahead of time is much less work than finding out you have to fill out a whole bunch of paperwork and background checks later on.

What the Right Partner Feels Like

A great fundraising company doesn’t just help you raise money — they help you save time, communicate better and feel like a real partner. You’ll know you found the right one when:

They bring answers before you even ask
They offer tools you can actually use
They protect your program’s reputation and make your life easier

It should feel like adding a team member — not managing another section. One of the best companies we worked with sent a full comms plan: emails, social posts, printables — all written in our voice. All I had to do was hit send. That’s the goal.

Action Step: Interview Smarter

Make a short list of companies. Use the five questions above in every call or meeting. Take notes. Ask for documentation.

If this is your first time, bring a veteran teacher or booster parent into the conversation or talk to a school that’s used the company before. It’s not about being suspicious. It’s about protecting your program, your students and your time. It may be uncomfortable to ask these questions, but it’s even more uncomfortable to explain this to parents and administrators when something doesn’t go well. So why not make your future a little easier?

Giving the Gift of Guitar

Written by Tom Sumner on December 2, 2025. Posted in Gearguide.

Around the holidays — well, actually all year long — I get phone calls, emails and texts (thank goodness carrier pigeons have gone out of fashion) from friends who want to buy a guitar, but don’t know much about them. Their questions sound something like this:

“Hey Tom, my (son or daughter) wants to play guitar. What’s the best one?”

“Hey. I’m at (pick a store) and they have a guitar here — would this be a good one for (me/my son/daughter/niece/nephew)?”

As much as I’d love to post my cell number and be everyone’s personal guitar shopper, this blog is meant to start you in the right direction and arm you with the information you need to find the right guitar to gift a loved one (or yourself).

Here are the four things you need to know to give a holiday gift that can bring a lifetime of enjoyment.

One: Get ‘em what they want to play

If you are buying a guitar for someone who knows what they want — great! Much of your work is done. The single most important decision is selecting an instrument that will make the person want to play. So if they want an electric guitar (don’t freak out — we’ll address the different types of guitars in just a minute), buy them an electric. If they want a classical guitar, buy them a nylon string model.

But what if they don’t know what they want? In that case, you’ll need to do a bit of detective work. It’s easy: Simply find out what kind of music they love and want to play. Determine what musicians or music genres they listen to, and then see what type of instrument those artists usually play. If your gift recipient is a fan of contemporary pop or country music, an acoustic steel-string guitar will fit the bill. If they are enamored with classic rock bands, an electric guitar is probably in order. If they’re into folk or classical music, a nylon string guitar is your best bet.

Two: Types of guitars to consider

The second thing you need to know is just a bit about the different types of guitars you can choose. The good news is, there are really just three of them:

Acoustic steel-string guitar. This is the most popular style for a new player. As the name suggests, this guitar makes sound without an amplifier, so all you need is the guitar itself to make music. It also has steel strings, which have a distinctive sound. You may have heard that steel strings are hard on the fingertips, and this is true to a point, but most people adapt quickly.

Acoustic guitar with natural wood finish. — *Yamaha FG800J regular body acoustic guitar.*

If you are considering a steel-string guitar, I have two important tips. First, choose a size that’s right for the player-to-be. Folks with smaller hands and bodies will find a smaller body guitar easier and more enjoyable to play. Young teenagers, children and some adults find this to be the best choice.

A small acoustic guitar. — *Yamaha FS800J small body acoustic guitar.*

Secondly, if the person to whom you are gifting the guitar has aspirations of performing or recording, an acoustic-electric guitar is a good way to go, since this type of guitar allows them to play acoustically and also plug in and play amplified.

Acoustic guitarl — *Yamaha FGX800C acoustic-electric guitar.*

Classical (nylon string) guitar. As the name implies, the strings of these instruments are made of nylon. This type of guitar has a distinctive sound that is associated with classical music, and also some folk music. You may hear that it’s best to start with a nylon string guitar because it’s easier on the fingers, but as I mentioned earlier, most people adapt quickly to whatever kind of guitar they are given. Also, nylon string guitars often have wider necks, which can make it more difficult to play for some folks with smaller hands.

Acoustic guitar with wood finish and nylon strings. — *Yamaha C40II nylon string guitar.*

Electric guitar. For this type of guitar, you’ll also need an amplifier, since the guitar itself doesn’t make much sound. That adds somewhat to the initial expense and takes a bit more effort to plug in and play — but not much. On the other hand, beginners sometimes find electric guitars a little easier to play than acoustic guitars, since the strings may be closer to the neck (in the jargon, their “action” is lower), so less finger strength is required.

Yamaha Pacifica PAC012 electric guitar.

Yamaha THR-II desktop amps.

Three: It pays to accessorize

Home stretch. All the hard parts are done. Adding a few items to your gift can help your player start off strong.

The most frustrating part of learning to play guitar used to be tuning it! But no more. You can download a number of tuning apps for your smartphone that work great. There are also clip-on tuners that sell for well under $20. The important thing to know is that a tuner is a critical tool for any guitarist.

Clip-on tuner with digital screen. — *Yamaha GCT1 clip-on tuner.*

For most styles of music, a guitar strap is a great investment. The important function of a strap is that it lets a new player get their guitar in the right position right away.

And, if you’re buying for a burgeoning musician who will be taking their guitar to school, friends’ house or lessons, a case is really important too. For most purposes, a lightweight, soft case known as a “gig bag” works well and is not very expensive.

Four: Put a bow on it (with a teacher)

If you REALLY want to get your new guitar player off on the right foot, gift them a month of lessons with a qualified guitar teacher. A teacher will start them off right in terms of holding, tuning and playing the guitar. You can learn to play songs watching YouTube, but a real, live teacher makes a difference. Hit up your local music store — most offer lessons — or Google it.

Finally, a brief visit from the Ghost of Christmas Past. What if you have a guitar hanging around in a closet someplace. Is that OK to gift? I’d give that a definite maybe. It could be totally fine with a new set of strings and a slight adjustment or two, or it could be a one-way ticket to frustrationville for your player-to-be. My advice? Take it to a local music store and have them check it out for you.

Have fun finding that gift that can bring a lifetime of music! It lasts way longer than chocolate.

Click here to find out more about Yamaha guitars.

Buying Your First Digital Keyboard

Written by Lori Frazer on December 1, 2025. Posted in Keyboards.

When purchasing your first digital keyboard, there are several factors to consider: size, budget, sound quality, the number of onboard sounds, touch, built-in learning features, recording capability, and connectivity to devices and computers — to name a few. In this posting, we’ll try to simplify your shopping decisions by exploring each of these.

Short On Space? Go Portable.

Small digital keyboards are sometimes called portable keyboards. They are exactly that — portable. These instruments take up very little space, and can be set up or stored anywhere. Most have 61-note non-weighted keys, although some models feature 76 keys, sometimes with slightly weighted actions. Many people prefer a keyboard that is touch sensitive, which allows better musical expression, similar to a piano. On those instruments, the harder you play the key, the louder the sound.

Just about every digital keyboard provides a headphone jack. This is a great feature that allows you to make music in privacy at any time of the day or night. And even entry-level instruments offer a large variety of onboard sounds — dozens or even hundreds of them. Quality can vary, though, so be sure to listen carefully as you audition them. In addition, many digital keyboards support Styles that automatically provide elaborate accompaniments. Again, quality can differ from instrument to instrument, so take a little time to try them out.

Any of the Yamaha PSR-E Series portable keyboards would be good choice for the beginner. Select PSR-E models have a built-in feature called “Keys to Success,” which is based on teaching techniques shared with Yamaha over many years. You can select just the key phrases (“steps”) of a song — the ones you like most or need to work on — and practice them one by one. Each time you play all the way through the current step, your performance is evaluated.

A small electronic keyboard. — *Yamaha PSR-E283 portable keyboard.*

Connectivity to computers and portable devices such as smartphones is another important feature to look for. Several digital keyboards provide a USB TO HOST port for this purpose, allowing you to record high-quality audio or MIDI without the need for a separate interface. A wide variety of creative and educational apps are available online from Yamaha and other developers.

Looking for More? Consider a Digital Piano.

Portable keyboards are great for the hobbyist and beginner. However, you may prefer to purchase a more advanced digital piano. These instruments offer many of the qualities of an acoustic piano, including a full 88-note weighted keyboard — but at a significant savings in cost — and without the need for regular (and sometimes expensive) upkeep. In addition, they often provide functionality you won’t find on the typical acoustic piano, such as recording capability, connectivity with devices and computers, learning tools and more.

Yamaha offers a wide range of digital pianos, including these:

P-Series compact digital pianos like the P-525 are a great option if space is an issue and are suitable for both practice and live performance.

A compact digital piano. — *Yamaha P-525 compact digital piano.*

Our Portable Grand digital pianos combine portability with weighted keyboards. Some of them also offer wireless connectivity for iOS smartphones and tablets using optional wireless adapters.

Yamaha ARIUS instruments include a number of digital pianos with built-in consoles, ranging from basic models to those with advanced features.

Console digital piano. — *Yamaha ARIUS YDP-105.*

Clavinova is the premium Yamaha digital piano product line, combining authentic touch, tone and look with cutting-edge technology. There are three different series of Clavinovas available: the CLP, the CVP, and the CSP.

A full-size digital upright piano. — *Yamaha Clavinova CSP-255.*

Choosing your first digital keyboard may seem overwhelming at first, but with a little research and a visit to a local music dealer or two, you’re sure to come up with the ideal solution. And remember: Always buy not just the instrument that fits your budget, but the one that best fits your needs.

For more information about Yamaha portable keyboards, click here.

To find out more about our digital keyboards, digital pianos and Arranger instruments (including Genos2), click here.

This Holiday Season, Give the Gift of Great Sound

Written by Yamaha Corporation of America on November 28, 2025. Posted in Audio Gear Guides.

It’s that special time of year again! Here are some great audio gift ideas from Yamaha for the music lover or movie aficionado in your life.

Headphones

YH‑L500A

Looking for a gift that turns everyday listening into an experience? The YH‑L500A is perfect for movie buffs and music lovers alike. These wireless headphones offer Yamaha Sound Field technology to create a spacious, three-dimensional soundstage that makes holiday movie nights feel like a trip to the theater. Switch to Cinema mode for crystal-clear dialogue or Music mode for rich, immersive audio.

Lightweight and comfortable for long sessions, the YH‑L500A offers up to 20 hours of battery life, Bluetooth^® multipoint pairing and support for high-quality codecs like aptX Adaptive. Add in advanced features like Listening Care and app-based customization, and you’ve got a gift that combines luxury and practicality — ideal for anyone who loves great sound.

AV Receivers

RX-V4A

The RX-V4A 5.2-channel surround sound audio-video receiver brings the theater experience to your living room, with the latest in HDMI video compatibility and advanced audio technology, including Dolby Digital Plus and DTS-HD Master Audio decoding.

A whopping 80 watts per channel provides plenty of power, and there are numerous onboard wireless streaming options, including Wi-Fi^®, AirPlay 2^® and Spotify Connect, allowing you to easily listen to your favorite music on services such as Pandora^®, Spotify^®, Amazon Music, SiriusXM, TIDAL and Deezer. There’s support for enhanced media and gaming, as well as Yamaha MusicCast multi-room technology, which allows you to control all functions remotely from a free app, as well as giving you the ability to connect optional wireless surround sound speakers. What’s more, built-in YPAO automatic room calibration can be used to analyze the acoustics of your listening and viewing space so that the sound you hear is the absolute best it can be.

Speakers

NS-777 Floor Standing Speaker

Every fan of great sound will be thrilled to receive this gift. The NS-777 is a floor-standing three-way bass reflex speaker that can handle up to a whopping 250 watts of music power. It incorporates a pair of 8″ cone woofers, a 5″ midrange cone driver and a 1″ aluminum dome tweeter for full-range sound from 30 Hz all the way up to 35 kHz. For improved imaging, the midrange and tweeter utilize Yamaha-exclusive waveguide horns that reduce reflected sound and increase the proportion of directly generated sound waves reaching your ears.

The NS-777 cabinet has a high gloss black piano finish that provides solid construction with minimal sound diffraction, and the included speaker stand provides the solid footing necessary for full floor contact, enhanced stability and minimal vibration resonance.

NS-C444 Center Channel Speaker

The NS-C444 two-way acoustic suspension speaker is specially designed to carry critical center channel information (which is usually dialog) in home theaters. It incorporates dual 5″ cone woofers and a 1″ aluminum dome tweeter that utilizes an exclusive Yamaha waveguide horn for a clear and precise sense of sound direction and placement.

The NS-C444 can handle up to 250 watts of music power with a frequency response of 65 Hz to 35 kHz. The cabinet has a high gloss black piano finish, which provides solid construction with minimal sound diffraction, and the grill cloth provides an attractive and acoustically transparent protective cover for the drivers.

NS-333 Bookshelf Speakers

Two small audio speakers, one with the filter cover removed.

The NS-333 two-way bookshelf speaker system is ideal for both music listening and home theater applications. It incorporates a 5″ cone woofer and a 1″ aluminum dome tweeter, and thanks to its bass-reflex design, can be used for main or surround channels. For improved imaging, the tweeter utilizes a Yamaha-exclusive waveguide horn.

The NS-333 can handle up to 150 watts of music power with a frequency response of 65 Hz to 35 kHz. The cabinet has a high gloss black piano finish, with an attractive and acoustically transparent grill cloth to protect the speaker drivers.

Home Theater in a Box (HTIB)

YHT-5960U

Modern living room with TV and surround sound units.

While there’s something to be said for assembling a home theater with hand-selected individual components, there’s no question that a complete turnkey “Home Theater in a Box” system like the YHT-5960U is a lot easier and more convenient — the ideal gift for movie and TV enthusiasts everywhere.

The YHT-5960U includes a full-featured 5.2-channel Yamaha RX-V4A AV receiver, along with a powerful subwoofer and complete set of surround speakers. The RX-V4A offers the latest in HDMI video capability and a whopping 80 watts of power per channel, along with advanced audio technologies like Dolby TrueHD and DTS-HD Master Audio. It also supports enhanced media and gaming, YPAO automatic room calibration, and wireless streaming via Wi-Fi, Bluetooth, AirPlay 2, Spotify Connect and Yamaha MusicCast. The included front, rear and center speakers place easily in your room, and there’s a dedicated subwoofer for powerful bass, plus speaker wire perfectly matched for each speaker.

Ready to learn more about these great products? Check out our online store.

Crescendo Orchestra student playing the cello

An Orchestra for Students with Disabilities

Written by Kellie B. Gormly on November 26, 2025. Posted in DEI.

Annie Ray was named the 2024 GRAMMY Music Educator partially for creating the Crescendo Orchestra program, which creatively personalizes music education to the specific needs of each student with physical and intellectual disabilities. “Crescendo has been such a long learning process, and I’ll never stop learning from the students and the experts in the field,” says Ray, the Orchestra Director and Performing Arts Department Chair at Annandale High School.

A Once-In-A-Lifetime Opportunity

Ray will never forget the twin brothers she taught in elementary school several years ago: Both had significant intellectual disabilities, and she felt frustrated with herself because they were in her mainstream strings class that met once a week, and the boys were struggling to learn how to play.

“I felt like I was absolutely failing them,” Ray recalls. “Until one day I kept them after class and worked with them one on one and realized that they knew everything I was teaching but were just processing and showing me their learning in different ways.”

Then the COVID-19 pandemic struck in 2020, and students were grounded at home. When kids gradually started to return to school, students with significant disabilities were some of the first ones to arrive back at campus. Ray found that she had missed working with students with disabilities. Together with paraprofessionals, general music teachers and caregivers, she put together a music education program called Crescendo that was designed specifically for students with disabilities.

Annie Ray holding cardboard cello, which is used by her Crescendo Orchestra students — Annie Ray (Photo by Aidan Demolli/Benson Park Photography)

Using a lot of trial and error and improvisation, Ray and special education professionals wrote a curriculum that enables students to learn to play the violin, viola, cello or bass through meeting each one of them where they are at. With the slowdown of the pandemic, Ray was able to put a lot of time into creating imaginative lessons.

“It was this entire period of freedom,” Ray says. “There was nobody looking over my shoulder to see what I was doing. I had this entire school year to create.”

Now in its fifth formal year, Crescendo has 15 students, who work with Ray and instructional assistants in 80-minute classes just like their general education peers. The students have a variety of physical and intellectual disabilities, and each receives a tailored approach that plays on their strengths and minimizes their limitations. Ray rewrites the program and pushes the boundaries every year, so it meets every student where they are at. The Crescendo Orchestra students play in all four annual concerts alongside their peers in general education, so they get exposure and recognition, and some even go on to join the main school orchestra.

Annie Ray showing Crescendo Orchestra student instruction on a tablet

Adaptions and Learning

In Crescendo Orchestra, many students have physical or sensory disabilities that impact how they interact with traditional instruments. This has given Ray the opportunity to explore creative adaptations, customizing instruments and approaches to support each student’s unique strengths and needs. For example, for students who experience sound sensitivity, Ray may assign lower-pitched instruments that sit farther from the ears or provide noise-reducing headphones to create a more accessible environment.

“The things I’ve had the most fun are unique approaches like super-gluing a cello to an old marching drum harness for a student who has lower muscle tone. It worked!” Ray says. “That’s the cool thing about Crescendo — there are no rules! We just get creative in figuring out what playing violin or viola or cello looks like,” Ray says.

Kids, both in general education and the Crescendo program, get nervous about learning to play an instrument at first. They don’t want to sound bad — but, that’s simply a part of learning. Everyone sounds bad at first, Ray explains, and hands-on, in-person instruction and practice is required to learn to play an instrument and to improve.

“Music is so personal,” says Ray, who was recognized as a 2025 Yamaha “40 Under 40” music educator, says. “To improve, you have to accept that you’re going to sound really bad at first. All kids want to do is be on TikTok and hide away. In every other subject, they can do that. In orchestra, they can’t do that. Music is one of the last sanctuaries in the education system where we don’t have devices in the way. If students are playing, they can’t be on their devices.”

U.S. Representative Don Beyer from Virginia and music educator Annie Ray — Virginia’s U.S. Representative Don Beyer visits Annie Ray’s Crescendo Orchestra rehearsal. (Photo by Paige Fremder)

Music educators, Ray says, have a responsibility to meet students where they are — especially in a program like Crescendo, where students have special needs and need an individualized approach. And learning, in all its challenges and messiness, is where music is made; the recitals and concerts are just the end product.

“Everything I do is about the process, not the product,” Ray says. “Music is not the universal language, but the act of making music is. It is one of the most unifying and humanizing experiences.”

One student, Kevin, was not happy to be in the orchestra at first because it was far outside his usual routine. But when he drew the bow across the string for the first time, Kevin’s eyes welled with tears as he felt the vibrations. After graduating, Kevin returned to co-teach Crescendo Orchestra alongside his godfather Scott Engdahl, a tireless volunteer for the group.

Giving Students a Voice

Many parents have shared with Ray about how much Crescendo Orchestra has benefitted their children. She remembers one boy named Dean, who had severe intellectual and physical disabilities. In her Tedx Talk, “The Sound of Success,” Ray explained that Dean is a mobility device user and uses augmentative communication devices and gestural communication. Through Crescendo, he was able to engage his gross- and fine-motor skills in the creation of sound.

“Music can come from anyone, anywhere — you just have to be willing to give them a voice,” Ray says in her Tedx Talk.

Together with her paraprofessional team, Ray helped Dean access music education terminology through a word wall of sticky notes with different symbols and terms. Dean was able to identify “100% of the time if a note was high or low, fast or slow and various musical notations.”

After diving through general music curriculum and scaffolding holding instruments with practice instruments, it was time to move on to traditional instruments. Rather than focusing on what Dean couldn’t do, the team leaned into what was possible. Together, they brainstormed creative ways to adapt the instrument so that it would meet Dean where he was both physically and musically. One solution was surprisingly simple and deeply effective: Duct tape a violin to a sturdy stand, which allowed him to play without needing to hold it. This small act of ingenuity opened a new world of sound and expression for Dean and became a symbol of how flexible thinking and teamwork can unlock opportunities for every student to participate fully and joyfully in music-making.

“It’s about the musicking (the act of making music coined by Christopher Small); it’s about the ‘in-betweens,’” Ray says in her Tedx Talk.

Dean’s family gave Ray thank-you flowers and a note she hung up on her bathroom mirror that said: “Thank you for believing in Dean.”

“I’m just grateful for that family for allowing me the joy of spending time with him,” Ray says.

“We have to redefine what success is,” she says. “The majority of our students are not going to become the next Yo-Yo Ma, but it does not mean their music-making is any less equal to a professional musician. It’s fundamentally about connecting with others.”

three cello students and volunteer during a Crescendo Orchestra class

All-Around Benefits

Even when a student with a disability isn’t in Crescendo Orchestra specifically — such as one student on the autism spectrum who participates in a different orchestra class — the benefits of music education are still profound.

“His mom shared that since he joined orchestra, his grades have improved across the board,” Ray says. “The skills he’s building in music, like focus, pattern recognition and perseverance, are transferring to his other classes.”

Beyond academics, this student’s participation has supported growth in social-emotional and executive functioning skills. Through ensemble work, he’s practicing collaboration, managing transitions and developing confidence in a group setting. “Music is where he feels successful,” Ray adds. “And that sense of success is spilling over into every part of his school day.”

Crescendo students perform at every concert alongside their general education peers and experience a real sense of self-confidence

“You can see it on the kids’ faces when they hear cheers at a concert — their first time getting to be on stage and celebrated,” Ray says. “Parents are telling me: ‘Thank you, thank you, thank you!’ And I say: ‘No, thank you! Everything that your child is has fundamentally changed who I am as a teacher.’”

Ray gets these reminders of how she impacts young lives every day, and she feels so lucky. “I get to just be this lovely observer,” she says.

Collaborative Community

Ray emphasizes that Crescendo involves the efforts and hard work of many adults and children, and not just her. She puts it this way: “The GRAMMY isn’t mine.”

“I just want to stress that Crescendo is the culmination of so many people’s work and knowledge coming together,” Ray says. “I am not the only music educator out there doing this work. My hope is that we can all come together and work together to amplify this. This should be the norm instead of the exception.”

She is especially appreciative of the Annandale Special Education team as well as her instructional assistants Anna-Maria Awad, Nick Jacky, Anai Moreno and Viann Tran for their collaboration and partnership.

Ray encourages other music teachers to start Crescendo-like programs. Many resources and organizations exist that could help like United Sound, and Ray is available, too.

“If anyone ever wants help, just contact me and I will give you everything I have!” she says.

In addition to Crescendo, Ray also spearheaded the Parent Orchestra, implemented an arts-based, anti-absenteeism program and started Motherhood and Music Education, which provides resources and support for music teachers on extended leave.

A Bassist’s Guide to Modes, Part 2

Written by E.E. Bradman on November 26, 2025. Posted in Bass.

In Part 1 of this two-part series, we described major, minor and diminished modes. This time, we’ll look at the pentatonic scale and the symmetrical diminished scale, as well as the most commonly used modes of the melodic minor and harmonic minor scales.

Keep in mind that there’s always more than one way to finger a sequence of notes. I’ve chosen the ones I consider easiest to play on a four-string bass with standard tuning, but you have more options if you detune or use a five-string bass. And although we’d usually stick with either sharps or flats as we spell out a mode, we’ve mixed our accidentals to make things easier to understand: It might be more theoretically correct to call a note “G♭” based on where it is in the scale, for example, but we’ll call it F# to keep things simple.

Before we get back to modes, though, let’s explore two scales that are just as common as the minor and major scales: the pentatonic minor and pentatonic major, both of which contain just five notes.

THE MINOR PENTATONIC SCALE

If you’ve listened to the blues, rock or jazz, you’ve heard the minor pentatonic scale. In the key of G, it consists of the notes G, A, B♭, C and D. Here’s a two-octave minor pentatonic scale in G:

And here’s an audio clip that demonstrates what it sounds like:

(Note that each two-octave scale or mode played in these audio clips is accompanied by an organ drone in G and a metronome click at 60 beats per minute.)

Here’s a reggae bass line that takes full advantage of the minor pentatonic flavor:

THE MAJOR PENTATONIC SCALE

The major pentatonic scale in G consists of the notes G, A, B, C and D.

As with the minor pentatonic shape, you’ll come to recognize the major pentatonic box, too. Here’s what it sounds like:

And here’s an old-school funky blues groove that uses the major pentatonic scale:

The next scale is a cool color that’s most at home in jazzy situations.

THE SYMMETRICAL DIMINISHED SCALE

Symmetrical diminished scales are eight-note patterns that alternate between whole steps and half steps. There are two types: the whole-half scale and the half-whole scale. Here’s the whole-half sequence:

This scale starts on the root, goes up a whole step, and then alternates between whole steps and half steps until it reaches the octave. In the key of G, the notes are G, A, B♭, C, D♭, E♭, E, F# and G.

Most songwriters use diminished chords mainly as transitions between diatonic chords, but film composers take full advantage of their unsettled, eerie feeling, as demonstrated below.

The half-whole scale starts on the root, goes up a half step, and then alternates until it reaches the octave. In the key of G, the notes are G, A♭, B♭, B, C#, D, E, F and G.

Diminished scales go well with dominant chords, and many bass players use them for interesting fills.

On this mysterious-sounding interlude, the bassline slides into notes from a half-step above:

Ready to learn more? Here’s John Patitucci talking about playing diminished scales in a jazz context.

THE HARMONIC MINOR SCALE

Your ears are most likely accustomed to the major, minor, dominant and half-diminished (m7♭5) chords we discussed in the previous column, but the diminished, augmented and minor/major flavors we hear in harmonic and melodic minor modes can take us into new sonic territory.

The minor scale we discussed in Part 1 can be called the natural minor scale. The only difference between the natural minor scale and the harmonic minor scale is the seventh: The natural minor scale has a minor seventh, while the harmonic minor scale has a major seventh. In the key of G, that’s G, A, B♭, C, D, E♭, F# and G.

Here’s what it sounds like:

This mode has been used in countless songs, from the Eurythmics’ “Sweet Dreams (Are Made of This)” to No Doubt’s “Don’t Speak.” Here’s a distinctively cinematic interlude grounded by a bass ostinato:

Next, let’s take a look at two of the seven modes of the harmonic minor.

LOCRIAN (natural 6)

The second mode of G harmonic minor is a Locrian scale that begins on A. Think of a Locrian sequence — a diminished scale with a flatted second, flatted third, fourth, flatted fifth, flatted sixth and flatted seventh — and then make the flatted sixth a natural sixth. The A Locrian natural 6 mode consists of the notes A, B♭, C, D, E♭, F#, G and A.

You may also see this scale called a Dorian ♭2 ♭5 or a Locrian #6.

Many classic metal songs (such as Rainbow’s “Gates of Babylon”) make great use of the Locrian natural 6. Here’s an evocative interlude that uses this mode:

PHRYGIAN DOMINANT

The fifth mode of G harmonic minor is a Phrygian mode that begins on D. Start with a Phrygian sequence — a minor scale with a flatted second and a flatted sixth — then raise the third a half step and lower the seventh a half step. The D Phrygian dominant mode consists of the notes D, E♭, F#, G, A, B♭, C and D.

You may also see this scale called a Phrygian natural 3.

If the Phrygian dominant sounds familiar, you might’ve heard it in the traditional Jewish folk song “Hava Nagila” or as part of the main riff of Muse’s “Stockholm Syndrome.” Here’s a jazzy example:

THE MELODIC AND JAZZ MINOR SCALES

Unlike other scales we’ve looked at, the melodic minor scale ascends one way and descends a different way. On the way up, it has a major seventh, like the harmonic minor scale, as well as a sixth instead of a flatted sixth. On the way down, it has the same notes as a natural minor scale. In the key of G, it ascends G, A, B♭, C, D, E, F#, G and descends G, F, E♭, D, C, B♭, A, G. As you can see, most of the notes are the same except the ascending (green) and descending (blue) ones.

Here’s how it sounds in the key of G:

Classical music uses both ascending and descending forms of the melodic minor scale, but in jazz, most musicians use the “jazz minor” scale, which uses the ascending version — 1, 2, ♭3, 4, 5, 6, 7 — both up and down. (You’ll sometimes hear the jazz minor referred to as the melodic minor scale.) Here’s a two-octave G jazz-style melodic minor scale (G, A, B♭, C, D, E, F#):

It can be helpful to think of it as a Dorian shape with a major 7.

Muse used the harmonic minor scale in the pop tune “Plug In Baby,” but it works in jazzier contexts also.

Here’s a fun overview of the modes of melodic minor, but let’s take a look at a couple of the most commonly used flavors.

LYDIAN DOMINANT

The fourth mode of G melodic minor is a Lydian dominant (or Lydian ♭7) that begins on C. Think of a Lydian scale — a major scale with a sharped fourth — and flat the seventh (hence the “dominant” tag). The C Lydian dominant mode consists of the notes C, D, E, F#, G, A, B♭ and C.

The combination of the sharped fourth and the flatted seventh helps give the Lydian ♭7 its particular sound.

Many jazz standards, including “Take the ‘A’ Train” and “The Girl from Ipanema,” use the Lydian dominant tonality. Here’s a jazzy organ groove inspired by the Lydian ♭7 mode:

SUPER LOCRIAN

The seventh mode of G melodic minor is a Locrian scale that begins on F#. Think of a Locrian scale — a diminished with a flatted third, a flatted fifth and a flatted seventh — and then add a flatted second, flatted fourth and a flatted sixth. The F# Super Locrian mode consists of the notes F#, G, A, B♭, C, D, E and F#.

Here’s what it sounds like:

This sequence is also called the Locrian ♭4. Every degree is altered, which is why this sequence is also known as the Altered scale. You’ve probably heard it in Björk’s “Army of Me” or the intros to Rush’s “XYZ” and Metallica’s “Enter Sandman.”

Here’s another example of the Super Locrian sound:

OPEN YOUR EARS

Yes, it’s a lot of information … and it’s only the beginning. The best way to absorb all of this is to keep playing until you can hear each scale before you play it. Map the chords on a keyboard if you have access to one, outline the arpeggios on your bass, and let your ears guide you. The finer points of when to use each scale can wait; for now, enjoy the sound and the stretch.

Note: All audio clips played on a Yamaha BBP35 bass.

Check out E.E.’s other postings.

two men standing in front of audio mixer

Why Upgrade From CL/QL to Rivage PM Series and DM7 Series

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

WHY UPGRADE FROM CL/QL TO RIVAGE PM SERIES AND DM7 SERIES

Key upgrade considerations for sound engineers and audio managers in live sound, HoW, Corporate, Events, Education and Theater

Summary For over a decade, Yamaha’s CL/QL consoles defined stability and sound. Today’s productions demand more – channels, DSP, immersive tools, and streaming – without losing familiar workflow. Yamaha DM7 and Rivage PM deliver next – gen power, rider – friendly specs, and legendary sound, plus seamless CL/QL file migration. From touring to worship, education, corporate, and theater, these consoles set a new standard for speed, flexibility, and sonic excellence.

Rivage PM: Scottie Baldwin, FOH Lady Gaga, Prince, JJ Lin transitions from Yamaha CL to Rivage

Scottie Baldwin built his reputation on Yamaha’s CL and QL consoles, calling them “the scaffolding for my sonic identity.” He even mixed a stadium tour on a CL – “which everyone didn’t think was possible.” That familiarity made moving to Rivage PM feel natural: “You can feel comfortable moving over to Rivage the day of show – but it’s not the same. It’s just better in every way.” For Baldwin, the upgrade wasn’t just about scale – though Rivage’s 288 inputs and 72 mix buses opened new creative horizons. It was about musicality. “When you want to move up that notch and really get into clarity, depth, focus – everything is wider, deeper – Rivage delivers.” Features like Rupert Neve Silk and Dynamic EQ 6 let him mix stadium shows entirely in the box: “It’s musical, not just technical.” His verdict? “There’s no console before or since that has locked it in like Rivage – I feel completely at home. “It’s a whole different system, but it feels familiar – it’s part of the Yamaha family.”

On upgrading from CL/QL or a mid-sized console to a more powerful mixing desk

For more than a decade, Yamaha’s CL and QL consoles have been the dependable backbone of live sound – trusted for their stability, natural musicality, and effortless Dante integration. But today’s productions demand far more: more channels, more outputs, more broadcast and streaming capability, and more creative flexibility. Engineers need all of that without losing the workflow and sonic signature they already know.

That’s exactly why Yamaha designed the Rivage PM Series and DM7 Series Digital Mixers. Both platforms deliver award-winning and battle-tested next – generation DSP, advanced processing, immersive audio tools, and equipment rider – friendly specs, while preserving Yamaha’s unmistakable natural sound. And with a workflow engineers already know and trust – plus Console File Converter for easy CL/QL show file migration – upgrading is a leap forward in innovation, flexibility, reliability, and sound quality. Rivage PM Series and DM7 Series deliver next-generation power and flexibility without leaving your experience or your team behind.

J. Summers, FOH Jellyroll, Harnesses Yamaha RIVAGE PM 10 for Jelly Roll’s packed arena shows

For Jelly Roll’s arena-sized, guest-heavy shows, Monitor Engineer J. Summers depends on Yamaha’s RIVAGE PM10 to deliver next-generation power without sacrificing the workflow he knows and trusts. “Nothing feels better than to hear my artists smiling,” Summers says, describing his commitment to flawless IEM mixes. RIVAGE PM10 combines Yamaha’s natural sound with advanced DSP, immersive audio tools, and rider-friendly specs. Its intuitive matrix system lets Summers adapt instantly—whether adding extra RF mics, patching new instruments mid-show, or managing multiple rigs across high-profile events. “On this show, there’s no deer-in-the-headlights moment. It is calm and cool—go, go, go,” he explains. For Summers, RIVAGE isn’t just a console—it’s the backbone of a system that transforms organized chaos into surgical precision, ensuring Jelly Roll, the band, and every guest sound perfect night after night.

Live Sound: Speed, Power, and Sonic Excellence

Rivage PM was engineered for the pressure of touring, offering 288 inputs, 96 kHz audio, and Rupert Neve SILK coloration. Engineers describe the move as instantly transformational. Brad Divens, FOH for Enrique Iglesias, Linkin Park recalls realizing right away that “this is it… this is beautiful.” Kane Brown’s FOH engineer David Loy had been searching for something “powerful but stable,” and found the PM3 delivered that balance with its compact size, deep DSP, and consistent connection to the performance. Stephen “Pato” Pattison (FOH for Hozier) praises its completeness, freeing him up from cumbersome outboard gear – the console has “everything I need,” and because of that, “there’s nothing to go wrong.”

For tighter footprints, DM7 brings impressive muscle: dual touchscreens, split – mode operation, and a 64 – channel Dugan Automixer that lets one console handle FOH, monitors, and streaming at once. Touring engineer Gene Kim notes that the DM7 “really helps because the footprint is small, but it’s packed with output capabilities and local I/O.” That combination proved essential during Tyler, The Creator’s pop – up barge show, where Landon Storey and Paul Wichmann relied on DM7’s near – identical workflow to Rivage PM to deliver seamless, high – quality audio in a notoriously unforgiving environment.

21 Pilots FOH and MON: From Arenas to Clubs – Small can be beautiful
When Twenty One Pilots set out on a secret club tour, their engineers faced a challenge: deliver arena – quality sound in spaces a fraction of the size. FOH engineer Kenny Sellars and monitor engineer Cliff Skinner, accustomed to Yamaha’s flagship Rivage PM systems, needed a solution that was compact yet uncompromising. Enter DM7-EX – a console that mirrors Rivage PM’s workflow while packing serious muscle into a smaller footprint. “The console has allowed us to maintain the highest possible standard in the smallest possible footprint,” Cliff explains. With 120 channels, dual touchscreens, split – mode operation, and a 64 – channel Dugan Automixer, DM7 handled FOH, monitors, and streaming seamlessly across five cities. The transition was effortless thanks to Yamaha’s ecosystem. “My layout’s almost exactly the same as Rivage PM,” Kenny says. “It feels just like home.” That familiarity, combined with Dante networking and local I/O, meant no compromise in quality or creativity – even under tight constraints. “The band didn’t want us to scale down and not be as good. We had to say trust us,” Kenny adds. And trust paid off: every show delivered the clarity and consistency fans expect, proving that small can be beautiful when it’s engineered right.

House of Worship: Broadcast – Quality, Volunteer – Friendly

Modern churches operate like hybrid performance – and broadcast studios, and Rivage PM and DM7 are designed to support that complexity while remaining volunteer – friendly. At First Baptist Church Woodstock, Jamie Karnes describes the new head amps and plug – ins as “huge game changers,” and says the SILK feature in particular lifts every source. Saddleback Church’s team echoes that sentiment, explaining that they needed a system capable of handling worship, broadcast, and translation feeds “without compromise” – and Rivage PM delivered exactly that.

The Ark Church Chooses Yamaha RIVAGE PM7 for Reliable, Warm Audio

The Ark Church in Conroe, Texas recently upgraded to a Yamaha RIVAGE PM7 to serve its 10,000 – member congregation. “Our 7+ year old console was having issues,” says Technical Director Chris Allgood. “We looked at every brand and settled on the PM7. Workflow is amazing and simple… the sonic quality is incredible – so much warmer and easy to listen to.” With RPio racks and SILK processing, Allgood adds, “When you turn on the transformer and dial in SILK, it adds depth and quality that’s awesome.” Future – ready networking sealed the deal: “Yamaha will be our platform of choice across our campus.”

Education & Corporate AV: Reliability Meets Flexibility

Universities and corporate venues must support everything from lectures to concerts with minimal staff and no room for error. DM7’s routing power and flexible interface make it ideal for these constantly shifting environments. The University of Birmingham’s Richard Mitton says the DM7 “ticked all the boxes,” giving the venue confidence that “there’s nothing likely to come… that the DM7 can’t do.” William Paterson University found the same, noting that DM7C expanded their routing and processing while helping a small team maintain high production standards.

University of Birmingham Powers World – Class Events with familiar workflow and Yamaha DM7 Series

The University of Birmingham’s Bramall Music Building needed an upgrade to match its world – class ambitions. “The previous audio mixer was at the end of its life and massively limiting,” says Live Events Technical Manager Richard Mitton. The solution? Yamaha DM7 with Dante networking. “The capacity of the DM7 made it perfect for us… features like 64 channels of Dan Dugan Automixer and split mode are incredibly useful.” Familiar workflow was key: “You can walk up to the latest model and within 10 minutes you’re up to speed.” The DM7 now powers concerts, conferences, and even BBC Radio 3 broadcasts. “Choosing the DM7 was a no – brainer… there’s nothing that’s likely to come to this venue that it can’t do.”

Theater: Precision for Complex Live Productions

Theater demands fast navigation, accuracy, and absolute reliability. Rivage PM’s Theatre Mode, overlay filters, and immersive tools give engineers control at a level that keeps pace with rapid scene changes and dense sound design. Stephen “Pato” Pattison (FOH for Hozier) puts it simply: the console has “everything I need,” and with that completeness, “there’s nothing to go wrong.” For engineers who cannot afford hesitation, Rivage PM is the trusted choice.

RIVAGE PM5 Brings Magic to Harry Potter on stage

Harry Potter and the Cursed Child live performances demanded a console that could handle 150+ inputs, 500 cues, and full digital audio flow. The solution was Yamaha RIVAGE PM5, chosen for its advanced theatre software and flexibility. “Dual monitor mode made for a much simpler signal flow,” says sound designer Gareth Fry. Performer library proved essential: “You can instantly switch settings for different actors. Without that, this production wouldn’t have been possible.” Local associate Satoshi Tateishi adds: “Having only one mixing surface saved space and made it easier to manage.” With A/B switching and Bricasti reverbs onboard, Gareth notes: “The PM5 combines everything we liked about previous consoles – and more.”

Why Upgrade Now?

CL/QL consoles remain supported – but they are discontinued, and live sound is moving quickly toward platforms with deeper DSP, immersive tools, modern workflows, and rider – friendly specs. DM7 and Rivage PM deliver all of this while honoring the Yamaha sound engineers love. And because of familiar workflow, intuitive operation, reliability and protection of your investment, upgrading isn’t a disruption – it’s a future – proofing decision that captures your audience, preserves workflow and elevates your potential and capability to create amazing and memorable experiences across all applications.

DM7 and Rivage PM aren’t just successors – they are the new benchmark. Created for productions that refuse to compromise, these mixing desks redefine a new standard for legendary sound quality, intuitive workflow, and absolute reliability, all backed by Yamaha’s legacy of support. Rivage PM Series and DM7 Series digital consoles don’t just exceed today’s demands – they inspire what tomorrow will sound like.

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Rivage PM Series: Redefining Audio Experiences Worldwide

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

RIVAGE PM SERIES: REDEFINING AUDIO EXPERIENCES WORLDWIDE

The choice of engineers and owners for legendary sound, intuitive control, flexibility and proven reliability

Summary Rivage PM sets the standard for live sound with premium audio quality, advanced control, and Yamaha’s legendary tone. Designed for touring, corporate events, worship, theater and broadcast, it combines intuitive workflow with next – gen power. Built for the toughest environments and proven on the world’s biggest stages, Rivage PM delivers reliability, scalability, and sonic excellence – making every performance seamless and unforgettable.

Michael “Coach“ Conner, FOH Steely Dan, Paul Simon: Recreating Studio Magic Live with Rivage PM

Michael “Coach” Conner, FOH for Steely Dan and Paul Simon, calls the challenge “formidable – what was hard enough to achieve in the studio becomes even more intricate when performed live.” Rivage PM gives him the tools to make it happen. “We use around 55 microphones… I have 25 – 30 instances of DaNSe. It really does change everything. It’s probably my favorite thing on the desk. That’s my game – changer.” Premium plug – ins like Bricasti Y7 and OpenDeck help him achieve mixes that “rival the well – known studio recordings.” Virtual sound check is critical: “It’s both a blessing and a curse… I put on my headphones or in – ears, start soloing up, and realize what I truly heard the previous night.” For Conner, this feature lets him fine – tune every nuance: “Before, whatever happened vanished into space. Now, I can dive in and make it better.” Rivage PM is “the key to capturing that magic live.”

Rivage PM Series – Redefining Premium Mixing

The Rivage PM Series represents Yamaha’s flagship live sound platform, designed for the most demanding productions. At its core are Hybrid Microphone Preamplifiers, combining analog warmth with digital precision, and Rupert Neve Designs SILK processing for rich, musical tone – so voices and instruments sound natural and detailed, with the warmth of classic studio gear and the clarity of modern technology.

“This Is It. This Is Beautiful.” – Brad Divens, FOH for Enrique Iglesias, Linkin Park, Garbage

Brad Divens, FOH notes that Rivage PM changed everything: “When I tried the RIVAGE PM system, I found there was nothing digital sounding about it… This is it. This is beautiful.” For him, the magic starts at the front end: “The first and foremost feature I really love is the hybrid mic preamps, because to me the front end of a console is everything.” Add Rupert Neve SILK, Portico EQ and compression, plus familiar studio tools like Eventide and Bricasti: “It’s things you know and love from the studio. It’s that familiar sound.” With massive channel capacity, premium plug – ins, and 96 kHz processing, Divens sums it up: “All I need is the RIVAGE PM… everything is ready.”

Key Features That Set Rivage PM Apart

Massive Channel Capacity with up to 288 input channels, 72 mix buses, and 36 matrices gives you the flexibility to manage large concerts, multi – speaker panels, or worship teams without adding extra hardware.
Premium Plug – Ins like Rupert Neve EQ and compression, Eventide harmonizers, and Bricasti reverbs deliver studio – quality sound shaping and effects right inside the console, eliminating the need for external processors.
96 kHz Processing ensures high – resolution audio for pristine clarity and depth, so every detail of music and speech comes through clean and accurate.
Dan Dugan Automixer automatically balances multiple microphones, making it ideal for corporate panels or worship services where consistent levels are critical.
Noise Suppression (DaNSe) intelligently removes HVAC hum and crowd noise, keeping speech intelligible and music clear in any environment.
Genius.lab accelerates workflow customization, enabling engineers to design tailored control layouts and functions—streamlining complex tasks for faster, more intuitive mixing in any environment.
Immersive Audio Tools like AFC Image enable spatial sound design, creating a natural, engaging listening experience for theaters and large venues.

David Loy Elevates Kane Brown’s Live Sound with Yamaha RIVAGE PM3: Power, Precision, and Creative Freedom

FOH engineer David Loy drives Kane Brown’s genre-blending shows with Yamaha RIVAGE PM3, harnessing its massive channel capacity and premium DSP to deliver pristine, immersive sound. “I was really impressed with the way it sounded,” Loy says after pushing the console to its limits. With up to 288 inputs, 72 mix buses, and 36 matrices, he handles complex setups without extra hardware. Built-in Rupert Neve EQ, Eventide harmonizers, and Bricasti reverbs keep mixes “musical without over-processing,” while 96 kHz processing ensures clarity. Features like Dan Dugan Automixer and AFC Image help tame challenging thrust stages and maintain vocal intelligibility. “I love having a small footprint and a single screen—it lets me stay connected to the performance,” Loy adds. For him, RIVAGE PM3 is a creative engine that transforms every show into an unforgettable sonic experience.

Connectivity & Reliability

Dual Network Options – TWINLANe for ultra – high channel counts and Dante for easy integration – allow Rivage PM to work seamlessly with existing infrastructure while scaling for future needs.
DSP Mirroring provides redundant processing engines for mission – critical reliability, ensuring your event continues even if hardware fail
Touchscreen Interface & Centralogic Navigation combine our familiar layout with advanced control, making the console easy for volunteers yet powerful for seasoned engineers.
Theatre Mode & Overlay Filters allow quick adjustments for changing performers or scenes, saving time during live productions.
Wireless Integration lets you monitor and control Shure, Sennheiser, and Sony receivers directly from the console, simplifying setup and reducing complexity.

Recording & Virtual Soundcheck

128 – Channel Recording at 96 kHz captures every detail for streaming or post – production without additional gear.
Nuendo Live Integration streamlines virtual soundchecks, ensuring faster setup and consistent mixes between rehearsals and live shows.

From stadium tours to corporate, rental, production and worship services, Rivage PM Series is more than a console – it’s a complete mixing ecosystem designed for sonic perfection and operational confidence.

Stephen “Pato” Pattison, FOH Hozier – One Desk is Everything I Need

Stephen “Pato” Pattison, FOH relies on Rivage PM to manage Hozier’s lush, layered soundscapes with simplicity and confidence. “No, just one lonely desk – nothing else around it. No extra gear, no extra plug – ins, nothing to worry about. There’s nothing to go wrong because the console already has everything I need.” With Dante networking for flexibility and Yamaha’s intuitive Centralogic interface, Pato can adapt quickly to any venue. Built – in tools like premium plug – ins and hybrid preamps eliminate outboard racks, while 128 – channel recording and Nuendo Live integration make virtual soundcheck indispensable for consistency: “It ensures we have enough time to prepare and perfect the show.” For Pato, Rivage PM means reliability, scalability, and sonic excellence – without compromise.

RIVAGE PM: Confidence for Worship, Events, and Rider-Ready Productions

Rivage PM Series delivers premium sound and intuitive control for Houses of Worship, corporate events, and high-pressure productions. Hybrid mic preamps with Rupert Neve SILK ensure natural warmth for sermons and music, while tools like Dan Dugan Automixer and DaNSe noise suppression keep speech clear in challenging spaces. Centralogic navigation and touchscreen workflow make it easy for volunteers yet powerful for seasoned engineers.

For rental and production companies, Rivage PM is rider-friendly and eliminates outboard racks with built-in Rupert Neve EQ, Eventide harmonizers, and Bricasti reverbs. Dual networking (TWINLANe and Dante), DSP mirroring, and Nuendo Live integration provide scalability, redundancy, and virtual soundcheck for flawless execution.

Whether mixing worship services, corporate panels, or major tours, Rivage PM offers a complete ecosystem—premium audio, operational confidence, and reliability under pressure.

Flagship Power for High – Pressure Events

At Nashville’s Country Radio Seminar, CTS AVL faced three days of rapid – fire performances and corporate sessions with zero margin for error. “It’s effectively multiple different events in the same space, with little time between each,” says audio manager Mark Kimmel. For FOH engineer Jonathan Schwarz, Rivage PM was the backbone: “Engineers can bring in a show file, or we have a pre – programmed festival file ready to go – step in and mix.” Dual RPio racks and independent systems ensured flexibility: “If they need their own gain staging or Rupert Neve SILK processing, they can do that without affecting FOH.” Schwarz loves introducing newcomers to Rivage: “It’s exciting to show them features like SILK – unique to this product.” For CTS AVL, Rivage PM means reliability, speed, and sonic excellence under pressure.

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Yamaha DM7 Series – Take Your FOH to The Next Level

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

YAMAHA DM7 SERIES – TAKE YOUR FOH TO THE NEXT LEVEL

Legendary sound, power and flexibility in a smaller footprint with intuitive and familiar workflow

Summary Yamaha DM7 Series delivers great sound and flexibility for touring, theater, worship, and more – all in a compact, cost-effective design. With dual touchscreens, split-mode operation, small footprint and familiar workflows, it’s easy to use and powerful. Compatible with all generations of Yamaha I/O racks, DM7 makes upgrading simple and redefines digital mixing without compromise.

Compact Power Meets Big Expectations for Gene Kim, FOH Johnnyswim

Gene Kim, FOH for Johnnyswim, Phil Wickham and Pat Barrett, knows the pressure of live events where flexibility and reliability are non – negotiable. “For a compact console, it really helps because the footprint is small, but it’s packed with output capabilities and local I/O,” he says of Yamaha’s DM7 Compact – a design philosophy shared by Rivage PM for large – scale productions. Dual power supplies give “peace of mind: if one goes down, the rig keeps running.” Like Rivage PM’s DSP mirroring and Dante/TWINLANe networking, DM7’s portability and robust processing make it ideal for fast turnarounds. “The console lets you start from a good, clean place,” Gene adds, praising onboard Portico tools and multiband compression. Whether FOH or monitors, Yamaha consoles deliver reliability and sonic excellence – no extra gear, no compromise.

DM7 Series: Redefining Digital Mixing

Yamaha DM7 Series redefines digital mixing, meeting the ever – evolving needs of audio professionals with a perfect blend of innovation and usability. Designed for those upgrading from Yamaha’s CL or QL consoles or switching to mid – sized desks, DM7 offers an intuitive, seamless transition. Balancing professional – grade performance with a compact design and accessible price point, DM7 Series is tailored for medium – sized venues and productions, making it a versatile solution for diverse audio needs.

DM7 Powers Tyler, The Creator’s Most Unconventional Shows: Compact Design, Big Capability For Tyler, The Creator’s most unconventional shows – including a pop-up on a floating barge – engineers Landon Storey, MON and Paul Wichmann, FOH chose Yamaha DM7 for its compact footprint and powerful features. “The workflow feels like RIVAGE PM, so the transition was seamless,” says Landon. Working inside shipping containers, they relied on DM7’s dual touchscreens and built-in processing to handle dynamic vocals and effects-heavy mixes. Paul even mixed remotely via StageMix: “I literally ran the show off an iPad—it was slick.” Despite tight space, two DM7 consoles and playback fit on a 12-foot table, proving its portability and power. From Hudson River barges to packed arenas, DM7 delivers exceptional sound and flexibility anywhere.

DM7 Design Vision

Representing more than just a mixing console, Yamaha DM7 Series is a step forward in design and functionality. Built on decades of trusted engineering and sonic excellence, DM7 merges familiarity with innovation, offering tools that address modern audio production challenges.

The vision driving DM7 was clear: Create a future – ready platform that embraces existing users, encouraging exploration of new creative possibilities while ensuring an easy and welcoming transition.

From Familiar to Future: Brian Frost, FOH Transforms Corporate Audio for Apple, Amazon, and Starbucks with Yamaha DM7

Brian Frost, FOH for major corporate and keynote events, spent over a decade on Yamaha CL5 before moving to DM7. “I wasn’t sure I wanted to add another layer of complexity,” he admits. But the switch was seamless: “Within maybe a minute or two for everything I was trying to find, it just instinctively came.” Dual touchscreens and expanded channel capacity were game changers: “I appreciate the ability to view more information at a glance.” Running at 96 kHz, DM7 gave him clarity and headroom: “It allowed me to push the technology to the edge.” With Dante integration, Brian managed complex setups effortlessly: “I like to have a lot of matrices… going to DM7 now, having twelve was a great step up.” For Frost, DM7 means power, flexibility, and confidence – without the learning curve.

Cost – Effective Integration with Existing Infrastructure

One of the DM7 Series’ most appealing aspects is its ability to integrate with existing infrastructure and improve performance without costly I/O upgrades.

Key Benefits:

Compatible with all generations of Yamaha R Series I/O racks
Upgrade from 48 kHz CL or QL Series to DM7 for 96 kHz functionality
Unlock superior audio performance, reduced latency, and increased channel counts
Upgrade a rig that’s more than a decade old without changing I/O – saving tens of thousands of dollars across live sound, events and HoW.

LCBC Church: Seamless Transition to DM7

When LCBC Church moved from a Yamaha CL5 to DM7, Broadcast Audio Coordinator Brian Tru was impressed by how intuitive the console felt: “It feels like audio engineers designed it for audio engineers – it just makes sense and is very intuitive, even the first time you sit down.” Volunteers agreed: “They love having two screens instead of one and appreciate the ability to put all the user – defined keys right on the touchscreen.” The upgrade delivered more onboard outputs for monitor mixes – no extra hardware needed – and pristine 96k audio. “My music director told me the mix sounds much cleaner – and I can only attribute that to what’s happening inside the DM7.” For LCBC, DM7 means simplicity, flexibility, and sonic clarity for worship and broadcast.

Innovative Features That Elevate Your Workflow

Streamlined Livestreams: Broadcast software package and split – mode operation mix FOH and livestreams from the same surface.
Expanded Processing Power: More freedom for reverb, plug – ins, and Automixer. Includes Rivage plug – ins like DaNSe, Dynamic EQ4, Analog Delay, and more.
Premium Plug – Ins: Access exclusive plug – ins like DaNSe and Rupert Neve processing, or integrate third – party VSTs (Waves, Universal Audio).
Enhanced Usability: Dual 7 – inch multi – touch screens for flexibility and efficiency.
Show File Conversion & Rack Mount: CL/QL Series show files can be converted and imported. DM7 Compact is rack – mountable and a great fly-pack choice.

The DM7 Series delivers legendary sound quality and cutting – edge features that audio professionals demand.

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Training, Support and a Familiar Workflow

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

TRAINING, SUPPORT AND A FAMILIAR WORKFLOW

Seamless upgrade to Rivage PM & DM7 with training, support, and confidence in every performance

Summary Transitioning from a CL/QL workflow to Rivage PM or DM7 has never been more seamless. Yamaha makes the move simple with intuitive interfaces, comprehensive training resources, and a design philosophy that feels instantly familiar. Whether you’re an experienced audio engineer or part of a volunteer team, the learning curve is refreshingly short.

Training Made Accessible
DM7 and Rivage training is available on YouTube and official Yamaha platforms, giving teams the flexibility to learn at their own pace. From quick-start guides to deep-dive tutorials and YouTube videos, these resources ensure that both professionals and volunteers can master advanced features confidently – anytime, anywhere.

Resources:

Rivage Training page: https://usa.yamaha.com/products/proaudio/mixers/rivage_pm/training.html
DM7 Training page: https://usa.yamaha.com/products/proaudio/mixers/dm7/training.html
DM7 Training page – YouTube: youtube.com/watch?v=A3sjtznvv6w

Through Yamaha Audio Lab clinics, detailed articles, and hands-on sessions, professionals gain confidence in mastering advanced features – while volunteers appreciate the approachable layout and guided workflows. The result? Faster onboarding, fewer mistakes, and the ability to deliver professional-grade sound without missing a beat.

As the only company that designs across the entire signal chain, Yamaha knows what audio should sound like – and what true professionals demand. That expertise is built into every Rivage PM and DM7 Series console, ensuring uncompromising quality from input to output.

For live touring, production and rental companies, venues, theaters, amphitheaters, houses of worship, education and facilities planning permanent installations, Yamaha backs your investment with robust support:

2-Year Warranty via authorized dealers
Extended Coverage available through registration
Parts & Labor for defects during warranty period
Firmware Updates + Advanced Remote Tools included
Yamaha Authorized Pro Audio Centers for service and expertise
Proof of Purchase Required for warranty claims

With Rivage PM and DM7, you’re not just upgrading your console – you’re gaining confidence and a partner vested in your success – one beat at a time, every note, every night, every performance, every time.

Yamaha Pro Audio understands every system is unique. Our experienced team is ready to help you design solutions for today and tomorrow. When you’re ready to discuss your needs, click here to start the conversation.

Yamaha Digital Console Comparison and Specs

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

YAMAHA DIGITAL CONSOLE COMPARISON AND SPECS

Compare Rivage PM Series, DM7 Series, CL and QL features and specs

Summary Upgrading from Yamaha CL or QL Series to DM7 or Rivage PM delivers a major leap in performance and flexibility. With 96 kHz audio processing for superior clarity, advanced DSP for premium plug-ins and Rivage-grade tools, and split-mode operation for FOH and livestream mixing, these consoles redefine efficiency. They integrate seamlessly with existing Yamaha I/O racks for cost-effective upgrades, offer dual multi-touch screens for intuitive control, and provide enhanced reliability with redundant power and DSP – plus Rupert Neve SILK processing for studio-quality sound.

We are here to help Yamaha Pro Audio understands every system is unique. Our experienced team is ready to help you design solutions for today and tomorrow. When you’re ready to discuss your needs, click here to start the conversation.

This chart compares Yamaha CL, QL, DM7, and Rivage PM Series consoles, highlighting key specifications and differences to help demonstrate how DM7 and Rivage PM deliver superior performance for innovative productions. Product page links below for a deeper dive or connect with our sales team to explore solutions.

Feature	CL Series	QL Series	DM7 Series	Rivage PM Series
Input Channels	Up to 72 mono + 8 stereo	Up to 64 mono + 8 stereo	120 mono (DM7) / 72 mono (Compact)	Up to 288 (DSP-RX-EX)
Mix Buses	24	16	48	Up to 72
Matrix Buses	8	8	12	Up to 36
Sample Rate	48 kHz	48 kHz	96 kHZ	96 kHz
Local Analog I/O	8 in / 8 out (CL5)	32 in / 16 out (QL5)	32 in / 16 out	8 in / 8 out
Networking	Dante	Dante	Dante (144×144)	TWINLANe + Dante
Plug-ins	Rupert Neve EQ/Comp	Rupert Neve EQ/Comp	Rivage plug-ins + VCM + VST support	Rupert Neve SILK + premium plug-ins
Touchscreens	1	1	2 × 12.1″ + 1 × 7″	Up to 3 × 15″
Faders	16–32	16–32	28 (12+12+4)	Up to 36 (3 bays of 12)
Scene Memory	300	300	500	1000
Redundant PSU	Optional	No	Built-in dual PSU	Built-in dual PSU
Advanced Features	Basic EQ/Dynamics	Basic EQ/Dynamics + Auto Mixing	Split-mode FOH/Stream,Dan Dugan Automixing, Rivage-grade channel strip	SILK mic preamps, AFC Image immersive audio, DSP mirroring
Reliability	Proven	Proven	Proven – Dual PSU, DSP redundancy	Proven – Dual PSU, DSP mirroring
Standard Warranty	1-2 years (varies by region)	1-2 years (varies by region)	2 years via authorized dealer	2 years via authorized dealer
Extended Coverage	Available via registration	Available via registration	Available via registration	Available via registration
Service Center	Yamaha Authorized Pro Audio Centers	Yamaha Authorized Pro Audio Centers	Yamaha Authorized Pro Audio Centers	Yamaha Authorized Pro Audio Centers
Repair Policy	Parts & labor for defects during warranty	Parts & labor for defects during warranty	Parts & labor for defects during warranty	Parts & labor for defects during warranty
Reliability Support	Firmware updates, basic support	Firmware updates, basic support	Firmware updates + advanced remote tools	Firmware updates + advanced remote tools
Special Notes	Requires proof of purchase	Requires proof of purchase	Requires proof of purchase	Requires proof of purchase

Yamaha Product pages

Yamaha CL Series: https://usa.yamaha.com/products/proaudio/mixers/cl_series/index.html
Yamaha QL Series: https://usa.yamaha.com/products/proaudio/mixers/ql_series/index.html
Yamaha DM7 Series: https://usa.yamaha.com/products/proaudio/mixers/dm7_series/index.html
Yamaha Rivage PM Series:
https://usa.yamaha.com/products/proaudio/mixers/rivage_pm_series/index.html

RIVAGE PM Mixes Country Music Radio’s Big Annual Event

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

RIVAGE PM Mixes Country Music Radio’s Big Annual Event

Supreme Nashville Sound with CTS AVL

Summary At Country Radio Seminar, CTS AVL relied on Yamaha RIVAGE PM consoles to deliver flawless, flexible sound for three days of performances by country music’s biggest stars.

Nashville’s annual Country Radio Seminar brings together a wide range of country music artists and industry leaders for three days of performances, seminars, meetings and more. For 20 years CTS AVL has been the event’s audio partner, relying on Yamaha digital mixing consoles to deliver stellar performances from the latest new talent to the industry’s biggest stars.

The 2024 Country Radio Seminar took place at the Omni Nashville Hotel, with its ballroom the setting for everything from breakfast meetings and executive luncheon performances to evening shows which go on long into the night. The show features a wide variety of artists and an intense program of performances. Long-time audio product production partner CTS AVL needs to deliver consistently great sound, yet be flexible enough to suit very different musical styles in minutes. CTS AVL knew that Yamaha digital mixers could satisfy these difficult demands and deliver their long-time motto ‘Move The Room, Move The World’.

“We were brought in by Scott and Julie De Vos of De Lux Productions, who have produced the show for many years,” says CTS AVL president Mike Taylor. “They knew from our track record that we could deliver great sound for any musical style and switch between styles quickly with no loss of quality.

“The key part of the brief is that this is radio’s event. The artists are invited to perform and show the radio personalities and executives what they’ve got, but it has to be a 100% neutral environment, with everybody getting exactly the same opportunity. We treat them all equally, everyone gets the full production.”

The company initially used Yamaha PM1D digital mixing consoles, moved to PM5Ds and now have RIVAGE PM10s at front of house and monitors, plus a RIVAGE PM3 as a production console for video playback and wherever else needed. Two RPio I/O racks take care of all inputs and outputs, with all systems on a shared network.

One of the challenges faced by the CTS team is that it’s essentially a corporate event, but the format of the performances changes continually throughout the three days, with extremely fast changeovers. This puts a lot of pressure on the audio team.

“Every year we spend a lot of time in team discussions about the flow of the event, because it’s effectively multiple different events in the same space, with little time between each,” says CTS AVL audio manager Mark Kimmel, who has worked the Country Radio Seminar for 11 years.

“There are different aspects to each of them that are challenging and different timeframes that things have to be executed within, so we treat each event like it’s the biggest one. And overall, because of the corporate nature of it, everything has to be tidy. Our snakes and delay cabling have to be flown on truss, so we work closely with the in-house rigging team. Through collaborations like that, we can deliver consistently from year to year.”

The variety of scenarios is a particular challenge for Jonathan Schwarz of Schwarz Sound, who manages the CRS front of house sound for CTS AVL.

“They’re constantly rearranging the room. There will be a luncheon with tables, then the next session it might be chairs. Some of the higher profile artists will do a longer set and bring their own engineer, then there are sessions where, for example, a record label may have 10 artists that it wants to showcase, each doing one song and I’ll mix all of them,” he says.

“You can have laid-back songs that are more soulful or twangy, then you’ll have full-on honky-tonk rock ‘n roll. We have to figure out how to give the artist the power and impact that they want from a performance, while recognizing that it’s a corporate-style event. You’re entertaining radio personalities, managers, there’s a lot of networking going on. You have to translate the music and create that emotional impact where people go ‘I want to play that on the radio,’ while not making plates rattle.

“We don’t want to make people spill their soup,” he adds, with a smile.

With a tight schedule, multiple artists and little soundcheck time, as well as delivering great sound, front of house needs a universally accepted mixing console which any engineer can use with no issues.

“The Yamaha RIVAGE PM backbone facilitates that,” says Jonathan. “Engineers can bring in a show file, or we have a pre-programmed festival style show file with their inputs and things ready to go, so all they have to do is step in and mix.

“We actually have two complete systems with separate RPios going through monitors, which can operate independent of front of house. So if they have to make their own gain staging or do anything with the transformer emulation and RND SILK processing, they have the opportunity to do that independently of what the front of house engineers are doing.”

One of the things Jonathan enjoys about the event is giving engineers who may not have previously used the Yamaha RIVAGE PM series the opportunity to mix on it.

“Some of the younger artists in particular may not have had the chance to mix on a flagship product like the RIVAGE PM system. So it’s exciting for me to show them what it’s like, the features like the Rupert Neve Designs SILK processing. It’s such a cool feature, which is unique to this product,” he says.

“Then we have others with experience on RIVAGE PM and that’s great as well. I love watching other engineers come in, seeing their methodology, their workflow and the little tips and tricks they do for their artists which are unique to their mixing style. Something different than maybe I would do, because there are a lot of really cool ways to do anything on the system.”

Another Yamaha family product which has proved popular is the NEXO PS8, two-way point source speaker.

“The PS8 is fantastic because it sounds great, it’s very low profile and the rotatable horn means we can lay it on its side,” says Jonathan. “The stage is fairly compact, and we have a thrust. Being able to place PS8s on stands around the front of the stage means we can have great functional coverage, with the volume, tone and clarity to keep up with the rest of the PA, but they’re out of the way of the artist.”

With another successful Country Radio Seminar concluded, CTS AVL is already looking to next year’s event, again using Yamaha and NEXO.

“Every year we look at how can we improve upon on the previous one,” says Mark. “After 20 years we’ve got the production really fine-tuned. And everybody is always relieved to hear that we have the RIVAGE PM system.”

Company president Mike agrees, adding, “The Country Radio Seminar is a very important event for both the country music radio industry and the many artists who are invited to perform. We have a really deep relationship with all of our customers involved and we strive to deliver the highest quality production for both the performers and the audience. Yamaha digital mixing is an integral part of it and it’s always a fun one for us to do.”

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Small Is Beautiful

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

Small Is Beautiful

Yamaha DM7-EX Tours Clubs With Twenty One Pilots

Summary Twenty One Pilots’ secret club tour demanded arena-quality sound in tight spaces. FOH and MON engineers used Yamaha DM7-EX for power, flexibility, and portability.

In May 2024, global superstars Twenty One Pilots played five secret club dates in Berlin, London, Mexico City, New York and their hometown of Columbus, Ohio, in anticipation of their upcoming album release and worldwide arena tour. Sound engineers Cliff Skinner and Kenny Sellars were faced with the challenge of how to shrink the band’s arena-sized audio system into small clubs without compromising audio quality. The answer was built around Yamaha’s DM7-EX digital mixing console.

The short An Evening With Twenty One Pilots tour was booked in anticipation of the band’s new album, Clancy, to be released in late May, and a world arena tour which kicks off in August.

Front of house engineer Kenny Sellars and monitor engineer Cliff Skinner are used to mixing arena shows on our flagship RIVAGE PM5 and PM10 digital mixing systems using our Genius.lab software and the Open Sound Control (OSC) protocol to create highly customized setups. They faced a major challenge because of the band’s commitment to delivering the best sounding show possible.

https://youtu.be/d0fCNK2UiBw

“The band care about being perfect – it doesn’t matter where we are. In the past, whether it’s an arena or a club, we were bringing in triple width racks with full size consoles,” says Kenny. “This time we needed a compact and also cost-effective package, knowing we wouldn’t be selling 20,000 tickets every night.”

Having seen a demo of the Yamaha DM7 at Clair Global’s Lititz headquarters, Cliff realized that the DM7-EX (the DM7 coupled with the DM7 Control expansion controller) would have the capacity and flexibility they needed, in a small, physically manageable format. “Being in the Yamaha family, and with the similarities between it and the RIVAGE PM systems we’re comfortable with, it was the obvious choice,” he says.

“To be honest, I was a little hesitant at first. Sound engineers don’t always like change! But Cliff was like, ‘Dude, you’re gonna love this’,” smiles Kenny.

“I was kind of worried about some of my workflow, but it’s only got a few less faders than a RIVAGE PM control surface. My layout’s almost exactly the same, the layers and center section are the same, and it programs just like the RIVAGE PM system. I was like, wow, this feels just like home.”

He continues, “The band didn’t want us to scale down and not be as good. We had to say trust us, we feel comfortable making it happen on these consoles. It’s the first time we’ve been able to say that – we can take a smaller console and still give the band what they need, with all the tools to do the things that we need for the show.”

The two DM7-EXs were on the same Dante network, along with a Rio3224-D2 I/O rack, eight channels of Axient digital wireless microphones and playback. Every input in the system was either local I/O on each desk or from the devices on the Dante network.

“There are only two people on stage, but we have a lot of communication between techs and band members. We’re hitting 70 channels before we’re even talking about returns and everything else,” says Cliff.

Meanwhile, Russ Long at Yamaha has been available to help. “Russ will always get an answer for me right away. Working with Yamaha has been a great, great experience,” says Kenny. “Everyone at Yamaha has been great, working with us to help implement things better,” agrees Cliff. “Having that relationship, the trust between us and their support has enabled us to be more creative.”

As the club tour ended, both engineers described the experience of using the DM7-EX as completely positive. “The console has allowed us to maintain the highest possible standard in the smallest possible footprint. I never expected to have 120 channels available on something this small, which didn’t feel claustrophobic. The familiarity with the Yamaha ecosystem has allowed the transition between the RIVAGE PM to DM7 and back to be seamless,” says Cliff.

“The DM7-EX has everything I need. It’s the perfect solution to keep me comfortable in the Yamaha world, and fit the bill for these club shows in four different countries,” concludes Kenny.

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Scottie Baldwin, FOH

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

Scottie Baldwin, FOH

From CL/QL roots to mixing icons like Lady Gaga, Prince, and JJ Lin

Summary Scottie Baldwin, FOH for Lady Gaga, Prince and JJ Lin, among others, honed his craft on Yamaha CL and QL consoles before stepping up to Rivage PM – delivering clarity, flexibility, and creative control for some of the biggest stadium productions worldwide.

Scottie Baldwin is a world-renowned front-of-house engineer whose career spans global tours with artists including Prince, Lady Gaga, JJ Lin, and Jolin Tsai. Known for his precision, creativity, and deep musical sensitivity, Baldwin has built a reputation for turning complex live productions into immersive sonic experiences. His workflow merges technical precision with musical intuition, and his long relationship with Yamaha consoles – evolving from the CL and QL series into the Rivage PM platform – shows how foundational tools can shape a philosophy, and how innovation in talented hands can unlock new frontiers in sound design.

Laying the Groundwork: CL and QL as Sonic Stepping Stones

Before Rivage PM, Baldwin’s approach was built around Yamaha’s CL and QL consoles. These systems, with their Dante networking, onboard Premium Rack effects, and intuitive layout, became the scaffolding for his sonic identity. Early in his career, he mixed an entire stadium tour on a CL console – a decision that raised eyebrows at the time. “I mixed a stadium tour on a CL, which everyone didn’t think was even possible,” he recalls.

Those consoles gave Baldwin the confidence to take on virtually any gig, even under tight budgets or demanding expectations. For one tour with The Revolution, he even downsized a CL show file to fit on a QL console, turning skeptics into believers when they heard the result. He laughs remembering stage crews asking where his console was, only to see it roll in a compact road case: “When you can get a big sound out of a tiny console, it’s even more impressive.”

CL and QL introduced Baldwin to Yamaha’s scene management, onboard processing, and workflow logic – tools that made him faster, more consistent, and ultimately more musical. He learned to work almost entirely in the box, saying he’s “never used outboard gear with Yamaha – maybe auto-tune, but that’s it.” That minimalist, efficient mindset became the foundation for everything that followed.

The Leap to Rivage: Expanding the Horizon

When Baldwin transitioned to the Rivage PM5, it wasn’t just about more channels or processing – it was about expanding visual control and creative space. “I did it live without a net,” he recalls. “New country, new artist, new console – and Rivage made it possible to think in big terms. I said, ‘OK, I can do this.’”

A self-described visual thinker who values order and clarity, Baldwin immediately appreciated Rivage PM’s larger screen real estate and configurable interface. His layout typically places inputs and DCA groups on the left, scenes and dynamics in the center, and EQ and overview data on the right – giving him instant visibility across hundreds of parameters.

“You can feel comfortable moving over to Rivage the day of show,” he explains. “That’s how familiar it is – but it’s not the same. It’s just better in every way.” And when it comes to sonic impact, he adds, “When you want to move up that notch and really get into clarity, depth, focus – everything is wider, deeper – Rivage delivers.”

Technical Expansion: What Rivage Adds to the Equation

Rivage PM didn’t just expand Baldwin’s workflow – it fundamentally redefined it. Moving from the CL5’s 72 input channels to Rivage’s 288 opened up the ability to manage complex multi-input sources, broadcast feeds, and parallel effects chains simultaneously. The 72 mix buses and 36 matrix outputs give him the routing flexibility to design both stereo and immersive configurations without compromising DSP resources.

At the core of that performance is Yamaha’s TWINLANe network – a proprietary coax or fiber system capable of carrying up to 400 channels of 96 kHz audio with sub-millisecond latency. Baldwin describes the difference as “insanely small,” adding that it’s “powerful and reliable – you just have to bring good cables.” Combined with RPio racks, the platform provides modular I/O flexibility and even supports legacy MY cards. “I can still use MY cards I’ve had for 20 years,” he says. “That’s insane in today’s day and age.”

In-the-Box: Plugins That Perform

One of Rivage PM’s biggest advantages for Baldwin is its fully integrated plugin suite. The Rupert Neve Designs Silk circuit in the RPio Stagebox, for example, has become a staple of his mix template. “The Rupert Neve Silk emulation is stunning,” he says. “The more red I dial up, the less EQ I have to do. It’s musical, not just technical.”

He also calls the Dynamic EQ 6 “the most versatile, most beautiful EQ” he’s used, explaining that it lets him respond to vocal intensity dynamically, keeping the tone consistent whether an artist is whispering or belting. With tools like these running on Rivage’s FPGA-based DSP at 96 kHz, Baldwin is able to mix fully in the box – even for stadium-scale productions – without latency or compromise.

Scottie Baldwin’s Rivage PM5, JJ Lin tour, Bird’s Nest Stadium, Beijing

Engineer and Artist Collaboration

Baldwin approaches each show as a collaboration between engineer and artist. “There’s no console before or since that has locked it in like Rivage – I feel completely at home,” he says. “I always feel like I’m standing in front of a musical instrument.”

For Baldwin, Rivage isn’t just a control surface – it’s a creative partner. “Yamaha puts the musical things forward,” he explains. “You only look at what you need to work on the most musical aspects of each mix.”

On one tour, he used the PM5 to create a 12-channel immersive mix in which reverb physically moved through the venue. “It sounded like one long reverb,” he recalls, “but it traveled from front to back.” It’s this kind of real-time artistry – using technical flexibility to deepen the audience’s connection – that defines Baldwin’s work.

Real-World Impact: Value for Production and Touring

Baldwin’s approach to Rivage PM also brings tangible value to production companies and touring operations. “I can go anywhere with a USB stick and make shows that sound spectacular,” he says. “You’re saving the tour, the church, the black box theater money on rental. That money should go to you – not the gear.”

That level of portability and consistency makes Rivage an asset across scales – from major stadium tours to regional festivals – proving that sound quality and efficiency can coexist at the highest level.

Familiarity Meets Mastery

Despite Rivage PM Series expanded architecture, Baldwin says the transition felt natural. While he initially experimented with Yamaha’s console file converter to migrate CL show files, he ultimately rebuilt everything from scratch to take advantage of stereo aux sends, expanded mix buses, and the console’s advanced dynamics engine. “It’s a mistake to say Rivage is just a CL on steroids,” he explains.

“It’s a whole different system, but it feels familiar – it’s part of the Yamaha family.”

That familiarity, combined with Rivage PM’s deeper toolset, allowed him to approach mixing with fresh creative intent rather than treating it as a technical upgrade.

A Platform for Sonic Excellence

Scottie Baldwin’s evolution from CL and QL to Rivage PM reflects Yamaha’s core philosophy: to design tools that inspire engineers to make music, not just mix sound.

Baldwin sums it up simply – Yamaha, he says, “listens carefully and responds musically.”

When he steps behind a Rivage, Baldwin doesn’t see a console – he feels an instrument. And with that, every show becomes an act of performance, precision, and sonic storytelling.

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Mastering Live Sound on Rivage PM

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

Mastering Live Sound on Rivage PM

Stephen “Pato” Pattison, FOH Hozier

Summary Stephen “Pato” Pattison, FOH for Hozier, relies on Yamaha RIVAGE PM to deliver pristine mixes of the band’s rich soundscapes, backed by Yamaha’s global support and innovation.

https://youtu.be/Do-TYCJXVT4

In live sound engineering, few names command as much respect as Stephen “Pato” Pattison. Renowned for his meticulous ear and innovative approach, Pato is the sound engineer behind Hozier’s celebrated live performances. Handling the complexity of the band’s lush soundscapes requires not only talent but also the right tools. For Pato, those tools come in the form of Yamaha’s RIVAGE PM Series.

Adopting RIVAGE PM for Hozier FOH

With RIVAGE PM at the core of his setup, Pato expertly balances Hozier’s ensemble, which includes everything from Andrew Hozier-Byrne’s soulful vocals to strings, layered guitars, and dynamic percussion.

The RIVAGE PM Series’ flexibility, superior hybrid preamps, and onboard processing allow Pato to craft a pristine mix that remains true to the band’s sound, no matter how challenging the venue. His configuration also incorporates our Dante networking for added flexibility. He even utilizes a Yamaha MS101-4 on his doghouse as his shout-back speaker.

When asked about using external plug-ins or hardware to shape the sound, he laughs and says, “No, just one lonely desk—nothing else around it. No extra gear, no extra plug-ins, nothing to worry about. There’s nothing to go wrong because the console already has everything I need. Anything I’d get from external plug-ins or hardware is already built in.”

A Relationship Built on Communication

For Pato, the key to our success lies in its open communication and global support.

“The relationship with Yamaha is great because there are people you can talk to and people who will listen and offer ideas or ask questions back,” notes Pato, highlighting that our team doesn’t just respond – they engage, often following up with questions that open the door for collaborative problem-solving.

This level of service transcends time zones. “Doesn’t matter what time of day it is or what time zone I’m in, someone will get back to me, and that’s amazing,” Pato shares. Whether he’s in the US, at his home in the UK, or anywhere else in the world, Our team is still accessible, “offering ideas and solutions no matter the hour. They get pestered with ideas I sometimes have, and they go, ‘Oh, I never thought of that,’ and it might actually become a thing.”

Collaboration Sparks Innovation

Touring with Hozier – a band known for its rich, soulful sound – Pato handles various audio challenges, from balancing Hozier’s baritone to amplifying diverse instrumentation. The performances feature acoustic and electric guitars, piano, percussion, and strings, creating a layered sound that demands adaptability. This is where Yamaha’s open dialogue and gear excel.

Yamaha’s commitment to feedback has led to real improvements. Pato recalls suggesting a stereo overdrive feature for a keyboard, a key element in several of Hozier’s tracks. “I wanted to overdrive a keyboard, but the overdrive was just mono. Then, without me knowing, they implemented a stereo option,” he says, a testament to Yamaha’s willingness to listen and evolve.

“They definitely believe in the product and want it to be the best,” Pato emphasizes. For him, this partnership goes beyond mere functionality – it’s about shared values. “If you have an idea and they implement it, that’s where you want to be.”

Tools of the Trade: Custom Solutions for Unique Needs

Pato is discerning when it comes to equipment. With Hozier’s diverse instrumentation – including everything from carbon fiber cellos to traditional string instruments – achieving clarity is critical. When amplifying strings, Pato uses pickups but adjusts depending on the environment.

“The strings have their own pickups, but in extreme conditions like heat, we might use the carbon fiber cello,” he explains. Despite occasional tweaks, Pato aims for simplicity. “I just roll off some low end and a little around 4K, but nothing drastic.” His approach highlights Yamaha’s ability to elevate natural sound without over-complicating it – a crucial factor when managing the unique blend of orchestral and rock elements in Hozier’s music.

Advice for the Next Generation

For aspiring engineers, Pato’s advice is simple: trust your ears. “Don’t mix with your eyes, use your ears,” he says, urging engineers to focus on sound over visual cues. “If it sounds great, it sounds great. No one in the audience cares how much you’ve adjusted the low, mid, or high. “Pato also highlights the importance of hearing the sound from the audience’s perspective. “Go where the audience is and check how it sounds there,” he advises. Finally, Pato urges young engineers to experiment. “Ask questions, turn the dials, play with the encoders—they’re there to be turned.”

Conclusion

For Pato, the partnership with Yamaha is more than a transactional relationship – it’s a collaboration where innovation is encouraged, and solutions are developed together. With a brand that listens, adapts, and continually pushes its products forward, Pato feels empowered to deliver the best possible sound every night. “They only want their product to be the best,” he says—and for an engineer at the top of his game, that’s exactly the kind of partner you need.

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Mastering the Monitor Mix for Jelly Roll

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

Mastering the Monitor Mix for Jelly Roll

J. Summers on Touring, Teamwork and Rivage PM

Summary J. Summers, Monitor Engineer for Jelly Roll, uses Yamaha RIVAGE PM10 and surgical precision to deliver flawless IEM mixes for high-energy arena shows and guest-packed sets.

With decades of technical mastery and a passion for thriving in live sound, J. Summers ensures every Jelly Roll performance delivers unmatched energy, precision, and seamless connections between the Artist, Band, Guests and Audience. He is the harmony in every song.

Introduction

For J., stepping into the role of Monitor Engineer with Jelly Roll is the culmination of years spent mastering his technical skills, navigating unpredictable challenges, and embracing the ever-changing energy of live performances. Summers comes fully equipped with a whatever it takes, can-do attitude and is committed to delivering the highest-level of sonic nuances to his Artists IEM’s. “Nothing feels better than to hear my Artists smiling.”

Audio Setup and Team Dynamic

The heartbeat of Jelly Roll’s touring success lies in a finely tuned synergy between its Sound Image Crew members and all other departments. Summers describes their seamless teamwork: “Ron Gardner (TM/FOH) mixes the show and is our Captain of the ship, ensuring smooth navigation and Team collaboration. Brendan Hines, our System Designer, System Engineer, Crew Chief and Bus Ambassador, always looks ahead and keeps us informed, our Gibraltar. My role as Monitor Engineer is the setup of Mons World, mixing and making sure everything sounds perfect for Jelly and The 36 Hour Band.” This collaborative, team-first approach ensures every piece of the puzzle fits and keeps things running with clockwork precision.

This precision is put to the test nightly. Jelly Roll performs on a bespoke 3-tiered arena stage, 2 runway thrusts stretching deep left and right into the audience and the B-stage as well, Summers embraces the unique sonic challenges of managing the inputs, room, crowd, and stage. “The energy from the crowd and the intensity of Jelly Roll’s performance pushes us to find new ways to adapt. Having an artist 60 feet in front of the PA isn’t easy—but that’s part of what makes every night special. Dare I say, a more “intimate” evening in an arena. Brendan and I spend time walking Jelly’s RF mic around the stage every day. Keeping ahead of any sonic anomalies.”

Technical Setup and Flexibility with Guests

Sound Image’s meticulous preparation forms the backbone of every performance. At the core of this workflow is the RIVAGE PM10 mixing system. There are 3 mirror image rigs built and ready to gig when the call comes in. “We have done some serious cross-country travel and international flight hops to our A, B and C rigs. In NYC we had all 3 rigs running at once, with multiple gigs in various locations across town. We even had Police escorts in between venues to get us there on time. MSG, SNL, The Global Citizen’s Festival, Jimmy Fallon and then Jelly and I popped over for a Duet with Kelly Clarkson on her programme, all in a 3-day weekend. Full On!”

It’s that spontaneity of live performances—and the revolving door of guest appearances—that keeps Summers sharp. At Nashville’s Bridgestone Arena, a hometown finale for Jelly Roll, Summers and the team faced their biggest test yet. Originally set to end weeks earlier, the tour extended by popular demand. “We can’t end here in Jacksonville, we have to bring it home.” Jelly Roll declared, setting the stage for an unforgettable final night in Nashville.

Summers prepared accordingly: “We always have 2 Guest RF mics and 2 discrete mixes ready to go. For Bridgestone, we added more because we knew it was going to get wild.”

On show day the Guests came fast, “We had Alexandra Kay, Ernest, Struggle Jennings, Skylar Grey, Yelawolf and Snoop Dogg. Keith Urban has his own dedicated inputs in our rig as we’ve seen him along with his Tech Chris Miller so much this year. Shinedown’s Zach Meyers needed an acoustic patched in during the show. No worries. This is why we always need to have a clean and clearly designed stage patch system with plenty of options open. We love options!”

Summers thrives in what he calls “organized chaos, handled with surgical precision.” Thanks to Yamaha’s carefully designed matrix system, Summers ensures flawless execution. “Jelly’s got a main and spare IEM, then there are feeds into the Band spares. Guest mixes are always their own discrete frequencies. Everything’s designed so we can adjust on the fly without blinking.” RF Tech Bill Black plays a crucial role, always one step ahead. “Bill’s got our RF world sorted, he doesn’t miss a beat.”

Summers summarizes it simply: “On this show, there’s no deer-in-the-headlights moment. It is a calm and cool-go, go, go gig. Three extra IEM packs? Gotcha. Darbuka input? Done. More RF mics? Ready. It’s about being prepared for anything and trusting the Team to execute at lightning speed.”

The Bridgestone Arena show proved not only Summers’ technical expertise but also his adaptability—ensuring the on-stage IEM sound matched the moment, leaving the Artist, Guests and Audience with an unforgettable experience.

Touring Experiences and Sonic Philosophy

Summers’ career has taken him across the globe and into a vast array of unique venues. Each space, no matter how unconventional, challenges his understanding of sound and reinforces his deep respect for its power.

“I’ve been to some beautiful places, with Sting we performed in Roman amphitheaters and ancient temples around the world” Summers reflects. “With Sigur Rós, we did a recording in the caves outside of Paris, using the natural reverb of the mined chambers. You can’t forget those moments—they’re alive with sound.”

These extraordinary experiences have shaped Summers’ approach to live sound. For him, it’s about more than technical perfection—”it’s an organic connection with the environment and my Artists that makes the music come alive and immerses the audience in waves of sonic emotions.”

Passion and the Right Tools

Summers credits Yamaha for providing the reliability he needs to perform at the highest-level night after night. “Yamaha gives me the confidence to ensure my artists are happy on stage, which translates to a great performance for them and the audience.”

Summary

Summers’ journey as an audio engineer is one of passion, adaptability, and technical excellence. From managing the IEM’s for Jelly Roll’s high-energy shows to crafting soundscapes in historic, otherworldly venues, Summers combines preparation with artistry to bring music to life. His ability to balance technical precision, team coordination, and an unshakeable understanding of the Artist’s vision ensures every performance resonates deeply with audiences and the Artist.

For Summers, live sound isn’t just a science—it’s an art form, one that bridges the gap between artist and audience, leaving an impact that lingers long after the final note fades.

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Live Sound, Simplified

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

Live Sound, Simplified

Gene Kim’s FOH Journey with our DM7 Compact

Summary Gene Kim, FOH for Johnnyswim, Phil Wickham & Pat Barrett, relies on Yamaha DM7 Compact for pristine sound, portability, and powerful processing across diverse venues.

https://youtu.be/gqIHWOslMHg

Gene Kim, a highly respected front-of-house (FOH) engineer known for his work with Johnnyswim, Phil Wickham and many others, has made our DM7 Compact digital mixing console his go-to for live sound. Now on tour with Pat Barrett, Gene relies on the DM7 Compact to deliver pristine sound and seamless performance in churches, clubs, and iconic venues like Nashville’s Ryman Auditorium.

Features and Portability

Gene first encountered the DM7 Compact during a Trio acoustic show in LA. “For a compact console, it really helps a front-of-house engineer because the footprint is small, but it’s packed with output capabilities and local I/O,” he explained. The console’s portability, fitting easily into a Pelican case, proved invaluable for Gene, who frequently handles fly dates and mobile setups. “It just makes things really easy.” One standout feature for Gene is the DM7 Compact’s ability to simultaneously handle both FOH and MON duties effortlessly. “It’s really easy to get monitors up and going quickly,” he noted, a key advantage on fly dates where he often manages both roles.

The DM7 Compact’s intuitive design also allowed Gene to handle complex setups efficiently. “There are so many user-defined keys, making it easy to manage layers. I haven’t needed a ton of faders,” he shared. This efficient layout has been especially beneficial for larger band shows with choirs. “The GUI is clear, it’s bright, and the touchscreen is really responsive.”

“For a compact console, it really helps a front-of-house engineer because the footprint is small, but it’s packed with output capabilities and local I/O.”

Gene also emphasized an often-overlooked feature of Yamaha consoles: dual power supplies. “It’s not something you immediately think about, but when engineers see two power supplies, it gives peace of mind. If one goes down, the rig keeps running.”

Processing Power and Sound Quality

Gene was particularly impressed by the DM7 Compact’s onboard processing capabilities, including the reverbs, multiband compressors, and the Rupert Neve Designs’ Portico processing tools. “The onboard reverbs, the multiband, the FET limiter, the U76, and I love all the Portico compressors,” he stated. “As far as sound goes, it’s just really flexible and transparent. I really enjoy that because nowadays with music, you’re often asked to add things. You can’t make something clear and clean on a mic pre with a ton of color. “This transparency allows Gene to begin with a clean slate and have the ability to shape the music to fit the artist and venue. “The console lets you start from a good, clean place, which is exactly what I need.“

Flexibility Across Diverse Venues

On Johnnyswim’s tour, Gene mixed at venues of all sizes. In Nashville, shows ranged from the intimate Bluebird Cafe to the renowned 3rd & Lindsley club and the legendary Ryman Auditorium. “We did the Bluebird, a club show, and then the Ryman—same console for everything,” Gene recalled. “The house guys chuckled when I set it next to the Rivage [the Ryman’s FOH console is a RIVAGE PM5]. They asked, ‘Are you sure?’ I said, yeah, and even mixed the openers. It was a lot of inputs, but I did it. It was great!”

Gene Kim’s experience with the Yamaha DM7 Compact highlights its versatility and adaptability. Whether handling FOH or monitors, Gene consistently delivers high-quality sound in diverse venues, proving the DM7 Compact’s reliability. From intimate church settings to iconic venues like the Ryman, the DM7 Compact empowers engineers to create unforgettable live sound experiences.

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man using audio mixer with confetti falling down

Legendary FOH Brad Divens

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

Legendary FOH Brad Divens

Listen and shape the sound with Rivage PM Series

Summary Brad Divens, FOH for Enrique Iglesias, Linkin Park, Garbage & more, relies on Yamaha RIVAGE PM for warm, intuitive mixing without outboard gear.

Brad Divens, renowned for his work as a Front of House (FOH) engineer, has forged a legendary career collaborating with major artists such as Enrique Iglesias, Linkin Park, Garbage, Bob Seger and the Silver Bullet Band and Jane’s Addiction, among others. Recently, Russ Long from Yamaha Pro Audio caught up with Brad at Bridgestone Arena in Nashville to talk during a sound check.

Early Career and Transition to Digital Systems

Divens’ journey began with analogue mixers, and over time, he transitioned to various digital systems. His significant shift occurred upon the recommendation of Luke Bryan’s FOH engineer Frank Sgambellone, who convinced him to try the Yamaha RIVAGE PM series. “Frank kept telling me, ‘Look Brad, just plug an SM58 into it and listen to your voice. That’s all you need to do, and you will want to check it out.’ We had a long conversation about it because he’s one of my peers and I trust his opinion when it comes to mixing,” Divens recalls.

Following a demo with Yamaha in Nashville, Divens immediately appreciated the system’s capabilities. A major benefit of RIVAGE PM was the elimination of the outboard racks he previously relied on. “When using other digital desks, I immediately felt that I needed to add something because they are a little on the sterile side. But when I tried the RIVAGE PM system, I found there was nothing digital sounding about it,” he explains.

“Once I was only using the RIVAGE PM system, I was like ‘This is it. This is beautiful. It’s exactly what I knew I could do with it,” he says. “I just feel less is more. All I need is the RIVAGE PM, a USB stick with my show file and everything is ready. It justified the decision, and I knew I’d made the right choice.”

Technical Approaches and Favorite Tools

Divens is renowned for his use of the Yamaha RIVAGE console, particularly the P2MB Master Buss Processor plug-in. He shares, “I think my favorite plug-in on the RIVAGE I think would have to be the Master bus processor. I can put it on groups; I can choose blue or red silk depending on what tone I want for the guitar groups.” This tool allows him to apply nuanced compression and tonal adjustments, providing flexibility and enhancing the final sound quality.

In addition to the Mix Bus Processor, Divens employs several other technical approaches to achieve his signature sound:

– Dynamic EQ and Multiband Compression: To manage varying frequency content and dynamics, Divens uses dynamic EQ (DynamicEQ4) and multiband compression (MBC4) to keep the mix balanced and clear.

– Parallel Compression: This technique is used to add power and presence to vocals and drums without overwhelming the mix. By blending a heavily compressed signal with the dry signal, he maintains natural dynamics while enhancing impact.

– Reverb and Delay Effects: Divens uses reverb and delay to create space and depth in the mix. These effects help to position instruments and vocals within the stereo field, giving the audience a more immersive listening experience.

Creative Process and Challenges

Divens thrives on the creative process of mixing live sound, noting, “The biggest joy I get out of mixing I would have to say is probably the creative process of taking what the band is giving me and putting the music together and then watching the crowd react to something that I’ve done.” However, managing crowd noise remains a significant challenge. He explains, “The biggest challenge for me is probably the crowd noise. I mix at around 98db, 99 tops, maybe peak at a hundred, and the crowd can be at 105 sometimes, and there’s no way I’m competing with the audience. It’s a delicate balance.”

Favorite Features and Technical Approaches

Divens highlights the hybrid mic preamps as a standout feature. “The first and foremost feature I really love is the hybrid mic preamps, because to me the front end of a console is everything,” he states. He also praises the onboard Rupert Neve Designs processing, including the Portico II Master Buss Processor, the Portico EQ and compressor, and familiar studio tools like the Eventide H3000 and Bricasti reverb. “It’s things that you know and love from the studio. It’s that familiar sound.”

Divens finds the system comfortable to mix on. “The more you get used to something the easier it becomes,” he adds. “I found that it’s a very comfortable system to mix on and get the show to where things just sound good. I never need to look outside of that.”

Advice for Aspiring Engineers

For those new to the field, Divens emphasizes the importance of listening to the music over relying solely on technical tools. “The best advice I can give to somebody starting out that wants to mix and do what I do is don’t forget that you have to listen to the music,” he advises. By focusing on selecting the right microphone, placing it correctly, and using a good mic preamp, aspiring engineers can significantly improve their results.

Personal Routine and Conclusion

After a show, Divens maintains a simple and healthy routine. “I really stopped eating after-show food. It’s probably a handful of almonds and then I go to bed,” he shares. Divens emphasizes the importance of maintaining a healthy level of wellness amidst the demands of his profession, recognizing that proper nutrition and rest contribute to his ability to consistently deliver exceptional performances.

Conclusion

After hanging up his bass guitar in the early days from his time in bands like Kix and Wrathchild America, Brad Divens’ experience as a FOH engineer highlights the blend of creativity, technical skill, and adaptability required in live sound engineering. His utilization of the Yamaha RIVAGE PM system along with his advanced mixing techniques, combined with his profound understanding of music, has enabled him to deliver remarkable and inspiring audio experiences to audiences worldwide. Divens’ dedication and innovative spirit not only continue to inspire, but also to pave the way for the next generation of sound engineers.

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Legendary FOH Michael “Coach” Conner

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

Legendary FOH Michael “Coach” Conner

Capturing the Live Essence of Steely Dan and Paul Simon

Summary Michael “Coach” Conner, FOH for Steely Dan and Paul Simon, discusses Yamaha RIVAGE PM and using its advanced tools to recreate studio-perfect sound for live audiences.

While many FOH engineers refine their mix by playing back Steely Dan’s sounds, Michael “Coach” Conner makes it a reality nightly on tour with the band. Captivating audiences with unparalleled sonic fidelity, he achieves this through meticulous preparation and innovative use of both analog and digital tools. Conner seamlessly translates complex recordings into live experiences that rival the originals, ensuring every performance sounds as close to the studio recording as possible. With a decades-long career working with icons like Donald Fagen, Steely Dan, and Paul Simon, he has earned acclaim from both artists and fans alike.

On reproducing complex studio arrangements

Recreating Steely Dan’s trademark studio sound, renowned for its intricate arrangements and meticulous production standards, live on stage presents a daunting challenge for Conner. Night after night, in various arena-sized venues, he faces the task of translating this complex sound into a live experience.

Through rehearsals, sound checks, and collaborative feedback from the band, Conner leverages both analog and digital equipment, including notable tools ranging from the Bricasti M7 reverb and Summit Audio’s TLA-100A and DCL-200 compressors to Yamaha’s DaNSe, Bricasti Y7 and OpenDeck plug-ins to achieve a level of sonic and tonal fidelity that rivals the well-known studio recordings (Coach recorded 2021’s live Donald Fagen and Steely Dan albums). This dedication garners acclaim from both the band and audiences, who appreciate the seamless transition from studio to stage.

Coach was a quick adapter to Genius.lab having created a macro to switch from external to internal processing allowing him to recover from 3rd party hardware issues seamlessly and instantly.

Microphone Mastery

Another way Coach achieves the sonic perfection of Steely Dan live is through meticulous microphone selection and placement and the precise use of Yamaha’s DaNSe Noise Suppression plug-in. “We use around 55 microphones, with the rest being direct inputs. I have 25-30 instances of DaNSe. Anywhere I have noise floor off an amplifier or a vocal mic there’s DaNSe in play. It really does change everything. It’s probably my favorite thing on the desk. That’s my game-changer.”

“Noise reduction is applied either on the group or individual input, but it’s done very lightly. There’s an art to using it-you can’t be too aggressive, or you’ll create a mess.” Conner continues, “For example, I apply noise reduction to the horn section by routing them to group processing. Again, it’s a delicate balance. Being too aggressive can compromise tonal quality. Once it’s dialed in, I can set it and forget it. Constantly relearning and adjusting thresholds nightly isn’t practical—it introduces too much margin for error.”

Full Sound Checks

Coach and the band allocate time for full sound checks each day. “We do a full sound check each day, usually having at least an hour to do so. Sometimes, we even run through the entire set during sound check for various reasons, such as substituting musicians. This means we often end up performing the entire set twice. It’s pretty handy as it ensures we have enough time to prepare and perfect the show.”

These sound checks are clearly a delight for Coach. During this interview by Russ Long from Yamaha Pro Audio, they shared multiple laughs and insider banter, all while Coach expertly dialed in the sound of Steely Dan. It’s evident that Coach is a master at work, and he embodies the joy that a career in audio engineering can bring. He even jokes about the necessity of becoming an expert at finding laundromats if you’re a touring live engineer… but that’s another story.

Virtual Sound Checks: A Blessing and a Curse

Michael “Coach” Conner also carves out time during his day to regularly conduct virtual sound check, leveraging the on-board recording technology of Rivage PM. This feature allows him to fine-tune the mix and analyze nuances, ensuring optimal sound quality during the live performance.

“Virtual sound check has become indispensable for me now, but it’s interesting to reflect on how I achieved results before. Back then, we relied solely on live shows, blissfully unaware of any imperfections. The combination of the environment and the adrenaline masked any issues.”

“But with virtual sound check, it’s all laid bare. I put on my headphones or in-ears, start soloing up, and realize what I truly heard the previous night—sometimes strange or unexpected. It’s both a blessing and a curse to have an archive of past performances. While it adds work and time to my day, it ensures continuous improvement. Before, it was like whatever happened the other day vanished into space. Now, let’s dive into today and see what happens.”

Even at Coach’s level of experience, he muses, “So much satisfaction… yet it’s never 100% correct,” highlighting the ever-evolving nature of the work and his passion and drive to constantly improve the sonic experience for both the artist and the audience.

Engineering for Paul Simon

Despite his self-deprecating humor and humble approach, Coach’s lauded and sought-after sonic ability to recreate complex in-studio mixes benefitted from demanding engineering challenges in recreating the sounds of Paul Simon. “Paul Simon’s music spans a wide range of styles and incorporates a variety of instruments and vocal arrangements. Achieving a cohesive and balanced sound in a live setting requires versatility and a deep understanding of the music.”

“Paul, like Donald (Fagen), derives immense satisfaction from recreating complex studio arrangements in a live environment. The challenge is formidable—what was hard enough to achieve in the studio becomes even more intricate when performed live. Yet, they persist, striving to capture that magic for audiences. It’s a testament to their dedication and the artistry behind their music.”

Conner customized his approach to suit the unique requirements of Simon’s diverse catalog. This included tailored microphone setups for different instruments and vocalists, as well as specific EQ settings for various songs.

During live performances, Conner constantly monitors and adjusts the mix to respond to the dynamics of the music and the acoustics of the venue. His ability to make precise, real-time adjustments ensure that the sound remained clear and balanced.

Working closely with Paul Simon and his band, Conner’s goal is that that the live sound reflects the artist’s vision. This collaborative approach extends to rehearsals and sound checks, where he fine-tuned the mix based on feedback from the musicians.

The Coach Approach

Nicknamed “Coach” for his leadership and problem-solving abilities, Conner excels under pressure, quickly addressing any issues that arise during live performances. His passion for music and sound drives him to continually refine his skills and stay updated on the latest audio technology.

In sharing his wisdom with aspiring audio engineers, Conner emphasizes, “If you’re passionate about audio, go straight to the people who do what you want to do. It’s easier than you think to get a job – you may not land the one you want right away, but you’ll get a tap on the shoulder because you’ve positioned yourself with the right people to do what you love.”

Michael “Coach” Conner’s career exemplifies the art and science of FOH engineering. His ability to enhance the live music experience through meticulous preparation, real-time adaptation, and collaboration has set a high standard in the industry. As a mentor and leader, his insights and practical advice continue to inspire aspiring engineers, cementing his legacy as a true luminary in live sound engineering.

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World Class Solution at University of Birmingham

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

World Class Solution at University of Birmingham

“DM7 was a no-brainer”

Summary University of Birmingham adds Yamaha DM7 to its world-class music department, enhancing performance, study, and event capabilities.

THE CHALLENGE

Opened 12 years ago, the Bramall Music Building finally completed the 1900 vision of the university’s first Chancellor, Joseph Chamberlain. From the outside, it is a building which visitors would think has been there all the time. Funded by the Bramall Foundation, the £16 million facility includes state-of-the-art teaching, research, performance and rehearsal facilities, with a 450-seat auditorium at its heart.

Designed to be the most flexible performance space at a UK university, the auditorium is suitable for all types of music, from solo voice to a full symphony orchestra, as well as being the home for contemporary audio pioneers Birmingham Electroacoustic Sound Theatre (BEAST). When not being used for music, it is also a high-profile location for prestigious lectures, presentations, conferences and more.

“As well as a teaching and performance facility, it is also used for internal and external commercial activity,” says Richard Mitton, the university’s Live Events Technical Manager. “The University is big enough for us to easily facilitate large events – we have our own hotel on site and also the Great Hall, which can hold nearly a thousand people.”

With the University on an ambitious program of expansion, a recent major upgrade to the Bramall Building’s infrastructure has been designed both to improve its teaching facilities and to sell the venue as a world class resource.

“The previous audio mixer was at the end of its life and massively limiting in terms of what we needed from channel counts and so on,” says Richard. “We started by sketching out what we wanted the upgraded system to do. The flexibility and power to easily handle a wide variety of events was vital, as well as the reliability to be in constant use and familiarity of the architecture and control for visiting engineers.”

THE SOLUTION

The chosen solution was a Yamaha DM7 digital mixing console, with a Dante network installed throughout the building. The DM7 system, supplied by Redditch-based 22live, includes the DM7 Control expansion controller, which allows features like user defined controls, scene memory and monitor control to be accessed even more quickly and conveniently.

“The capacity of the DM7 made it perfect for us,” says Richard. A lot of what we do is very mix bus heavy, with modern corporate events often requiring multiple streams, recordings and video feeds, as well as various monitor mixes and backstage/green room outputs. Features like 64 channels of Dan Dugan auto mixing are incredibly useful – we frequently have conferences that require extremely high numbers of radio mics, as well as multiple lecterns and large panel discussions. The split mode is really useful as well.”

One of the key purposes of the upgrade has been to build a core infrastructure which technical staff are not having to reconfigure all the time. Here the DM7’s Theatre Mode software is very useful for the university’s many regular presenters. Settings for each one can be stored in the software’s actor library, then Richard’s team can simply recall the event type and the presenters to achieve optimum settings in seconds.

The familiarity of the DM7’s user interface and architecture mean that visiting engineers also don’t waste any time in getting to work.

“The really difficult trick Yamaha has pulled off is to maintain the core workflow across the years. One of the first Yamaha mixers I used was an 02R. But you can walk up to the latest model and within about 10 minutes you’re up to speed,” says Richard. “There is that consistency, everybody knows them. The build quality and reliability as well – it just feels like a step up from all the alternatives.”

Another major benefit of the DM7 is that it allows events to be hosted which weren’t possible before, as Richard explains.

“We had a recent concert that formed part of our Crosscurrents new music festival, which was being recorded for BBC Radio Three. Both direct and ambient microphone feeds from a string quartet on stage were routed to the console, then straight back out for real time processing as part of the performance. From there the feeds were routed back on separate channels to the DM7, for mixing to the main house PA, several effects loudspeakers and on stage monitoring.

A full channel split was then sent to the BBC for broadcast. The DM7 enabled us to quickly and easily route what was effectively three different versions of every input in, out, back in and out again.”

He continues, “The BBC likes the acoustics of the space and, where in the past an outside broadcast truck has been needed, engineers now just bring a small rack of interfaces and hook up to our infrastructure via Dante. It’s a huge saving in cost and time. There is also a permanent four-way PTZ camera system in the hall, so we can sell prospective clients the ability to broadcast, stream and do multi-track recordings of a live event, and do a full multi-camera shoot as well. Everything is all in one place.

“For all of these reasons, choosing the DM7 was a no-brainer. It ticks all the boxes with us. Without it we simply couldn’t support a lot of the concerts or conferences and events we host, which going forward there will be more and more of.

“There’s nothing that’s likely to come to this venue that the DM7 can’t do. It makes us ready for anything.”

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LCBC Church transitions from CL5 to DM7

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

LCBC Church transitions from CL5 to DM7

DM7 Road Test at LCBC Church

Summary LCBC Church’s switch from Yamaha CL5 to DM7 delivered intuitive design, dual screens, 96k audio, and easy usability for worship and broadcast.

https://youtu.be/ZrgFSIJ4lmQ

“The first thing right off the bat that I really like about this console is the user interface and just the overall workflow. Everything that I need is right there on the home screen in a way that makes sense.”

“…it feels like audio engineers designed it for audio engineers …” – Brian Tru, Broadcast Audio Coordinator at LCBC Church, Manheim, PA

The Yamaha DM7 Digital Mixing Console has received the Church Production Road Tested Certification.

As part of Church Production’s Road Test User Experience, Tru and his team put the DM7 through its paces at LCBC Church’s Manheim, Pennsylvania broadcast campus and during the church’s summer youth camp. Tru serves as broadcast audio coordinator for LCBC, which operates 24 campuses across Pennsylvania.

He immediately noticed the benefits of the higher sample rate.
“I really like that it feels like audio engineers designed it for audio engineers—it just makes sense and is very intuitive, even the first time you sit down,” Tru says.

Coming from a CL5 environment, the expanded outputs stood out.
“Having more onboard outputs let us create several monitor mixes right on the console. On the CL5, you needed a RIO for those analog outputs. With the DM7, we had everything natively, so our musicians and singers could choose onboard mixes instead of personal monitor systems.”

The jump to 96k also impressed him.
“One of the things I loved about moving to the DM7 is mixing at 96k instead of 48k on the CL5. My music director told me just the other day that the mix sounds much cleaner—and I can only attribute that to what’s happening inside the DM7.”

Tru’s biggest concern was volunteer usability at the broadcast campus. Those worries quickly disappeared.

“All the volunteers love the console,” he says. “They love having two screens instead of one, and they really appreciate the ability to put all the user-defined keys right on the touchscreen.”

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David Loy, FOH, and Yamaha RIVAGE PM3

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

David Loy, FOH, and Yamaha RIVAGE PM3

Engineering Unforgettable Sonic Spaces for Kane Brown

Summary FOH engineer David Loy powers Kane Brown’s genre-blending shows with Yamaha RIVAGE PM3, delivering bold, immersive sound night after night.

Kane Brown is redefining modern country – blending genres, breaking boundaries, captivating audiences. At the core of his live shows is FOH engineer David Loy, whose instincts and skill bring Kane’s bold sound to life. Loy honed his craft with Sturgill Simpson, Blackbear and others. Today, his innovation discipline, and creativity deliver immersive audio night after night, arena after arena.

Chasing Something New

In early 2023, David Loy made a bold move. After years of working on other platforms, he made the decision to up his mixing skills. “I chose to go with Yamaha in early 2023. I was trying to find something new. I was trying to challenge myself,” he says. Loy had heard great things from peers: “A lot of my friends had said, ‘You’re gonna love the sound, you’re gonna love the front end, but the software itself is also incredibly stable and really, really powerful under the hood.’”

So, he called Yamaha. Not for a demo or a brochure – but to get his hands on the gear. “I asked if I could come by and program, and if I could learn what the software is like, what the onboard DSP is like.” What followed was five days of full-band rehearsals where he built a show file from scratch. “We said, ‘Okay, hey, let’s sit down. Let’s play the hits.’ I was really, really happy with the product at the end of the week. It made me realize, ‘Okay, you know what? This actually has some legs. I’m gonna take this for the tour and see how it goes.’”

Designed for the Road

Loy chose the RIVAGE PM3 surface – a decision driven by both sonic goals and practical logistics. “I love a small footprint. I love having a single screen. I love having a space for PA control right on the surface,” he says. With a compact setup that fits on a single PMC pallet, he can scale up or down with ease. “We can do shows like this in arenas, we can do shows in stadiums, we can do shows anywhere we need to and not eat up a ton of space. At the end of the day, your Production Manager appreciates that, and your Freight Logistics appreciate that.”

That flexibility came into play at Nashville’s Bridgestone Arena, where once again, the show ran flawlessly. “I’m watching the stage and watching what’s going on and trying to mix with my head up,” he says. “The PM3 lets me stay connected to the performance.”

Taming the Thrust

This tour introduced a particularly tricky stage design: a horseshoe-shaped thrust that wraps the stage around the audience. It makes for intimate performances – but introduces serious sonic challenges. “Those conversations started months in advance,” Loy recalls. “We really wanted to figure out how to get the vocal, which is the most important source of the show, to sound clean and clear without a ton of PSE [primary source enhancer] products on it or having to ring it out so aggressively that there’s no HF left.”

The solution? A strategic rethinking of the PA. “We pushed the PA downstage 16 feet and arced it 10 degrees.” That subtle repositioning dramatically reduced feedback and enhanced clarity for both artist and audience. At Bridgestone Arena, it paid off: “The hottest spots on the thrust are the sides, but once Kane gets in the middle, it’s pretty clean and great.” A center hang of Clair CO-8s was added to reinforce the Clair CF28s surrounding the pit to ensure every fan got the full experience, no matter where they stood.

What really excites Loy is that it works just as well for others. “Every opener, despite console choice and processing technique, has had success on our thrust. That means the math is applying to everyone, not just us. I don’t want people to come out on our tour and have a bad time.”

In-the-Box to Beyond

Loy’s mix begins in-the-box, a conscious decision to push RIVAGE PM to its limits. “That was important to me. I really wanted to see what it could do. And again, I was really impressed with the way that it sounded.” As the tour evolved, he incorporated select outboard gear but kept flexibility top of mind.

“I’m still summing outboard, still doing inserts outboard, but it’s very easily switched with a button press,” he says. That resilience was tested in Mexico, when damaged gear forced a last-minute shift back to in-the-box mixing. “I was able to bypass all of that and continue on with the show without any issues, and everyone remained happy.”

The Vocal Chain

For Kane Brown’s vocal, Loy has dialed in a finely tuned signal path: Shure Axient transmitter with a DPA 4018VL capsule, hitting the RPio with Transformer Emulation enabled and Blue Silk dialed in, then into a Rupert Neve Designs Shelford Channel. “I use a DynamicEQ as my PSE, tailored to Kane’s voice for clarity,” he says. Every component in that chain is carefully chosen to deliver a clean, punchy vocal that cuts through dense arrangements and diverse venues.

Sonic Signatures and recording

Some venues carry a sonic signature all their own. “Using the Silk processing allowed me to adapt the mix to the natural acoustics. A lot of problems can be solved with Silk before you even touch EQ or compression.” Over time, Silk has become one of his go-to tools, offering a subtle but powerful way to shape the mix. “I’ve really tried to dive into the Silk aspect, changing it per room and input,” he says. “It lets you shape things musically without over-processing them.”

Capturing each show is just as important to Loy as mixing it in the moment. “We’re recording 110 channels straight into Logic, archiving everything for future use,” he notes. The RIVAGE PM’s MADI integration makes this process seamless, allowing the team to easily access recordings for social content, post-show reviews, or even remixes. “It’s all right there,” Loy adds.

Advice from the Desk

For those looking to follow a similar path, Loy stresses the importance of listening – with intention and humility. “Always remain a listener and a student,” he says. “Listen to the source, the people above you, and what’s going on in the room. Do your homework, be observant, and stay one step ahead.”

And perhaps most importantly, Loy believes that a great mix begins with understanding the artist. “You’ve got to know what they’re trying to say. What are they trying to share with the audience? That’s your job – to translate that.”

Conclusion

For Loy, live mixing is a powerful form of storytelling. With meticulous preparation and a relentless drive to evolve, he uses the Yamaha RIVAGE PM system to create rich, resonant soundscapes. “Every time I find something new or discover a new way of doing things, it inspires me to dive deeper into the creative side,” he shares. “When I find a reverb effect, plug-in, or preset I like, it excites me… I love trying new things because it changes the entire sound, and that excitement carries over to the show. It’s incredibly enjoyable, and I think it inspires others to explore the surface more too.” For Loy, each performance is not just an opportunity to mix – it’s a chance to ignite creativity, break through limits, and forge a deeper connection with the audience through the power of sound.

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Brian Frost FOH elevates corporate audio worldwide – transition from Yamaha CL5 to DM7 Series

Written by Kenneth Westling on November 25, 2025. Posted in Console Upgrade.

Tips for Choosing Balanced and Engaging Repertoire

Written by Brandon J. Duras on November 25, 2025. Posted in Teaching Tips.

Choosing repertoire is one of the most important things directors do. The process is exciting, but it’s also difficult to find the right program for your ensemble. Directors have their own tastes and they also know what their students enjoy. Here are some things you should consider when choosing that perfect program for your performance.

What to Look For

When choosing repertoire, it’s helpful to think about the components of music that made you fall in love with playing music. You might not be able to program some of the heavy-hitters that are standard for most bands, but there is music at every grade level that can provide the same excitement you felt when you played in high school or college.

Start with some composers you like. What do you enjoy about their music? Does their music have the components you want — the components you hope your students will respond to like you did? If you don’t believe in the music you’re programming, neither will your students. Your excitement about the music will excite them, and they will want to perform it at a high level.

Not every piece that you like and are excited about will have the same impact on your students. For example, I planned to program “Incantation and Dance” by John Barnes Chance, one of my favorite pieces to perform when I was in high school. However, every rehearsal dragged on when we worked on it. Regardless of how much energy I put in, it was clear that student buy-in was very low and the majority of the ensemble were simply unexcited about the piece. So, I pulled the piece from our program.*

Was it too difficult for them? No. Could I have done something differently? Maybe. Was it worth forcing my students to love what I did when I was in high school? Not at all. No one, especially my students, wants to be like high-school me. I know that there will be a new class of students who will enjoy “Incantation and Dance,” and we will all have a better experience with it.

* Disclaimer: This is the only time I pulled a piece. I wouldn’t make this a habit because you will always find students who don’t like a particular piece. I make it clear that regardless of what you think of the music, it is your job to convince the audience that it is good by the way you play it.

woman with open laptop and wearing headphones

How to Curate a Program

There are a number of things to consider when picking a program. There may be certain concepts you are trying to teach through the music. There may be certain time signatures or key signatures. You may typically want to balance the program to include a good opener, a nice lyrical middle and a flashy closer (or something to that effect).

Some programs are easier to put together than others. Students and audiences engage more with performances that have a clear connection between the pieces. My typical approach to programming begins with just one piece, which is the cornerstone work that inspires the theme. I think about what possible themes this one piece could inspire and begin putting other works into the program.

Last spring, we presented a program that was one of my proudest (saddest, embarrassing, silliest, most fun, cringey — pick any adjective). The cornerstone work was “Diamond Tide” by Viet Cuong. My original thought for a theme was something about caves. So, I included a premier of a work titled “Obsidian” by a close friend of mine, Michael Shun. The last piece was “Illumination” by David Maslanka. Knowing that I enjoy a good theme for a concert, my students enthusiastically asked, “Is this a Minecraft concert?”

Diamonds? Obsidian? Light? I may have just made the most and least incredible concert program of all time! Of course, this was not my intent, but I did lean into it. My students were so excited that we called our concert “CRAFTED”!

two band students holding up their hands

Student Input

Why should you ask your students for input on the music that you program? Because they might give you good insight on what they are interested in playing based on the music you’ve programmed in the past. For example, my students enjoy playing a lot of Percy Grainger — although I think they mainly liked hearing the bizarre stories about Grainger that I shared. Student opinions and ideas are worth listening to when appropriate. You won’t know what they like and don’t like unless you ask! Utilizing student input is invaluable in gaining buy-in for the music you are working on — but, of course, you should find merit in it as well.

Program Balance

Balance in a program means different things to different directors. My philosophy is to balance our standard band literature with newer works over the course of the whole season. I could go on a lengthy tangent about the history of the wind band, but I won’t put you through that.

It’s important for students to play classic band repertoire because it is our job to educate our students on band and its history. However, wind bands are typically the champions of new music, so you would be doing a disservice by not exploring new works.

trumpet section of band — Photo by PietFoto/Shutterstock

Core Repertoire

There are long lists of core band repertoire that you can find anywhere. This is one of my favorite parts of my job. Feel free to contact me to chat about repertoire — although if you are looking for a short response, you might regret it. Here are some components of our core band repertoire you might consider performing.

MARCHES: A number of years ago, I used to think marches were “just marches.” That was very naive of me — I have matured since then. A significant part of band history, marches have so much character and provide great depth for music-making. If I had a time machine, I would scold my younger self for not appreciating them much sooner.
ORCHESTRAL TRANSCRIPTIONS: These are another significant part of the development of wind band music. Pieces like “Four Scottish Dances” by Malcom Arnold (trans. John Paynter), “Galop” by Dmitri Shostakovich (trans. Donald Hunsberger) and “Variations on America” by Charles Ives (arr. William Shuman, trans. William Rhodes). They are also a great way to provide students with knowledge of music history that they might not otherwise get. And who doesn’t love the lush beauty of a Romantic era orchestral work?
ORIGINAL, SIGNIFICANT WORKS FOR BAND: Some of the heavy-hitters I mentioned earlier are great if you have the horses to play them. Pieces like “Lincolnshire Posy” by Percy Grainger, “Canzona” by Peter Mennin and “Pageant” by Vincent Persichetti. These works have helped the advancement of the wind band and provide students with a lot of context for band music. Even if you can’t perform “Lincolnshire Posy,” your students can listen and learn about it while you work on another Grainger piece like “Irish Tune from County Derry.”
NEW WORKS FOR BAND: It seems like there is a new piece for band promoted every day. Music being written within the last 10 years or so have helped develop the genre as we know it today. As noted earlier, the wind band has long been a champion for new music and will continue to further advance the genre. If we only program music from the 1950s (don’t get me wrong, that was a great year for band music) we are failing to provide a broad picture of the history of the wind band. Additionally, how cool is it to have a living composer work with your students on their music? But, please, someone let me know if they have Holst’s email.
DIVERSE REPERTOIRE: This is a topic that I could go on and on about, but I’ll share only a few thoughts here. One of the biggest reasons diverse repertoire is extremely important is that the music your ensemble plays should reflect the population of your students. However, in Maine where I teach, a diverse program of marginalized composers doesn’t reflect my student population. However, it does provide me an opportunity to promote inclusivity and reflect a more broad community that goes beyond the borders of Maine.

Where to Find New Music and Composers

You probably have a list of composers whose works you have played or programmed throughout your experience as a musician and director. Through online algorithms, you have probably expanded your lists of new literature and composers. How can you keep up with the large number of new composers composing for band right now?

SOCIAL MEDIA: Follow composers on social media and see what they are promoting. A lot of composers know each other and share their contemporaries’ music. Follow them, too!
NEWSLETTERS FROM PUBLISHERS AND COMPOSERS: Publishers often send out emails featuring one of their composers and their music, including new works. It’s fun to keep up with composers and learn about them as well as their music. Could you imagine learning what Gustav Holst was doing in his free time?
ATTEND CONFERENCES: Check out reading sessions and concert performances to see what music groups are playing. I find that a live performance — compared to listening to it online — provides a more meaningful impact on what I find to be compelling music. There’s nothing better than live music.
CHECK OUT CONCERT PROGRAMS ONLINE: University wind ensembles and bands will often share their programs online or on their live stream. Even if you don’t have time to catch their performance, take a look at the program!
TALK TO YOUR COLLEAGUES: I’d much rather talk to fellow music teachers about what music they’re playing or have heard recently than how to respond to that annoying email or deal with that broken instrument. I trust my friends and their recommendations of new music and composers.

Finding new music is part of our job as directors. The music does not necessarily need to be new literature — it can be music that is new to you. Currently, I’m exploring composers and music from various regions of Europe and look forward to finding that right piece for my groups! We do our students a disservice by programming the same music on a predictable rotation just because we are familiar with it.

Commissioning Music

In a previous article, I wrote about commissioning music and included tips on how you can approach it yourself. Commissioning is a great way to curate a program that is unique to you and your program. If you’re looking for music to celebrate an anniversary of an event, celebrate a person, tell a unique story or whatever it may be, commissioning is a great way to do so. Additionally, your students and community will be excited to bring a new piece of music to life.

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This article includes content that I prepared for an online course on BandCourses.com. This course is free and includes resources, rep lists and interviews with my own students who give their candid thoughts and opinions on the music that we play. I do not get any kickbacks for this. I just enjoy sharing my thoughts and passion with all of you!

The Pianica: A Great Way To Start a Musical Journey

Written by Matt Kerns on November 25, 2025. Posted in Gearguide.

Do you know someone who has a secret desire to play songs and make their own music, but doesn’t know where to begin? Is there a child in your life who would thrive with the benefits a musical education brings to a growing brain? If so, a Yamaha Pianica might be the perfect gift!

The Pianica is a small, portable keyboard that’s breath-powered; all that’s required is to simply blow air into it while pressing down the keys. While the sound it makes is similar to an accordion or a harmonica, it uses the same notes and familiar black-and-white keys as a piano. This makes it easy for anyone to get started playing the instrument, since they can choose from thousands of easily available piano book and sheet music titles to learn the notes to their favorite songs.

Close-up of the Yamaha Pianica's thin metal reeds. — *In a Pianica, air blows across thin metal reeds to make each note.*

Yamaha first introduced the Pianica way back in 1973. It’s the company’s version of what is known more broadly as a melodica or a keyboard harmonica. Actually, “keyboard harmonica” is a great way to describe these instruments, since that’s essentially how they work. Like a harmonica, sound is produced when air blows across a thin strip of metal called a reed in order to make it vibrate. But while a harmonica requires you to carefully blow into small holes to play a specific note, the keys on a Pianica redirect the air to blow across the individual reed that’s tuned to that note.

So how difficult is it to play a Pianica? Not difficult at all! In fact, just about every elementary school student in Japan learns to play music on a Pianica. The standard piano-like keyboard makes it intuitive to learn scales, chords, and the relationships between natural notes and accidentals (sharps and flats). And because these instruments are made from lightweight and durable plastic, they’re easy to carry around. Several Yamaha Pianica models even include color-matched durable plastic carrying cases that are tough enough to last in a child’s hands.

Pianicas can be played in two different ways. For those who prefer a traditional two-handed piano approach, the instrument can be laid flat on a table, with both hands used to work the keys. In this configuration, air is blown into a long flexible tube to get the sound started. Alternatively, if the player prefers to be mobile, the Pianica can also be held and played vertically, with the air blown into a fixed mouthpiece. This is a great choice for playing on stage or while walking around — it even allows the player to act as traveling troubadour at a party!

For more experienced players, the Yamaha P-37E2 models come with a soft zippered carrying case that makes it easy to take the instrument anywhere. These instruments were built to appeal to a more mature player, with internal design changes that produce a softer and more mellow sound quality than the brighter models often used in schools. All of this combines with a sleek and stylish look to make an instrument that fits in with the décor of anyone’s home as well as onstage.

Whether you’re buying a gift for a friend or relative hoping to discover or rediscover the joy of making music, or you’re a parent who wants to introduce your child to music for the very first time, Pianicas are an easy and fun way to get started.

Check out the video:

Click here for more information about Yamaha Pianicas.

Image of a girl playing violin with her mother smiling in the background, with a text overlay that reads "Orchestra Parents Start Here1"

Image of a students playing woodwind instruments, with a text overlay that reads "Band Parents! Find Instruments Here."

Drum Set Configuration

Written by Riley Warren on November 24, 2025. Posted in Percussion.

When a player sits down at their drum set kit, the configuration they face is more than just a collection of drums and cymbals — it’s a carefully chosen instrument built around the musical style they wish to serve. The chosen gear and setup establish a clear path for growth, comfort and musical identity. Below we’ll explore the logic, benefits and considerations of three levels of drum set configurations while exploring their applicability in common musical genres.

A good beginner setup is the **Yamaha Rydeen drum set**.

Beginner Setup

At the beginner level, the goal is clarity, comfort and quick traction. A simple, well-balanced kit removes distractions and allows the novice player to build basic coordination, timing and feel. The layout is typically compact, the number of pieces modest, and the hardware stable and forgiving.

This setup is ideal for broad-based styles like pop, rock, country and general contemporary band playing. These genres demand groove, steady time-keeping, straightforward fills and solid foundational beats rather than extreme sonic textures or hyper-complex rack configurations.

Typical components

22” kick drum (standard size)
12” or 13” rack tom
16” or 14” floor tom
14” snare drum (standard size)
14” hi-hat
crash cymbal
ride cymbal
kick drum pedal and straightforward hardware

instrument stands and pedals — Stands and foot pedals are **essential accessories** for a drum set.

With this modest layout, a beginner has access to core tom, snare, bass and cymbal voices without overwhelming choices. A beginner’s kit should foster confidence, so having fewer variables will make practice simpler. With less distractions, the drummer can focus on timing, groove, coordination between hands and feet, and developing a consistent sound.

Genre (rock and country) application

Rock or country music typically requires a strong backbeat on 2 and 4, dynamic contrast for verses and choruses, occasional fills and transitions. The straightforward layout of a beginner’s kit supports these tasks. For example, country drumming often uses simple tom to snare fills, subtle cymbal patterns and crisp hi-hat work. This limited kit keeps the drummer grounded in groove rather than chasing exotic sounds. Meanwhile, for rock, the same kit supports the classic “boom-crash” drive: bass on 1 and 3, snare on 2 and 4, and ride or hi-hat patterns providing momentum.

Setup tips

Place the rack tom at a comfortable height so the player doesn’t have to reach far.
Adjust the hi-hat so foot and hand movement are ergonomic.
Choose medium cymbals (neither extremely bright nor extremely dark) for versatility in multiple styles.
Teach beginners to tune the drums to a balanced sound (clear toms, snare with some crack, bass drum with some low-end punch) so they learn the value of tone early.

Yamaha Stage Custom Birch drum set — A good intermediate setup is the **Yamaha Stage Custom Birch** drum set.

Intermediate Setup

Once the player has gained confidence and can play solid grooves, fills, transition between song sections and adapt to different styles, the next step is an intermediate drum set kit. This configuration expands the sonic palette, provides more toms and cymbals, and allows greater flexibility so the player can explore stylistic nuance and begin to develop a more distinct voice. It bridges the gap toward more specialized setups and helps drummers raise their musicianship.

This level fits genres such as blues‐rock, funk, Americana, modern country and lighter forms of progressive rock. The setup gives the drummer enough variety to color the songs without reaching the complexity required for full-on metal or fusion.

Typical components

22” kick drum
10” or 12” rack tom plus 14” or 16” second rack tom
14” snare drum (experiment with other timbres like a metal shell or hybrid)
14” or 15” hi-hat
16” and 18” crash cymbals
20” or 22” ride cymbal
optional splash cymbals (10” or 12”) or China cymbals
double bass pedal for stylistic flexibility

This intermediate kit introduces additional drums and cymbals, enabling more tonal variety, options for fills and dynamic control.

Why this works

With two rack toms and additional floor toms, the intermediate setup gives drummers more melodic percussive possibilities like cascading tom fills, richer transitions and varied drum voices. The extra crash and accent cymbals allow drummers to decorate the groove and build more expressive playing.

Genre (blues-rock, modern country, funk) application

In blues-rock or modern rock settings, you want to drive a song but also add color. For example, a drummer might start on the ride cymbal for the verse, switch to crash then to tom fills for the chorus. The intermediate kit supports that. In modern country, the production often includes fuller drum sounds (more toms, a second crash, maybe splash accents), so the player with an intermediate setup can mimic that studio feel live. For funk and Americana, the extra cymbals and toms help craft more dynamic breaks and melodic tom passages.

Setup tips

Tune the toms in a descending pitch so the toms sound fluid.
Place the second crash at a reachable height for comfortable accent transitions.
If using a splash, mount it near the ride or crash for quick access.
Maintain ergonomic spacing. With more hardware, it’s easy to over reach so keep the cymbals and toms within comfortable reach to preserve technique.

Yamaha Absolute Hybrid Maple drum set — A good advanced setup is the **Yamaha Absolute Hybrid Maple** drum set.

Advanced Setup

At the advanced level, the drum set becomes a professional instrument tailored for specific genres demanding a wide dynamic range, high quantities of drums and cymbals, advanced coordination and often extreme sonic possibilities. This is the realm of metal, progressive rock, fusion, large-scale live productions and studio drumming, where the drummer is not only keeping time but creating textures, layering rhythmically complex fills, odd time signatures, double bass or multiple pedals, and using exotic cymbals and auxiliary percussion.

Here, the setup becomes strongly genre-linked: a metal drummer’s kit will look very different from a jazz/fusion drummer’s. We’ll focus on rock/metal advanced usage as an example.

Typical components (metal/progressive rock-oriented)

24” kick drum (or twin 22” or 18” for extra punch) or dual kick drums
two rack toms (10” and 12”) plus two or three floor toms (16”, 18”, 20”)
additional auxiliary drums like a gong drum
snare with a high budget shell, plus a second snare with an alternate sound
hi-hat (14” or 15”) plus a secondary hi-hat pedal or remote hi-hat
large ride cymbal (22”-24”) or multiple ride options, plus multiple crash cymbals (18”, 19”, 20”, 22”) and special cymbals like chinas, splashes and cymbal stacks
double bass pedal or twin bass drums, multiple pedals
integration of electronic pads

This very large kit gives maximum flexibility — many voices, many accent points, subtle and extreme tonal options.

Yamaha Tour Custom drum set — Another good advanced setup is the **Yamaha Tour Custom** drum set.

Why this works

In advanced playing environments, the technical requirements are high. The drummer might need to manage rapid double-bass patterns, odd tempo fills, complex interplay with keyboards, guitars or other instruments. The layout must support quick transitions, multiple foot operations and a broad tonal palette because the drummer effectively becomes a multi‐instrument percussionist on a unified kit.

Genre (Metal / Progressive Rock / Modern Studio Drumming) application

For metal, the double bass (or twin bass drums) is essential. Access to multiple floor toms enables thunderous fills and cascading patterns. Many crash and stacked cymbals allow rapid accenting and heavy hit styles. A drummer in a metal band might move from rapid ride patterns to tom runs to crash accents within one passage — an advanced kit supports that. In progressive rock, odd meters and extended instrumental sections demand more voices and flexibility — so, the extra toms and cymbals are musts. For studio drumming across genres, the advanced kit also gives more options to craft sounds for different songs: The drummer can pull from a rich palette rather than being limited.

Setup tips

Plan for ergonomics and accessibility — with so many drums and cymbals, spacing becomes critical to avoid fatigue.
Use angled rack toms descending in height and increasing in size to create fluid fill motion.
For double bass, place pedals and secondary drums such that both feet can reach comfortably to ensure smooth solo fills.
Keep primary ride and crash cymbals within easy reach and place special cymbals slightly farther away, but still accessible without overextending.
Consider sound isolation, room acoustics and potential triggers or electronic integration if playing in large venues or recording.
Maintain a consistent tuning plan: With many toms, keeping tones coherent is key for a professional sound.

Putting It All Together

The beauty of this tiered approach is that drummers move to larger, more complex kits as their skills grow. By building from a beginner kit through intermediate to advanced, drummers develop technical facility, musical feel, tuning sense, ergonomic habits and a personal sound. In educational terms: Start with fundamentals then expand the toolkit then specialize and refine.

In beginner mode, drummers internalize groove, tempo, coordination and basic fills. At the intermediate level, they begin to explore stylistic nuance, embellishment, dynamic contrast and interplay. At the advanced level, they use the kit as an expressive vehicle — capable of supporting high tempo, complex arrangements, dramatic transitions and genre-specific demands.

For each genre, the kit reflects the musical language. A country drummer wouldn’t typically need three floor toms and multiple Chinas; the simpler kit serves the musical story. A funk drummer might benefit from an intermediate kit to accent chops and ghost notes. A metal drummer practically demands the advanced layout to keep up with the intensity.

Moreover, the progression through kit sizes fosters good habits: tuning, setup ergonomics, cymbal choice, seat height, pedal technique and stick trajectory — all of which are easier to manage and refine when the setup is appropriately scaled for the player’s level.

A drum kit is not gear, it’s a musical instrument. The size, number of drums, cymbals, pedals and accessories define what the drummer can do, how they respond to the music, and how they present themselves in the band context.

Final Thoughts

If you are guiding a student drummer (or are one yourself), think about the musical style you aim to play, the venues you’ll play in, the grooves you’ll support and the transitions you’ll navigate. Use that to inform your kit choice. Just as educators craft smart learning plans and ensemble frameworks to steer student growth, you can craft your drum‐kit roadmap: Start simple, learn your fundamentals, expand your kit as your skills and musical ambitions grow, and match your setup to the style you want to serve.

In short: Choose the right kit for your level and genre, tune it well, set it up ergonomically and let the instrument reflect your musical identity.

Card with words "Happy Thanksgiving" imposed on a collection of crafted items representing fall: acorn, squash, etc.

Songs About Being Thankful

Written by Yamaha Corporation of America on November 24, 2025. Posted in History, Music.

There’s Johnny Cash’s heartfelt “A Thanksgiving Prayer” at one end of the spectrum and Adam Sandler’s wacky “The Thanksgiving Song” at the other, but the truth of the matter is that there really aren’t many songs specifically written about Turkey Day. That said, here are the stories behind five of the best-known songs of gratitude … and one bonus Beatles factoid about an essential Thanksgiving condiment.

1. I’ve Got Plenty To Be Thankful For

Popularized by Bing Crosby, this was composed by iconic songwriter Irving Berlin for the 1942 musical Holiday Inn — a film that also included “White Christmas,” the best-selling single of all time. Check it out here.

2. What A Wonderful World

Originally recorded in 1967 by legendary trumpeter Louis Armstrong, this song found new life when it was used in the 1988 film Good Morning, Vietnam and re-released as a single, making the then 87-year old Armstrong one of the oldest artists ever to top the charts. Check it out here.

3. Thank You (Falettinme Be Mice Elf Agin)

This quintessential Sly and the Family Stone 1970 hit features an instantaneously recognizable slap-bass riff from the inimitable Larry Graham. The title is an intentional mondegreen — a fancy word for a phonetic spelling. (Say the song’s title out loud if its meaning isn’t obvious.) Check it out here.

4. We Are Family

Written by Bernard Edwards and Nile Rodgers (their first for any act other than their own band Chic) and performed by Sister Sledge, this feel-good celebration of friends and family came to epitomize the disco-influenced sound of the ’70s. Check it out here.

5. Thank You For Being a Friend

A modest hit for singer/songwriter Andrew Gold in 1978 (he once called it “just this little throwaway thing that took about an hour to write”), this was made famous seven years later when it was re-recorded by jingle singer Cynthia Fee as the theme song for the TV sitcom The Golden Girls. Check it out here.

Bonus Beatles Factoid

The urban myth is that John Lennon mumbles the chilling words “I buried Paul” during the fadeout of the group’s single “Strawberry Fields Forever,” but what he is actually saying is “cranberry sauce.” It was late November 1966 when the vocal was being laid down, and between takes the Fab Four were chatting about American Thanksgiving traditions — something that was clearly on John’s mind as he improvised on an open mic. Check it out here. (Lennon’s ode to Turkey Day occurs at precisely 3:58.)

female student looking sad as she rests head on desk

How to Deal with Student Needs Beyond Music

Written by Don Stinson on November 21, 2025. Posted in Self-Care.

It’s third period rehearsal. The flute section’s intonation is questionable, someone in the clarinet section forgot a reed, and your email is already full of messages with the subject line “Quick Ask!.” You’re halfway through warm-ups when one of your freshmen puts their instrument down and starts to quietly cry. You pull them aside, assuming it’s a bad grade or a friend fight. But it’s not that. They haven’t eaten since yesterday.

So, you do what any decent person would do: You dig out a granola bar from your desk drawer, offer it to them, and let them sit in the back to regroup. Meanwhile, you’re back on the podium trying to tune a chord while keeping one eye on the kid who just needed someone to care.

These are the moments that they don’t prep you for in teacher training. No one says, “Hey, you’ll be sight-reading chorales while also figuring out which students need food, which ones need to head to a cool-down room, and make sure these two kids don’t interact since they have a no-contact order.” You just end up doing it because you have to.

Sometimes, it’s not just one student. It’s three. Or five. Or more.

I’ve had days when I felt like I was running a conflict management workshop while pretending to run a rehearsal. This kid’s upset today, this one hasn’t slept, that one’s off their meds because the pharmacy is out — all while trying to decide if we should “take it again from the top!” Is this a rehearsal or a medical clinic?

student and teacher sitting side by side and smiling

You’re Not the Fixer. You’re the Constant.

If you’re teaching in a high-needs school, you’ve already figured this out: Your job is not just music. You’re going to end up being part parent, part social worker, part referee. Not because you want to, but because there’s often no one else. Remember, you can’t be everything. Trying to meet every student need with your own personal energy is a fast track to crashing hard and burning out.

I hate saying this, but sometimes we need to stay in our lane. We can be a supportive adult. We can care. But we’re not the parent, and if we really look around, we aren’t the only helper. This is hard for music teachers to accept, but there may be someone else in the building who is better equipped to work with students in crisis. And that’s OK because working in a community and letting everyone do their job will keep you from burning out.

You’ll have days when five different students need five different kinds of support, and you’ll feel like a terrible person for not having enough time or food for all of them. You’re not heartless. You’re just one person.

Kids may come up to you with huge issues -— things beyond needing food or dealing with a panic attack. It is OK to think, “I am not equipped for this.” Report it and pass this situation to someone with expertise or at least a little more experience so the kid gets the help they need.

Passing things isn’t a failure. It can often be the exact right thing to do. I know it’s hard to let go — especially for the band students you care about. Letting go doesn’t mean you stop caring. It means you’re still here tomorrow.

And for some of the minor things? Sure, it’s important to sweat the small stuff at times, but other times? Just let some things go unresolved. Not forever — just for today. That’s not neglect. That’s boundaries.

overwhelmed teacher sitting with hands on her face

Build Systems That Don’t Drain You

You don’t need a new meditation program. You need a plan that doesn’t suck your soul. For my program, it’s a bin of personal care items in the uniform room that some of our band parents keep stocked. It’s nothing special — toothpaste, deodorant, some snacks. Students know it’s there, and they know they won’t get a lecture when they use it.

It took about two weeks of quiet use before someone asked, “Can I take more than one thing?” I told them, “Take what you need.”

That bin saves many kids from having many awkward conversations each year. The kind where students pretend they’re not dealing with basic needs because they don’t want to feel exposed.

I also lean on school resources. I regularly talk to our counselors, school psychologists, social workers, nurses — anyone whose job is better aligned with handling the bigger stuff. I’ve learned who to call, how to file reports and what situations I need to escalate.

That part took time. I made mistakes — I underreported or overreported. I sat on things too long because I wasn’t sure, but eventually, I learned.

And when a student just needs to sit and breathe? I let them sit. Not forever — just for a bit. No big production. No overexplaining. Sometimes a chair and a few quiet minutes are all that’s needed. Do some kids take advantage of this? Sure. But I adapt.

Know the Line Between “Noticing” and “Fixing”

When something is serious, you always refer. Abuse, mental health concerns, instability at home, pass it up the chain. Don’t sit on it. Refer immediately.

But not everything is a crisis. Sometimes a student just needs to know they’ve been seen and that they don’t have to put on a happy face all day. They need to know that someone in the building doesn’t think they’re a problem.

I’ve had students come in and say things like, “I don’t think I can do rehearsal today.” Not in crisis, but clearly not OK. So, I make sure someone from our student services team knows, but I also don’t skip the part where I check in directly. “I’m glad you said something. Let’s make sure you have the help you need.”

It’s easy to get numb, especially when it’s constant, but I try to notice anyway. Even if I don’t have time to solve it.

There’s an odd balance here, too, because once students know you’re a safe adult, they come to you more. That’s a good thing, but it can also feel like you’re the sponge soaking up everyone’s stress. So now I ask myself: “Is this something I can listen to, or is this something I need help with?”

In The Deep End

It’s easy to feel like you’re struggling when your classroom feels more like a clinic. When you’re switching from teaching to crisis response without even thinking about it. When students come to you with huge problems that don’t fit inside a school day.

It means you’re doing your job in a place where the needs are high and the support is thin.

Some days I go home thinking, “We didn’t really do as much rehearsal as I wanted.” Then, I remember that sometimes, what we did was hold it together for at least a few students.

It’s normal to feel tired and overwhelmed. It’s OK to protect your time, your energy, your prep period and your sanity. If you burn out, your students lose another consistent adult — and they don’t need one more person disappearing on them.

You’re not their parent, and you don’t need to be. You are, however, the one who notices when something’s off. You’re the one who keeps a snack or a spare deodorant stick handy. You’re the one who stays steady, even when the rest of their world is anything but.

Even if Your Class Is After School, It’s Still Real

Written by Don Stinson on November 20, 2025. Posted in Teaching Tips.

You knew it wasn’t ideal when you read the music teacher job posting for an after-school program. The interview confirmed it. The pay was small and the hours were late. The expectations were vague — “just get something going again.”

You tell yourself, I can do this. You imagined a scrappy little group of kids staying after school to make music and maybe fall in love with band the way you did. But first, reality sets in. You’re standing in a room full of stands that won’t stay up and dented instruments. The bell rings, and the building empties. You’re waiting to see who is going to show up.

This is the moment where you think: Why am I even doing this? Is it worth it?

Yes, it is, but not for the reasons you were hoping. You’re not here to rebuild the program you wish existed. You’re here to create something real for the students who are here — with the time, tools and support you actually have.

Let’s talk about how to do that without burning out.

Start Small. Then Go Smaller. Then Start There.

Your instinct might be to go big and prove that this program deserves a school-day slot. Advertise. Recruit. Announce a concert date. Show everyone that band is “back.”

Please don’t do that. If your program is on life support, going big too fast almost always means it collapses. You burn out. Kids vanish. Admin will assume that this is why music was cut in the first place.

Try this instead: one group once a week. On time. Every time.

Maybe it’s just eight students on Tuesdays from 3:15–4:15 p.m. They come, they play, they leave smiling. That’s enough. That’s not a placeholder — that’s your foundation.

You might get push back. “Can’t we meet twice a week?” “Are we doing sectionals?” “When’s the concert?” The pressure might come from inside your own head. You want to prove this music program is worth more. You want to show progress. However, more often than not, the strongest thing you can do is hold the line. Same day. Same time. Every week.

You might even feel a little guilty about it. You’ll start to think, Am I doing enough? Especially when you see other schools holding full-day retreats or taking 45 kids to festival. You may even compare what you’re doing to the program you grew up in.

That’s simply not the phase you’re in right now. Focus on reliability over reach. Teach music the students like. Keep it light, fun and easy to prep. If they ask to play the “Star Wars” theme, let them. If they want to work on a TikTok loop — great. You can teach tone and technique on any song.

I had a group that was obsessed with “Seven Nation Army” one semester. Did it get old? Yes. Did it hold their attention? Also, yes. And that’s what counted. They worked on balance, articulation and dynamics — not because I forced it, but because they actually wanted to sound good.

One kid even arranged a trumpet duet version for fun. (It wasn’t good, but it was theirs. We also only had one trumpet …)

You’re not building a program yet. You’re building a habit. Build that first. Think about growth later.

Make Friends With the People Who Run the Building

There will be a temptation to start advocating right away. You might think, If I can just get 15 minutes with the district office … But the people who will actually keep your program alive aren’t in that office. They’re down the hall.

Talk to your custodians. Let them know when you’re rehearsing. Thank them when they unlock your room or sweep around your stacks of music instead of through it. Ask about their day. Be the teacher who doesn’t just leave music stands scattered across the room every week.

Check in with food service. Ask if there are any leftover snacks. Some of your students will stay late and will be hungry. Other kids just want anything extra, and I’m not against bribing kids with food.

Make sure the office staff knows your rehearsal schedule. They’ll help with late buses, announcements, room keys — and they’ll do it faster if they like you.

If you’re running evening rehearsals, connect with admin or security. Make sure someone knows you’re still in the building. You don’t want to have to finish rehearsal by cell phone lights when all the lights shut off and the doors lock.

You don’t need the school staff to love music or even understand what you are doing. You just need them to trust you. Say thank you and mean it. Bring coffee for them now and then. If they stop by your room, invite them in and let them see what’s happening.

You’ll be amazed at what one office assistant can do when they see your kids perform at a staff meeting. Suddenly your email about bus transportation doesn’t sit at the bottom of their inbox. Your room requests get approved quickly.

Programs don’t grow in isolation. They grow when people want to help. And people want to help other people who do a good job AND make them feel good.

Forget Prestige. Focus on Predictability.

This may not be what you imagined when you signed on. There are no fancy concerts, no festivals, no honor ensembles, maybe not even matching uniforms. But this can still be a program worth the community’s time.

What matters most at this stage is predictability. Same day. Same time. Every week. No surprises.

If you say rehearsal is Tuesday at 3:15 p.m., be there. If you say it ends at 4:15 p.m., end on time — even if you’re dying to run one more section. Show your students (and your admin) that this thing has structure.

They’re already skeptical. You know it. Everyone knows it. The best way to flip the narrative is to be unshakably consistent.

Set expectations clearly. “Here’s when we meet. Here’s what showing up means. Here’s what we’re working toward.”

One year, I made a half-sheet syllabus with a QR code to our calendar and handed it out to every kid and parent who walked through the door. It looked low-budget (because it was) but it worked. No one asked, “Wait, when do we meet again?” after that.

Then, celebrate the small stuff. Play for the school board. Perform a piece at the spring art show. Post a video of your group playing “Hot Cross Buns.” Remind your community what your kids are actually doing.

That same support staff we talked about earlier? Perform for them. Bring your kids to the main office or the custodians’ break room. Give them their own performance. Heck, take requests for the next performance if you can. These moments will give you more traction than any email you can send.

People believe in what they see consistently. Not what they hear might happen “once the program is up and running.”

The Long Game Is the Only Game

People often want to build a legacy. What exactly is a legacy? It’s this: Some of the biggest wins in this kind of job will not happen while you’re there.

You’re not just teaching students — you’re rebuilding access. That kind of change moves slowly. It might take years. And someone else might get the credit. That doesn’t make your work meaningless. It makes it necessary.

Keep records. Save the rosters and the flyers. Build templates you can reuse next semester. Start a Google Drive with materials and notes for the teacher who comes after you whether that’s in five years or five months.

Don’t wait until you’re burned out to do this. Document it while you still care.

There’s a good chance that when this class finally earns a school-day slot, you won’t be the one conducting it. You’ll be the name they mention in passing: “This all started when Mr./Ms. So-and-So brought back after-school band.”

Loop in families when you can. One vocal parent asking, “Why isn’t this during the school day?” is more effective than 10 emails from you.

One time, a parent casually mentioned to a board member at a football game that their daughter’s after-school music group was “the best part of her week.” I found out about it secondhand, but it led to a budget conversation that hadn’t happened in years. And by budget, I mean we received an actual budget for the first time.

You can’t force this, but you can create the kind of experience that makes families want to speak up. Play the long game. It’s the only one that actually works.

This Isn’t the Program You Wanted. That Doesn’t Mean It Isn’t Worth It.

It’s easy to feel like you’re not really teaching, like you’re babysitting instruments after school and calling it music education. But your students don’t see it that way.

They see that you show up. They hear themselves getting better. They notice when you remember their names and ask about their day. And although it may be a small group, they will build and develop their own culture.

You might feel like you’re just holding things together, but your students feel like they’re part of something.

So, if you’re in a job where the infrastructure isn’t there, and you’re doing your best to build something meaningful anyway — please know that’s not a failure. It’s the work that’s necessary.

Long country road lined with gold and red leafed trees. In the far distance, you can see someone walking away.

Seven Thanksgiving Movie Scenes to Stream This Season

Written by Jake Uitti on November 19, 2025. Posted in TV & Movies.

Thanksgiving is a time of family, food and remembering what you’re grateful for. It’s also a time to stream your favorite flick and bask in how other people celebrate the holiday. What could be better than that? Nothing — except doing so with a high-quality audio system, of course.

So turn the volume up a little, sit back in your sofa or favorite easy chair and enjoy these classic Thanksgiving movie clips.

1. Planes, Trains, and Automobiles – In Wichita

Perhaps one of the most beloved Thanksgiving movies, this comedy stars two all-time greats: John Candy and Steve Martin. The two meet as strangers but, thanks to a hectic travel schedule, they become good friends. Martin’s character is trying to get out of Wichita (and away from Candy) and home to his family in time for the holiday. The planes are packed, but maybe … a train could be an option? Watching these two actors work together is a joy … as is listening to them. Every tone of voice, every inflection in a joke’s delivery — even the rockabilly tune in the background of this scene — is a hit. Check it out here.

2. Charlie Brown Thanksgiving – Peppermint Patty

It’s not the holiday season without Charlie Brown, whether you’re talking The Great Pumpkin on Halloween; the scene with the frail pine tree during the famed Christmas episode; or here, when Charlie gets a talking-to from Peppermint Patty on Thanksgiving. It’s an indelible (and inedible) moment during the kids’ outdoor feast, which Snoopy ensures is replete with jellybeans, popcorn and toast. But Patty isn’t having it; she wants turkey legs and cranberry sauce. And like an angry sax solo, she berates Charlie over signature Peanuts smooth jazz rhythms, which ends up being as timeless as the cartoon itself. Check it out here.

3. Scent of a Woman – The Dining Room Fight

It’s always worth turning the volume up when the great Al Pacino is on screen. The actor has been nominated for an Academy Award^® nine times, but his sole victory came not for his work with The Godfather, but in 1993 with Scent of a Woman. In this scene, Pacino’s character, a blind retired army man, is a bit racy, but that’s just the sort of cringe-worthy atmosphere we’ve come to expect at the holiday dinner table at times, right? Once things get heated, you can hear each picture frame rattle. Check it out here.

4. The Big Chill – The Kitchen Cleanup

Kicking off any scene with the Temptations is always a winner. This clip utilizes the group’s unforgettable song, “Ain’t Too Proud to Beg,” combining a classic American hit record with a classic American hit movie scene, along with one of the most relatable moments of Thanksgiving: the post-dinner cleanup and leftover foil wrapping. We should all take a note from The Big Chill and listen to a little Motown while we take care of our holiday chores. Check it out here.

5. Rocky – Turkey Time Introduction

In this scene from the Oscar^®-winning film, brother Pauly is trying to do right by his sister, Adrian, by introducing her to his friend, boxer Rocky (Sylvester Stallone), who has long had a crush on her. Adrian is reticent, though; she’s cooked a modest dinner for herself and Pauly and wasn’t expecting company. Soon, the rage of their collective lower-class lives rises, and shouting fills the small Philadelphia home. Yet amidst the uproar, there’s charm to every small attempt at dignity from Adrian and Rocky, and Stallone’s distinct voice will have you hanging on every syllable. Check it out here.

6. Spider-Man – Meet the Parent

It can be a bit awkward when friends and families mix during the Thanksgiving feast, but that normal human experience is made even more heart-racing in this scene because we know that Spider-Man and his enemy, The Green Goblin, are actually in the same room together, about to share some of Aunt May’s stuffing. While the protagonists themselves aren’t aware of this yet, suspicion is growing by the second. Enjoy the superb acting from a bevy of big names (from Tobey Maguire to Willem Dafoe to Kirsten Dunst) and the unique sounds of our hero’s web-slinging … not to mention the subtle splash of a drop of his blood on the hardwood floor. Check it out here.

7. Home for the Holidays – The Bird Can Fly

This movie is not about flashy special effects or outlandish plot twists — it’s just pure, good acting. In this memorable clip, a Thanksgiving meal is ruined after the turkey falls onto an unsuspecting family member’s lap. The rest of the guests find this hilarious, but the accidental recipient is none too pleased about what has happened, to the point where she begins spinning out of control. Our hearts pound, wondering how this will be resolved. If it will be. Check it out here.

The sounds of these memorable Thanksgiving movie moments can be best enjoyed when listening on a quality audio system such as Yamaha sound bars and surround sound systems.

Click here for more information about Yamaha AV products.

woman with eyes closed and hands on either side of her face

When Freshmen Come in Behind

Written by Don Stinson on November 17, 2025. Posted in Teaching Tips.

It’s August. You hand out a Grade 3 concert band piece to sight-read, and by measure four, you realize something’s off. Some of your students are counting like it’s their first day in band — wait, scratch that. They’re not actually counting. They’re ignoring the key signature like it personally offended them. Hold on — some actually don’t know what a key signature is.

Some students are holding their instruments like they’ve never even seen them before. You start to panic and ask yourself, What happened at the middle school?!

By the end of the week, you know some of the answers — the feeder music teacher was laid off, the long-term sub showed YouTube videos, half the instruments were broken, schedules were shuffled until October. The damage is real, and now it’s yours to fix. So now it’s time to ask for help.

This Isn’t Your Failure Even If It Feels Like It

When your high school ensemble sounds rough at the start of the year, it’s tempting to take it personally. I still do this even after 20 years of teaching. I live by a motto of “an ensemble is a direct reflection of its director,” but this isn’t quite true especially in August or September.

Freshmen who couldn’t play a concert B♭ scale or name the lines on the staff — these were kids who tried. They just didn’t get the reps. It wasn’t because their middle school teacher didn’t care. It was because that teacher left in February and the school ran out of subs.

One year, I had a saxophone player who literally didn’t know how to use the octave key. Not like, they forgot to press it — they didn’t know it existed! Another had never played with a tuner. When I asked about tuning procedure, she looked confused and said, “Oh, we just kind of started playing.”

We all want to fix it, make it better, prove that what we’re doing works. Instead of playing the blame game or wishing for something better, just diagnose what actually happened. Adjust and don’t absorb every gap like it’s your fault. Your job is to teach the students who are in front of you.

Sometimes the issue isn’t musical. I’ve had students come in with big gaps, but they also were dealing with huge personal stuff — housing instability, chronic absences, burnout. A student who missed 40% of last year is not going to have solid rhythm reading. That doesn’t mean you failed them. That means something much bigger failed them. But they’re still showing up. So, now we teach.

The System Is Bigger Than You, So Stop Carrying It Alone

There’s a difference between being a team player and trying to carry the entirety of music education on your back. Often, music teachers try to solve everything: scheduling errors, feeder program issues, attendance issues in the school. We think we’re being dedicated, but we’re just exhausting ourselves and not being particularly effective at solving these problems.

The lesson: Just because you can doesn’t mean you should.

One year, I decided to visit all nine of my feeder schools by mid-September. That meant hauling instruments, rearranging my prep periods, skipping lunch and getting home late — all for 12-minute mini-rehearsals with groups of students I couldn’t officially teach. I wanted to show support.

You can’t fix a feeder teacher quitting. You can’t make a program adjust their standards to fit yours. However, you can create a tighter recruitment process and check in regularly with the ones who stay. You can’t fix the counseling office’s scheduling software, but you can start emailing about enrollment in January instead of May. Starting earlier and getting your message to the kids before they are inundated with all other communication can be very effective.

Start mapping out the system around you — the one your kids go through before they land in your room — and then look for the one or two points of influence you actually have. That’s where you put your energy. Everything else? Name it. Write it down. Then let it go. (And yes, “letting it go” sometimes means complaining about it in the office while typing up your recruitment plan. This doesn’t mean you don’t care — this simply means you are caring where you are most effective.)

man sitting in front of laptop and writing in notebook

Document Everything and Adjust Expectations

If a kid shows up without a working trumpet for three months, that matters. If 20 students from one feeder didn’t get music classes in middle school, that matters. These aren’t excuses — they’re data. And although we are artists that are often brilliant at describing our feelings and emotions, data points are what really make change happen.

Consider a short running log on your computer. Just bullet points like:

6 students placed in choir by mistake, fixed in Week 2
Feeder A: No 7th grade band last year
2 students switched to new instruments without teacher input
3 clarinets with cracked joints, replaced Week 4

It takes five minutes a week, and it’s been incredibly helpful when I get observed or when I need to advocate for additional support — which usually means money, but it sometimes means scheduling.

One time, I pushed for new mouthpieces — and actually received them! — just by showing that nearly a third of my brass players were using accessories that didn’t fit them or function. Without my notes, it would’ve just been me “complaining.” The log gave it context and urgency. (It also helped when I told the administration that a rival school had these mouthpieces and we didn’t.)

More importantly, it helps me tune expectations. If I walk into a year knowing that 40% of my kids lost a full year of instruction, I don’t plan like they’ve had a perfect handoff from middle school. I plan for who the kids are and what music education they actually received. That might mean spending a week on a single line of an exercise. Or swapping a concert piece because it turns out only two kids can play in 6/8. I don’t love doing it, but I’d rather underprogram and overperform than the opposite.

This isn’t “lowering the bar.” It’s focusing on growth.

woman sitting in beach chair with arms outstretched

Letting Go Isn’t Giving Up — It’s How You Make It to May

Somewhere along the way, a lot of us learned that “good teachers” hold everything together no matter what. This isn’t true because you can’t be the sole fixer of an imperfect system — you’ll break yourself first.

Letting go of that responsibility doesn’t mean you’re giving up. It means you’re teaching within the system, not in spite of it.

There’s a kind of clarity that comes from stopping the blame spiral — and I don’t mean to simply stop blaming others. I mean blaming yourself for the off-pitch horns, the flatlined recruitment, the burnout. For everything you can’t control but still feel responsible for.

You’re allowed to be frustrated and feel like this shouldn’t be your problem — because honestly, it shouldn’t. But when you actually let go of the guilt, you can use your energy to help the kids in your room.

You’ll sometimes catch yourself — “If I just worked harder!” will loop in your head. You could always come in earlier, stay later, smile more, be more stern, hand out more snacks, do less playing tests, maybe do more playing tests and improve your soldering skills so you can save a few bucks on brass repair bills. But after a month or two of working “harder,” you’ll need to take more days off just to recoup from the job. That’s a cycle you want to avoid.

Show up and teach well but guard your energy like your job depends on it — because it does.

music educator conducting and holding baton

One Last Thing

Every year, there’s a moment when you sit down and realize just how much your students didn’t get before they walked into your room. It’s heartbreaking. It’s not your fault, but it is your responsibility — just not in the way you think.

Ask for help. Address what you have the power to address and set clear goals and expectations for the real students in your room. If you need a minute to feel mad about it? Take it. Then pick up the baton and start where they are.

Choosing Student Leaders

Written by Brandon J. Duras on November 14, 2025. Posted in Student Leadership.

Student leaders are crucial to the success and culture of a music program. If you’re like me, you probably have the mindset of if you want it done right, you have to do it yourself. However, everyday it’s clear that I need help! Creating a leadership structure that works best for your program will help you maintain excellence and keep things running smoothly. Substitute teachers tell me that they like subbing for my colleague and me because the students know what they need to do and how to do it.

This can only be done with good leaders and a solid leadership structure. In a future article I will share more about how you can use this structure to keep things going when you’re absent, but first we need to explore a leadership structure and how to choose student leaders. These tips are transferable across any ensemble whether it is band, choir or orchestra!

two female students speaking during ensemble concert — Brunswick High School’s co-presidents speak during fall concert.

What are the roles?

Most programs have some sort of established leadership roles. Depending on the ensemble and perhaps the size and scale of the program, this can be a variety of positions including:

President: Acts an advisor and liaison between the director and students. They help plan events and keep students informed about what is going on in the department.
Vice President: Assists the president as needed and stepping in when the president is absent. Also serves as an advisor and liaison between the director and students.
Social Chair: Maintains a positive culture and climate in the ensemble through planning social activities.
Publicity Manager: Shares important information, advertising events and sharing successes of the ensembles. This person is responsible for ensemble social media pages.
Wardrobe Coordinator: Manages and distributes concert attire, ensuring that students have all the components of attire before a concert.
Ensemble Managers: Manages the day-to-day operations of rehearsal such as attendance, seating charts, and setup and breakdown.
Section Leaders: Manages their sections so musicians are prepared for rehearsal and performance, distributing music and running sectionals.
Student Directors: Leads the ensemble in the director’s absence or as needed. Student directors might be responsible for rehearsing and performing a piece on their own.
Drum Majors: Directs the pep/marching band at games and other performances. Drum majors may be responsible for leading rehearsals in the director’s absence or as needed.
Librarian: Maintains the music library, organizing pieces, pulling music for reading and rehearsing, and distributing parts to section leaders.
Stage Manager: Responsible for equipment and logistics of a concert or performance and helps with set ups and transitions between ensembles.

You may have other positions or have heard of others from friends and colleagues. Incorporate some or all these roles into your program. Or, add or take away certain responsibilities that fit the needs of your ensemble. For me, the number of positions and what they are responsible for depends on the year because the needs of the ensemble changes from year to year!

silhouette of someone placing ballot in a box

How do you choose leaders?

Choosing leaders can be challenging. In our roles as directors, we never want to see students hurt or upset when they don’t see their desired outcome whether it’s an audition or a leadership role selection.

Application: Some leadership positions must be appointed by the director simply because as the music teacher, you know your students best to determine their success in a particular role. I recommend creating an application for certain positions — it’s a good way to have concrete evidence to justify your decisions. I apply a points system to reflect the quality of responses or activities like honor festivals and prior leadership positions.

The director must choose leaders for roles that require a stronger musician and teaching-type student such as section leader, drum major or student director. We all have students who are stronger musicians than others, but that doesn’t mean that every leader needs to be your highest performing musician. These students might be a better fit elsewhere.

Election: Some leadership roles are more of a reflection of the group and the students in it. Who do the students want to represent them in these roles? For these positions, an election is more appropriate. Roles like president, vice president, social chair and publicity manager center around the student experience, so the students should choose their peers who are going to serve them.

Give students a chance to express their interest, give speeches and let them vote! Regardless of who you might think is best in that role, keep your opinions out of it. Students should feel comfortable with the leaders representing them. They want to trust that the leader is on their side when it comes to expressing their wants and needs to you, the director. (One small note on elections: Consider how you want students to be able to run. Can they nominate themselves or do you want others to nominate them and second the nomination?)

Natural Selection: One other way that you might consider is letting the chips fall into place on their own. For a role like section leaders, you will see a natural rising of a leader in each section. Hopefully this student is someone you see as a strong musician, who the students respect as a leader. Oftentimes students are pretty self-aware of their role within a section. They may serve a worthy purpose in the section that is not the section leader responsible for leading sectionals. This could be a social role or an organizational role. If you allow natural leaders to rise above the rest, the answer for who you should choose as a section leader may be staring you in the face. This can be useful at the beginning of a school year. Send the students out to sectionals and ask them to introduce themselves and do a short group warm-up. Walk around and see the dynamics in each section, which may give you some clarity on future decisions.

Leadership Retreat

A leadership retreat can be helpful in many ways. It gives you a chance to express what you look for in a leader for your ensemble and a way to train them to be successful regardless of what leadership role they take on.

Story time: The first time we held a leadership retreat at our school, it was out of panic. We were going into a new school year and didn’t see any clear leaders who were ready to step up like the student leaders from prior years. We decided to hold a leadership retreat. The intent of the retreat was not to meet and prepare the leaders we had, but rather to find out which students wanted to learn to become leaders and start the process of priming them for success. We left that day feeling more confident that we had strong students who wanted to be leaders.

The structure of your retreat may vary and should be organized to reflect the needs of your ensemble, department and student leaders. What do you need for your group? What do your leaders need to be successful?

Some things to consider covering:

Ensemble goals (short term and long term)
Section goals (short term and long term)
How to run a sectional
Creating effective group warm-ups
Engagement
Social events
Climate and culture

letter tiles that spell out "lead," "team" and "succeed"

Qualities of a leader

What makes a good leader? There are many qualities that most people agree that good leaders should possess. However, every leader is unique. You can tell who is ready to be a leader in your program because you see them serve the needs of the ensemble. Sometimes a student demonstrates a unique quality that makes them a good leader for the band as a whole, while others are more suited to serve in a supporting role.

I encourage you to ask yourself these questions to help determine if a student is ready to be a leader:

What is their attitude in rehearsal?
How do they behave at public events like games, performances, auditions, festivals, field trips, etc.?
What do other students think of this student?
What qualities do they have that other students might not have?
What qualities are necessary for them to be successful in the role they are being considered for?
Do they want to be a leader?

This isn’t an exhaustive list of questions that will make a decision clear or easy. However, these will capture a good picture of the student as a leader. It helps you reflect on their behaviors in and out of rehearsal as well as how they would be respected by their peers.

The final question — “Do they want to be a leader?” — can be tricky, but it’s also very important. Just because a student doesn’t want to be a leader doesn’t mean they can’t be a leader. On the flip side, just because a student wants to be a leader doesn’t mean they should. If you find that a student wants to be a leader mainly for their college applications, they might not be the best choice. However, if they want to be a leader to better your program, then that’s a different story.

Kids always step up

If you’re ever concerned about having the right leaders for your group, let me tell you a little secret: You will always find great leaders for your group because students always step up. If you think you’re going to have a lull year because a dynamite class just graduated, think again. Student leaders not only want to have a good experience, they also want to provide good experiences for their fellow band mates. These are the students who always step into the roles left vacant by their peers who they looked up to in previous years.

Everyone is a leader

One final thought on leadership that you must highlight to your entire class: Everyone is a leader. While you may be choosing leadership positions and roles for students to serve in, every single student in your program can and should behave like a leader.

This is the culture that I strive to have: A program where every student demonstrates the qualities of a leader. Every student is a model for each other of how to behave, represent themselves, prepare and perform at the highest level. I’m still trying to achieve this utopia in my program, but I know it benefits everyone if this is your expectation.

___________________________________

Student leaders have had a big impact on the success of my ensembles at Brunswick High School. Over the years, I have looked to these students for advice, and I trust them with important roles and responsibilities that I was afraid to let go of early in my career. Their leadership has led to a more positive culture in our program.

As directors, we have our own goals, but these leaders know what their peers are looking for in their music experience. We must listen to them to provide a good experience for all our students. That’s what makes them want to come back and make new students join band. I am very grateful for their service and am excited to share the work they have done in my next article on student leadership.

Miles McPherson

Written by Kenneth Westling on November 12, 2025. Posted in Stories, Three440.

Drummer Miles McPherson on navigating dichotomies by kayak

After decades on the road and years of reckoning, the Nashville session player finds peace and perspective where a river bends back on itself

Written by Lisa Battles

This headline may make established session drummer Miles McPherson cringe, cuss – and then take out his kayak on the river. He’s naturally inclined to the latter two anyway, so to address the first: He deeply rejects being taken so seriously.

Only in his early 40s and on the road for much of it, he resists being cast as a “serious student” of his instrument. Yet recent years of self-reflection have given him a richer perspective on himself and his 25 years in music.

That perspective has taken shape close to home, just west of Nashville, on the Narrows of the Harpeth River. It’s called the Narrows at that point because the river bends back and nearly meets itself, and it is the point where early industrialist Montgomery Bell commissioned a tunnel through the rock for hydropower for his ironworks in 1820.

It seems fitting that McPherson finds peace in a place with such a unique combination of natural and man-made features, given his own life of extremes.

Raised on the road

Music brought the McPhersons from Texas to Nashville in 1986, when Miles’ father, Jerry McPherson, was launching a guitar career that would eventually span decades, working with artists from Faith Hill and Dolly Parton to Chris Martin and Chris Cornell.

Miles grew up backstage and in studios and decided early that he wanted that life, too. His dad didn’t make it easy for him to pursue guitar, diverting him to other instructors.

At age 13, his desire to play the guitar evaporated when a friend let him play the drum set he’d gotten for Christmas, and he couldn’t be pulled away.

“I missed dinner, I missed presents. I just sat down there for hours and played. And I think at that moment, my parents realized, ‘Gosh, s**t, we gotta do something about this.’ And, you know, that’s a lot to have drums in the house,” McPherson says.

And yet the next Christmas, he got his own.

A snare drumming teen in a Texas canyon

That holiday season, the McPhersons were back in Texas visiting grandparents, when Miles opened a box containing a snare drum. Initially, he was disappointed to see a single drum and not a kit. Then he took it outside, where he played it all day and listened to the sounds reverberate off the surrounding canyon.

On the last day of the visit, he was still banging away when his family called him inside to reveal a full kit awaited him back home.

“That was it. That was game over,” McPherson says.

Within two years, he was gigging locally, dropped out of high school at age 16 to tour with Rich Creamy Paint, forged his paperwork to get into Belmont University and dropped out after a few months.

He took a 30-day gig on a Christian music tour and returned to his parents’ house on his 19th birthday. Their gift? A desk lamp, $100 and a note that read “Bye bye.”

He used his tour earnings to buy a car and find an apartment.

Metal, marriage & missteps

McPherson started a couple of metal bands, met and married his wife, and almost divorced as quickly over his addiction issues. After rehab, he convinced her to move to Los Angeles so he could rejoin his band.

He took sales jobs until the group got a record deal and started touring.

They made cross-country treks, racking up debt during high gas prices. Unfortunate memories of that time include an ill-fated effort to run a shuttle bus on vegetable oil and a man chasing him with a hammer for panhandling to get gas money to the next gig.

And then came a bigger twist.

“My wife and I got pregnant, and I realized that I had to grow up and quit the band. When she was six months pregnant, we routed a tour that brought us from LA back to Nashville,” McPherson says.

McPherson’s parents set the couple up with the first month’s rent and a deposit for a duplex, where they welcomed their first child, and another 15 months later. He worked three jobs a day, doing everything from parking cars to painting houses to waiting tables.

His friend and fellow session drummer, Jerry Roe, sold him a kit for $400, which he used to pick up whatever gigs he could, often playing with 14 different artists in any given month. When someone would ask what his one dream gig would be, he gave the same answer.

“I was like, ‘I don’t know … Like a Kelly Clarkson-type, pop-rock gig, f**k, I don’t know.’ It seemed like it would be fun,” McPherson says.

Broad horizons & bigger stages

Then one day, McPherson got a call from the wife of Clarkson’s music director, asking if he’d like to audition for her band.

“I was like ‘Who the f**k put you up to this?’ I really thought somebody was playing a joke,” he says.

It was real, and the competition was hot among about 16 contenders for the spot. McPherson and his family were on vacation at Montgomery Bell State Park in Burns, Tennessee, when he got the news he’d landed the gig and should report to rehearsals on Monday.

“Once we hit the road, that was it for four years, from 2009 to 2013, and it was incredible,” McPherson says.

The band dispersed when Clarkson paused touring to build her family. McPherson took a job moving furniture to support himself and his family.

Returning to the road

Within less than a year, he got a call from his longtime friend and former bandmate, Justin York, then a guitarist for Paramore, which was seeking a new drummer.

McPherson got the gig, which he stayed on for many months before a golf cart accident resulted in broken bones, skin grafts, acid burns and a DUI.

“It was a really f*****g stupid situation,” McPherson says.

He had a break before going back out with the band and was loading up the car for a short family trip while hanging out and drinking with his neighbor. They and their wives decided to take a spin on their golf cart. On the way down from a fast hill, the cart tipped and flipped, landing on McPherson and dragging him. The cart’s ruptured batteries caused severe burns along the left side of his body.

He spent several months in skin graft surgeries and healing broken bones.

With legal and personal issues looming, McPherson left the band, turned to session work full-time and thrived. Between 2013 and 2020, he became a two-time ACM Drummer of the Year, playing on numerous No. 1 hits.

Still, his personal issues persisted.

Discovering the Narrows

McPherson and his wife separated in 2016, a difficult time he channeled into work – and also drinking, he says. He bought more camping gear, despite not having grown up in the outdoors.

“I knew that I needed something else. Somehow, some way, I was going to start using it. It took a year or two before I started using that pile of gear that was sitting there, staring at me,” McPherson says.

He bought a kayak and discovered the Narrows of the Harpeth River, where he spent a lot of time alone, working through things every day for years. He says it saved his life, and his favorite times were when it snowed in the wintertime.

“Being on a river when everything else is covered in snow is an unfathomable quiet that is almost unsettling,” McPherson says. “Being out there on the water was such another side. It was so dichotomous and so perfect. It made so much sense for me and was the only thing that ever got me quiet and calmed me down.”

Seeking balance

McPherson’s balance with addiction and sobriety is a longtime thread. He says he’s had several stretches of sobriety, including the most recent, starting in January of this year.

Late last summer, his deteriorating relationship with his kids catalyzed his decision to enter a mental health treatment program to address the roots, which he learned were as fundamental as getting more sleep at night.

No longer in a relationship, separated from his kids and with only himself to figure out, the outdoors took an even greater place in his life. His kayak collection grew, plus he added a camper and a couple of bikes. He says they’ve been necessary tools for the physical exercise and mental space he needs as permanent parts of his lifestyle – and to have a life he loves without losing it to addiction, he says.

A different kind of touring & problem solving

Lately, besides splitting time between his home studio and continuing session work, McPherson has worked on a new CBS reality series, “The Road,” which debuted in October 2025. The show follows a group of emerging artists who go on tour, opening for one of the show’s co-producers, Keith Urban, at venues across the country, competing to win a spot in the next city.

For the show, McPherson put together a six-piece Nashville-based band, which joined a group of about 150 on the road for the show’s production, he says.

“Because it was a game show, it was fun . . . I loved the chaos in that setting and in that context. It was just – enjoyable,” McPherson says.

Reframing situations – and himself – within context has brought him more enjoyment in his work and life overall.

“I’ve gotten really good at playing for songs. That’s what I do. It’s not false modesty. I’m not a great drummer, but I am good at playing for songs that I can do all f*****g day. I love it. It makes me so happy,” McPherson says. “It’s about being handed a puzzle – a wildly different set of circumstances with a weird song, a strange arrangement, a band that’s different or a studio where things aren’t working – then taking all of the factors, which there are so many, with so many people involved in the creation of a song, then getting a finished product. That is the job.”

‘Finding curiosity in discovery’ in music

McPherson says he prefers paddling rivers over lakes for the same reason he loves studio work.

“When you’re paddling a river, it’s something new around every turn. It’s a new view. Every foot that you move forward, you’re seeing something different,” he says.

He’s begun reevaluating feedback he’d once dismissed to bring more to every session. He learned to check his confidence and treat differing opinions as puzzles instead of challenges.

“[I think] ‘Let me not try and turn it into my own thing. Let me figure out a way to make what you want to work in this song,’” McPherson says. “In doing that, I found curiosity. I found this discovery of putting myself out of the way.”

It’s made music and life more enjoyable in entirely new ways, he says.

“I do my best to just be better, constantly try and make amends where I can and just make fewer mistakes moving forward,” McPherson says.

The Three440 Artist Story Series takes you beyond the spotlight and into the real lives of Yamaha Performing Artists. Each story is a window into the creative process, pivotal moments, setbacks and victories that define an artist’s path.

aerial view of Bob Habersat's choir room

Tech in the Choral Classroom

Written by Bob Habersat on November 12, 2025. Posted in Teaching Tips.

I sometimes think that technology gets in the way of running a traditional choral rehearsal. We’ve all seen students playing Block Blast instead of looking at their music on their iPads, or working on English papers on their Chromebooks while we’re doing concert prep. Just give me a piano and a set of octavos and put the devices away, please!

In reality, there’s no escaping technology — it’s in our schools all the time, and it compasses much more than laptops, tablets and smart phones. I have found ways to incorporate technology to improve choral rehearsals, make students sound better and give them more ownership of their own learning.

Bob Habersat holding keyboard in front of choir room

Referencing

One of the most important tools I implement daily in choral class is referencing. This is more of a “thought technology” than a hardware one, and I learned it from the music production world. Producers listen to other songs throughout their entire creative process. They might listen for the kinds of sounds used, the chord progression, the mix, the form or any other characteristic of the track. Producers go back and forth between their references and the song they are working on to make it sound better and more authentic to a specific style.

I use referencing in the choral classroom for pretty much anything, including vowel shapes, tone color, diction, dynamics, phrasing, emotion and style.

Playback

The concept of referencing is powerful, but it only makes an impact if there is a playback system in the room. Most students are used to hearing music on headphones or phone speakers. A quality sound system can make students hear and feel music like they never have before.

There are many variables when selecting a sound system, but look at how it addresses the size and shape of the room, volume, frequency response and multiple uses. Speakers have directionality and a specific angle from which sound emits, especially from the high-frequency drivers. The speakers should be mounted higher up on stands or hung from mounting points, set apart from each other, angled to cover the choir, and positioned far enough away from the choir so singers can get a stereo image from both sides.

Some choir rooms are deep enough to use a traditional two-way powered speaker like a DZR10, but some rooms, like mine, are shallow and wide. I use two DXL1K column array speakers hooked up to a digital mixer like a DM3. These speakers have a super wide dispersion angle and really fill the room. If you only have one set of speakers for your program, you want to be able to use them for many things. I like mobile sound reinforcement speakers because they can pump out higher volumes while still providing clear frequency response, and they can be used for playback in the room, stage monitoring or as PA speakers in a performance setting. A good set of speakers can make listening to reference music exciting because it will fill the room and inspire your singers to perform like the pros.

Personal Monitoring

Do you remember the first time you heard yourself on a voice memo or answering machine? It didn’t sound like you — or what you thought your voice sounded like. I call this the voicemail paradox. We create a “print” of what we think our voice sounds like based on the internal vibrations in our head and the reflections we hear off surrounding surfaces. You can retrain your brain to match what you think you sound like with what you actually sound like using recording and playback. The more you hear recordings of yourself talking, the closer that print gets to your actual voice. The same thing happens when we sing.

I built a solfège app with built-in monitoring for my students. It allows them to hear themselves in real time by looping the device’s microphone directly to their headphones (wired headphones work best). It’s fun to see their faces when they hear their voices through the headphones for the first time.

When singing pop music, I have them reference an artist who sings in the style that we are going for and whose voice is in a similar range. They can then practice singing into the device’s microphone and try to match their voice to the artist. At the end of a 30-minute period, some of my students could do pretty accurate vocal impressions of Billie Eilish, Stevie Wonder and Bruno Mars. Try the Solfege Trainer app for yourself. Connect headphones and click Start Monitor.

Group Recording

Why do choir directors constantly reminds students about vowel shapes, beginning/middle/ending consonants, dynamics and phrasing? Because we are the only ones in the room who can hear the group’s sound. Choirs have a version of the voicemail paradox as well because what they think they sound like as a group does not match what they actually sound like. If a choir can hear recordings of itself, students gain agency to address these things on their own.

We have a couple inexpensive small diaphragm condenser microphones at the front of the room in an XY configuration. These are connected to a Mac Mini running a DAW like Cubase through our digital mixer. This setup is a little complex, but you can try it by recording on your phone and playing it back to the choir on a Bluetooth speaker.

Once you have a recording and playback setup ready, record something you are working on in class. Give students prompts about what they should be listening for before you play it back and be prepared to be amazed. Warning: The first time students hear themselves, they will be shocked and a little horrified.

Here are some things that work with playback. Choirs think their dynamic contrast is much bigger than it actually is. Have them record a phrase with a crescendo, decrescendo or sforzando and listen back. They will hear the lack of contrast, especially if you play a reference recording of a professional group that demonstrates similar contrast well.

Middle and ending consonants are usually difficult for students to focus on because we do not always think about them when we talk. It’s easy to build that awareness when you record a passage and play it back for students. Ask whether the words are understandable and whether consonants line up. I like to add reverb to the recording to mimic the size and reflectiveness of the performance space when we talk about consonants. Larger spaces need larger consonants.

The use of recording is not limited to dynamics and consonants. Think about anything you work on in class — it will likely improve faster through recording and playback than traditional methods. The bonus is that it will create more independence in your choir. The first few times we record with a new choir, students are a little scared, but after a few sessions they gain confidence. A month into recording regularly, students in my beginning choir were asking to record sections of their music to work on specific elements. How cool is that?

Bob Habersat with sound equipment in choir room

Combining Referencing, Recording and Playback

The real power comes when you combine referencing, recording and playback in your regular routine. When selecting reference recordings, find ones that demonstrate the things you want your students to work on. I rarely reference recordings of the exact songs we are rehearsing.

Instead, I tell my students, “Listen to how the BYU Men’s Chorus finishes phrases in this track.” “Check out the dynamics and phrasing of the Chicago Symphony Chorus in this section of Mozart’s ‘Requiem.’”

After they listen, rehearse as a group, record and play it back. Discuss what students hear, then repeat the process. The growth is staggering, and the speed is mind-bending!

With just a few pieces of gear, you can transform the sound of your group. The best part for me is involving students more in the interpretation of music and in musical decisions that are usually made by the director. With recording and playback, every student gets a chance to hear the choir from the director’s viewpoint. With referencing, every student can become an expert through comparison. Try it and see for yourself.

Photos by Vince Olejniczak

A Guitarist’s Guide to Major and Minor Pentatonic Scales

Written by Robbie Calvo on November 12, 2025. Posted in Guitars How-to.

In a previous blog posting, I described how to use minor pentatonic scales when playing guitar. In this posting, we’ll expand on that theme by taking a deep dive into the world of both major and minor pentatonic scales as they apply to guitar.

The first scale shape that most guitarists learn, in fact, is the five-note minor pentatonic scale, pattern 1; it’s certainly the one I show my students first. Pentatonic scale shapes have a dual functionality that’s easy to understand and apply. That’s because any of the five minor pentatonic scale shapes also function as the relative major pentatonic scale.

Let’s take a closer look at how this all works.

Relative Major and Minor

As an example, here’s pattern 1 of the B minor pentatonic scale:

This gives us the following five distinct tones:

Scale intervals: T – Mi3 – P4 – P5 – Mi7

Scale tones: B – D – E – F# – A

As you can see, there’s a tonic (T, or root note), a minor third (Mi3), a perfect fourth (P4), a perfect fifth (P5) and a minor 7th (Mi7). These are the tones that make up a minor seventh chord, with the addition of the perfect fourth.

If you start that scale on the second note (D) and call that our new tonic, you get the same five notes, but this time they form the D major pentatonic scale:

Here, the scale intervals and scale tones are as follows:

Scale intervals: T – Ma2 – Ma3 – P5 – Ma6

Scale tones: D – E – F# – A – B

Those five notes create a major triad (the root, major third and major fifth), along with a major second (ninth) and a major sixth (thirteenth).

As you can see, the same shape can function in two different musical worlds — major and minor. This means that learning one shape of the pentatonic scale actually gives you two scales for the price of one.

But what about a dominant seventh chord? This chord is made up of a major triad (root, major third and perfect fifth) plus a minor seventh. In effect, it acts as a hybrid major and minor chord. These colorful bluesy chords have a very specific sound that create harmonic tension, and they sound great on their own, either within a progression or as passing chords.

So, given that there is one shape that covers improvisations in both major and minor keys, how do we capitalize on that shape when we play over dominant seventh chords? To answer this question, first we need to explore …

Dominant Chord Progressions

Quite often you’ll need to improvise over a dominant sounding chord progression. Which of the two pentatonic scales would we use over this kind of progression? The answer is, you can use both; as we’ve seen, B minor pentatonic and D major pentatonic contain the same tones. But you may be surprised to learn that you can also use the B minor pentatonic and B major pentatonic scales.

To understand this, simply move pattern 1 of the B minor pentatonic scale to G# (four frets lower), and you’ll get the B major pentatonic scale:

This means you can use the same scale shape in two fretboard locations to create completely different licks and lines for your solos … and what makes this approach even more powerful is that the same lick in one shape can be used again in the other location (shape) for a totally different effect. I like to think of this as getting extra mileage (and extra value) out of your scale shapes.

Next, take a look at these fretboard diagrams of the B minor pentatonic scale shape and the G# minor pentatonic (B major pentatonic) scale shape:

You’ll find that playing a B major pentatonic scale over a dominant chord sounds more settled and consonant, whereas the B minor pentatonic over a dominant chord will have a bluesier characteristic. You’ll probably want to bend the minor third of the minor scale a little to at least imply the major third found in a B7 dominant chord.

Mixing Minor and Major Pentatonic Scales

You may already be used to playing a minor pentatonic scale over dominant blues progressions, but you may not have ventured yet into mixing major and minor for extra flavors and options.

Ready to get started? Follow these four simple steps:

1. Play a two- or four-bar phrase in B minor pentatonic. Then play the same lick in B major pentatonic (simply move the idea to the same shape that starts at the fourth fret, G# minor).

2. Expand upon this idea by adding another shape of the minor pentatonic patterns, such as:

3. Try playing an ascending lick using the minor pentatonic scale, followed by a descending phrase using the major pentatonic, then reverse the order.

4. Learn more shapes of pentatonic scales and try swapping between the two new shapes.

The Video

For this video, I created the following dominant chord progression to demonstrate mixing the B minor and B major pentatonic scales when improvising:

II: B5 A5//B I B/A E/B A5/B I B5 A5/B I G#mi7 E5 :II

I then overlaid a sixteen-bar solo that mixes several patterns of the minor and major pentatonic scale. In the first eight measures, I play a similar phrase from both minor and major (four measures on each from patterns 1 and 2). I then continue to alternate between minor and major for the next eight measures. After that, I’m moving through additional pentatonic shapes to find new ideas.

I also added some tasty chromatic ideas, achieved by adding the flat 5 from the blues scale. (The blues scale is the minor pentatonic scale with an added flat five.)

As I solo, I’ve indicated on the video which scale I’m using, plus here’s a link where you can find the tab and notation as well as the effects preset I used; this file can be downloaded into a Line 6 POD ^® Go effects processor if you have one. (See below for more information.)

Feel free to jam along with the audio file below.

The Guitar

A blue-green electric guitar photographed on the beach. — *Yamaha RSS20 in Sonic Blue finish.*

In this video, I’m playing a Yamaha Revstar Standard RSS20, which now comes in three new colors: Vintage White, Fired Red and Sonic Blue. The guitar I’m playing is a Sonic Blue model, which has stunning cream-colored cafe racer stripes on the body as well as on the scratch plate, binding and pickup mounts.

The acoustically tuned mahogany body of this extraordinary instrument enhances string sustain and resonance, and the neck-through body transfers that energy along the entire neck and headstock. The two silver Alnico V humbucking pickups sound detailed, fat and warm, making the RSS20 eminently suitable for any style of music. A five-way pickup selector switch allows you to choose either or both of the two pickups; additional positions reverse the pickup polarity to create those desirable “out-of-phase” tones found on guitars with three single-coil pickups.

The tone control also doubles as a pull pot. Engaging the pull function employs a passive focus feature, which essentially adds a mid-boost reminiscent of over-wound pickups (i.e., pickups with a higher output). Having ten onboard sounds available makes the RSS20 one of the most versatile guitars you’ll find anywhere.

The Processor/Modeler

A black guitar modeler with foot switches and a foot pedal. — *Line 6 POD Go guitar modeler.*

I also opted to pair the Revstar RSS20 with the powerhouse POD Go modeler from Line 6. This effects processor and amp modeler creates amazing guitar tones in an ultra-portable plug-and-play interface and pedalboard.

The POD Go allows you to create custom signal chains, patches and entire set lists for studio recording and stage performance. It packs a serious tonal punch without breaking the bank … and travels easily in a backpack to the gig or jam session.

The Wrap-Up

The five-note pentatonic scale is derived from the seven-note major scale. And just like its larger parent scale, it can be used over major, minor and dominant seventh chords.

When you learn one pentatonic scale shape, its application can be expanded greatly by simply moving it to other fretboard locations. Add additional shapes and you have an ever-expanding set of improvisational options. By shifting between shapes and fretboard locations you can create a wide variety of melodic phrases that outline the chord tones or add tension with bluesier superimpositions.

To learn more about pentatonic scale usage and phrasing, please check out my three “Pentatonic Protocols” courses at https://www.tradinglicks.pro.

PHOTOGRAPHS COURTESY OF THE AUTHOR.

Check out Robbie’s other postings.

Stage Fright Isn’t Just “Nerves”

Written by Don Stinson on November 5, 2025. Posted in Teaching Tips.

I’m going to describe what nerves really feel like for a student. I will go into some detail, and it‘s not pretty, but it’s important for us to know what our kids actually go through.

So here is what happened to me.

My Personal Panic

The first time I actually practiced — really focused, intentional practicing — was because I thought I was in danger. Not physical danger, but the kind that makes your stomach twist: My comfort zone was at risk. I felt like this was the worst thing that had ever happened to me (and maybe it was, because I was only 12!).

I hated solo and ensemble contests. Hated practicing. Hated standing up in front of people. I felt fine around my group of friends, but beyond that? I was painfully shy. I didn’t raise my hand. I didn’t speak unless I had to.

My assigned solo was “At the Ball” by Forrest Buchtel. I was told to prepare it, so I did what I thought was practicing: I would play it, stare at the wall, play it again, check the clock, play it again. I wasn’t proud of what I was doing — I knew it didn’t sound good — but my mom told me to do this, and you didn’t mess with my mom. So, I played it over and over and over again.

The morning of the contest, I panicked. I couldn’t do it. I decided to fake being sick with an Oscar-worthy performance. I went to the cabinet and grabbed the Chicago Bulls collector’s cup from McDonald’s, then I went into the bathroom, made gagging noises, scooped water out of the toilet with the cup, dumped it back in for “realism.”

My mom heard me. I walked out with droopy eyes and disheveled hair. “Oh my gosh, you sound terrible,” she said.

“Yeah,” I croaked. “I feel awful.”

“You just need to rest. Have some 7Up and saltines.”

I nodded, relieved. “That sounds good. Thanks, mom.”

“Alright,” she said. “Get dressed, and right after solo ensemble, we’ll come home, and you can go to bed.”

Wait. What?

I had that mom. The “rub-some-dirt-on-it” mom. The “take-a-Tylenol-and-go-to-school” mom. And nothing I could say would change her mind.

So, a few hours later, I stood in a generic classroom with bad lighting and a folding chair. The judge sat behind a table. A few parents were seated in the back looking comical in the small desks made for their middle school children. The pianist gave me two pitches. I nodded like I knew what I was doing, and then I played two completely different pitches. The pianist had to teach me concert pitch right there. Had I learned it before? Sure, but it was easier to blame my teacher rather than admit I was talking in class.

At that time, I didn’t know the phrase “self-fulfilling prophecy.” But I no longer had to fake sick. My nerves were in overdrive, and it felt like something was squeezing me around my chest.

I played the solo — barely. People clapped. I went home and spent the rest of the day in bed “recovering” from my fake illness. Couldn’t even watch TV.

That moment didn’t suddenly turn me into a super practicer. But it did sting. It made something very clear: All those hours or “working” and practicing didn’t actually helping. I had never learned how to perform or how to deal with what happens in your body when it’s time to.

stressed out student with hands by his eyes

This Isn’t Just About Confidence

Most of us have seen it: A kid plays their solo perfectly during rehearsal. You’re sure that they’re ready. Then the concert begins.

Their body is in full red alert. Breathing is shallow. Hands start to shake. By the time they start playing, they’re already drowning. They come out looking like they failed everyone.

We try our best to support our students. “Just breathe!” “You’ve got this!” But the problem isn’t confidence. It’s biology.

Here’s how you know it’s not just “mental”: You can see it. The kid couldn’t get their fingers to work. The brass player looked like they forgot to play in the small end of the instrument. The percussionist completely blanked, even though they had the piece down that morning.

female lying on the ground with panicked look

Nerves Live in the Body — So Teach the Body

When kids say they were “too nervous,” they’re talking about a real, physical response. Their brain told their body they were in danger. Their body did its job.

Heart rate goes up. Muscles tense. Breathing shortens. Tunnel vision sets in. That’s not weakness. That’s a survival response.

We can’t just coach that away with pep talks. We have to train for it.

Start with repetition in front of people. Make performing a routine part of your class. Every week, pick one or two students to play something in front of the group — even just a scale or two lines of a piece. Rotate through everyone. Make it normal. Keep it low-stakes.

I’ve had students play the same two lines of chorale four weeks in a row because I wanted them to feel what it’s like to be “on” in front of people without it being a big deal.

Then practice the “walk in.” Literally. Have students rehearse how they’ll walk into the room, stand, take the two pitches and breathe. Talk about that moment — what it feels like and what they can do with the feelings.

One year, a kid asked if he could perform with a group of kids positioned extremely close to him. So, before school, we set up some chairs and had him stand about a foot away. Way too close for comfort, but he wanted the practice space more stressful so he could have an easier time during a performance. Just the fact that he wanted to try this approach told me that we were on the right track.

Finally, teach basic physical tools, such as

Grounding: flat feet, stable stance, deep breaths.
Muscle control: gently clenching and releasing fists or leg muscles to bleed off some of that tension.
Controlled breathing: try box breathing — inhale for four, hold for four, exhale for four, hold for four. Repeat. It takes 20 seconds and can reset the body’s panic response.
Try a “physiological sigh” before you play: inhale through your nose, hold for a brief moment, take a second quick sip of air through your nose, then exhale slowly through your mouth. Do it two or three times. It triggers the vagus nerve, slows your heart rate and helps your body remember that you’re safe, and you’re ready to play.

Don’t explain it like you’re teaching neuroscience. Just show them what to do.

I’ve had kids walk into their next performance and use these things. They may still mess up a few notes, but they could at least walk out with their head up.

frightened student sitting on the ground

Reframe the Fear

It’s difficult to convince a kid of this, but nerves are not a red flag. Yes, they feel awful — but they mean that the student cares. That’s it. We can remind them that wanting something to go well, and being afraid it might not, is a sign of investment, of engagement, of trying.

Keep in mind that if your students think nervousness means they’re not ready, they’ll start avoiding anything that matters to them. That’s why I tell my students, “Nerves aren’t failure. They’re proof that this matters to you.”

In my experience, the quietest kids — the ones who downplay everything — are usually the ones who care the most. The nerves hit them hard because they’re invested. And when they fall apart, it doesn’t mean they didn’t prepare. It means they didn’t know what to do with all that adrenaline once the door closed.

Finally, share your own experience. My kids have heard my stage fright stories. I tell them that the only reason I get through a concert now is because my back is to the audience. Humanizing yourself will help kids relate, and it helps them understand that this will not be an overnight process.

Some Kids Will Still Bomb

Even if you do everything right, some students will walk in and totally wipe out. They’ll come out embarrassed, blaming themselves, maybe even ready to quit.

That’s when it’s your job to be honest and grounded. Don’t say, “It was fine,” because it wasn’t. Say something like, “That didn’t go how you wanted, huh? Let’s talk about what felt different and what we can try next time.”

One of my students once said, “I don’t even remember walking out on the stage and playing.”

We talked about how that’s literally true. The body takes over — and if you haven’t practiced that moment, it’s a rough ride. So, we did what musicians do best — practice. Practiced everything from the walk on stage, the bow, the performance, to leaving the stage.

They tried it again, and it still wasn’t perfect, but they walked out saying, “I remembered where I was this time.”

Make it about the process, not the result. Because that kid who just bombed? They already feel small. What they need is someone who won’t shrink them further. And maybe, eventually, they’ll be the kid who teaches someone else how to walk into the room and play.

Settling Down

I never told my mom about what I did that day. I had plenty more performances after it. Naturally, my nerves started to settle the more I played, but it took a while. There was no magic fix — just a whole lot of trial and error. Grinding. Practicing. Experience.

When we got home that afternoon, she said exactly what a parent should say, “You did a good job today. I’m glad you did this.”

Then she paused. “By the way, have you seen my Chicago Bulls cup?”

Old piano whose body has been used to contain a pile of pumpkins. It is an outdoor scene with lots of people in the background at what appears to be a fall festival.

Songs of Thanks

Written by Shelly Peiken on November 5, 2025. Posted in Creativity, History.

Is there a better time to express our thanks in a song than during the month that hosts Thanksgiving? Whether it’s appreciation for family, a partner, a teacher, or food and shelter — and even if life isn’t going the way we’ve planned at the moment — writing about being grateful for what we do have can help us count our blessings and maybe even land us a lovely song at the end of the day.

The concept of songs-of-gratitude goes back decades and knows no boundaries when it comes to genre. The Beatles did it (“Thank You Girl”), as did Alanis Morissette (“Thank U”), country’s Carrie Underwood (“Thank God for Hometowns”), even classic rock’s Led Zeppelin (“Thank You”). Oh, and there need not be a “thank you” in the title — check out Aretha Franklin’s (“You Make Me Feel Like) A Natural Woman” or Chance the Rapper’s “Blessings.” Everyone’s doing it! Because it works, it’s cathartic and worthy of our attention.

Professional songwriters often have to conjure up material when we’re writing to a brief (like, for example, if you’re writing music for a film or television show), and if we’re working with a recording artist, we need to lean in to their point of view. But expressing our own gratitude is right at our fingertips. It isn’t something we have to calculate, since most of us already have something that we’re thankful for. (Hopefully, anyway.)

Even just listening to these kinds of song can put us in touch with gratitude, for reasons that are chemical as well as emotional. Author Kate Wight has pointed out that “Listening to a song that reminds you of happy times may lead to a release of dopamine. That’s a neurotransmitter that makes you feel good.”

I suppose it’s like following your smile.

On Thanksgiving there’s traditionally a post-turkey jam session in my living room. We play fun-loving joyful classics and debut our originals. (For those of us who aren’t musically inclined there’s a box of percussive accoutrements — tambourines, maracas and an array of ganzá [those egg-shaped shakers actually have a name!]) It’s a highlight of our holiday.

Ms. Wight also states that “Music is inextricably linked with human emotion. If you’ve resolved to try and be more thankful this year, consider using music to get you there.” Not too long ago when I was missing my daughter terribly, I made a decision to be optimistic. I sat down with my Yamaha baby grand and then … a song came out. (Video below.)

Notice I didn’t say I “wrote” a song but that it “came out.” That’s because writing a thank-you song wasn’t necessarily the plan. It doesn’t have to be. Instead, my heart was in my hands and my hands landed on the keys, and the song simply happened.

Gratitude is a powerful feeling. It’s a natural and selfless place to begin and quite the fodder for song.

Simply the process of writing a song of gratitude will remind us of what is easy to forget during uncertain times or in the fog of life. There’s always a story to be told about a friend who lifts us up and pulls us out of the darkness … or a child who reminds us that the best day of our life was the day they were born. This the time of year we take stock.

Here’s my thank you:

Check out Shelly’s other postings.

Dr. Aaron Witek observing a student playing the trumet

A University Trumpet Studio Fosters a Culture of Community

Written by Savy Leiser on November 4, 2025. Posted in Winds.

When Dr. Aaron J. Witek, Assistant Professor of Trumpet and head of the Trumpet Studio at Stetson University in Deland, Florida, was a college student himself, he originally dreamed of becoming a high school band director. “I joke [with my students] that I failed at my first job,” he says.

Witek completed the student teaching process, but while getting his Master’s degree, he uncovered a new passion. “I found a love for working one-on-one and mentoring students at the college level,” he says. “You never know what might take you where.”

Although he jokes about “failing” at his initial goal, Witek doesn’t regret the choices he made. He tells his students that changing career paths actually gave him a more complete perspective on what it means to be a musician and an educator. Witek learned that a musician needs to be versatile, which is a lesson he now passes down to his students. “The days of ‘my job is only this’ don’t exist anymore,” he says. “We have to be flexible … that’s what I try to do with my studio.”

Witek’s trumpet studio combines his passions for trumpet performance and collegiate music education by helping students grow into versatile, thoughtful musicians — whether their paths lead to performing, teaching or other areas of the profession. While students come to study music, he reminds them that their journeys may take them in unexpected directions. His studio emphasizes both the hard skills of musicianship and pedagogy, and the soft skills of communication, empathy and collaboration — all essential in what he believes is ultimately a people business.

This approach fits with the culture at Stetson, which made history in 1936 by opening Florida’s first collegiate music school. “I knew it had a really good reputation as a music education school,” Witek says. “I wanted to create a trumpet studio that fostered music education at its heart.”

Growing the Studio

Now in his fourth year of running the Trumpet Studio at Stetson, Witek has grown the program to a full-size studio with 16 trumpet majors. The studio’s success stems from its culture of collaboration, high standards, accountability and camaraderie. “We’re all learning the principles of being great educators and great individuals,” Witek says. “I use trumpet as a tool to help people become better people.”

In the trumpet studio, growth has been a self-perpetuating cycle. As the studio’s positive culture develops, the more the program can recruit new students. “Our best recruiters are the students,” Witek says.

For outreach, Witek makes sure that students are visible at trumpet-centered events. His students perform or exhibit at events like the National Trumpet Competition and the International Trumpet Guild Conference. He also takes current students out to high schools to promote the program. In addition, Witek brings in guest artists who not only attract prospective students to attend events at Stetson but also help promote his students and the program as a whole — often returning to their own institutions and professional circles speaking positively about the quality and experiences at Stetson.

Witek offers prospective students the opportunity to come to the studio, take a lesson with him and shadow current students. He pairs potential students with current students so they can experience the studio’s culture firsthand. “Come experience the studio vibe,” he says. “Just feel what it’s like to be part of this culture.”

Dr. Aaron Witek with a group of trumpet students

Peer Feedback

Building a welcoming culture is all about fostering collaboration among peers, both in the classroom and outside of it. “We have a lot of studio parties. We’ll get coffee or ice cream together,” Witek says. “I make sure that my students understand that my goal is to help them be great people. Through that, everything else grows.”

Witek, who was recognized as a 2025 Yamaha “40 Under 40” music educator, believes in the power of peer feedback. When he took this role at Stetson three years ago, it was during the immediate aftermath of COVID lockdowns, which kept students from engaging with one another face-to-face. He noticed that many students lacked an understanding of how to give and receive feedback in a productive way.

So, Witek began incorporating peer feedback into the learning process, along with demonstrations on how good feedback looks. “A huge part of it is teaching how to talk to each other, how to give constructive feedback in a way that isn’t pointing the finger,” he says.

To educate students in the fundamentals of feedback, Witek uses a lot of peer teaching where older students mentor younger ones. “We’ll have a senior go up to the front of the class and play, and then I’ll call on a first-year student and say, ‘Go up there! I want you to work with them,’” he says.

Vulnerability as a Strength

Witek also partnered with the university’s counseling center to better support his students’ well-being. Counselors often encouraged students to slow down, pace themselves and maintain a healthy work-life balance — advice that many music students tended to dismiss. Witek recognized that this guidance needed to be reframed in a way that resonated with the unique pressures of studying music.

He explains that in many music programs, students fear that if they take a break or don’t constantly push themselves, they’ll fall behind while others advance. As a result, they often feel conflicted by the common advice to “slow down, pace yourself and maintain a healthy work-life balance.” Working with the university’s counseling center, Witek developed ways to communicate and practice these concepts in a manner that resonated specifically with music students. Together, they organized an event that allowed students to openly explore and process their emotions as a group.

During the session, students sat in a circle and responded to prompts such as, “What are your greatest worries in music school?” and “How do you feel here?” They wrote their answers on cards and took turns sharing them aloud. “Everyone felt the same things: I don’t belong. It’s only hard for me,” Witek recalls.

Through this shared vulnerability, students began to see that their struggles were not unique — they all experienced the same doubts and fears. This realization helped them feel a deeper sense of belonging within the program.

According to Witek, exercises like these encourage students to be more open and comfortable expressing their emotions, which in turn leads to more genuine and constructive peer feedback. “A lot of these students are away from home for the first time,” he says, “and they may not yet feel comfortable sharing their feelings. These activities help them build that trust.””

Friendly Competition

Witek says that the trumpet studio’s biggest asset is its culture, which fosters collaboration and camaraderie. However, his students, like most music students, aren’t immune to feeling competitive. Instead of trying to eliminate that competitive energy, Witek has his students use it to inspire and motivate one another.

For example, students must regularly compete against each other for solos and ensemble placements. However, Witek and his students see this as yet another opportunity to give each other feedback. “They schedule mock auditions for each other,” Witek says. “Even auditions that they’re taking against each other.”

Witek also keeps the competitive spirit friendly and collaborative by reminding students of the subjective nature of music and the importance of each person specializing within their own strengths.

“You probably wouldn’t have a trumpet player in a ska band win the New York Philharmonic principal trumpet seat,” he says. “Everyone has their strengths. We try to find where their strengths are and developing those skills, but also developing other areas of their playing so when they graduate, they’re well rounded.”

Fostering this type of community starts at the program recruitment stage. When looking for new students to join the program, Witek says that trumpet skill is third on his list of priorities. “The first thing is, who are you as a human, and how well can we work together?” he says. “Second is work ethic. If you’re willing to work hard and you have a great attitude, I can teach you.”

Dr. Aaron Witek lecturing while holding trumpet

High Expectations

When naming qualities that he seeks in his students, Witek often uses the word “accountability.” For him, a student who is accountable treats the opportunity to learn seriously. “I tell my first-year students that the hardest thing about college is showing up,” he says. “It’s amazing how much trouble freshmen have just getting out of bed and going to class.”

Witek sets high standards for his students in terms of professionalism, and that starts with getting dressed in the morning. “I have a rule in my studio: you can’t wear pajamas, sweats or Crocs to your lesson,” he says. “You need to treat this like a job.”

Accountability also includes prioritizing classwork. “We have a lesson sheet just like in elementary school that lists the fundamentals I want you to focus on, exercises, the repertoire,” Witek says. “It can be overwhelming at first, but organized and helpful.”

In return for hard work and professionalism from his students, Witek offers them a safe, family-like community where their musical abilities can flourish. He makes sure students know that if they ever struggle to keep up with their course work, they can come to him for help. “I’m never going to make my students do something they don’t know how to do. If they have trouble, we’ll break down how to set [their] goals … and find what works for that student,” he says.

Though Witek has high expectations, he also considers the trumpet studio to be a family. Witek fosters this family environment in a variety of ways, from bringing his dog into the studio, to teaching his students the importance of vulnerability. “As a family, it’s important for me to be vulnerable,” he says. “As a younger teacher, I wasn’t very good with [that].”

“Dr. Witek has made a powerful impact on the Stetson School of Music through his unconditional commitment to his students,” says Dr. Washington Garcia, Stetson’s Dean of the School of Music. “He has built a studio of remarkable young musicians who embody his high standards and passion for excellence. I have the utmost admiration and respect for Dr. Witek, not only for the exceptional talent he has brought to Stetson, but also for the kind and caring person he is.”

As Witek has progressed in his career, he has learned the importance of owning up to his mistakes; his accountability inspires students to do the same. “I make mistakes. I get stressed. I’ve been in their shoes … I try to be relatable because we’re all human,” he says.

Help Kids Who Want to Quit Before They Become Good

Written by Don Stinson on November 3, 2025. Posted in Teaching Tips.

“I like band, but I always feel behind.” That’s what a student said before handing in her instrument.

She wasn’t upset or angry. She liked the class and the music, but every day, she felt like the only kid in the room who was faking her way through it.

After two years, she still couldn’t play in tune. Still couldn’t read rhythms without guessing. Still couldn’t find her place in the piece without someone whisper-counting it for her.

It wasn’t about effort. She showed up, tried hard and never caused a problem. But music never got easier, and this was exhausting.

She didn’t quit because she didn’t care. She quit because she never felt good at it.

Most Kids Don’t Hate Music. They Hate Feeling Lost.

We love to blame quitting on phones, sports or the mythical lack of grit, but most students leave band because they never got over the hump — that invisible tipping point where the instrument starts to make sense.

They’re not lazy. They’re stuck. And we can’t fix that by telling them to go home and practice.

The real work -— the structured climb toward fluency — must happen during rehearsal. If they never feel successful in front of you, they’re not going to chase it on their own.

I used to think, “If they just practiced more, this would click.” Then, I started looking at the kids who did practice — they were still struggling, just with slightly cleaner mistakes. It wasn’t a time thing. It was a clarity thing.

That’s the lesson for teachers: Some practice is necessary, but not endless hours. Just enough to get kids over that first hump, where the horn stops fighting them and they start to feel competent.

Scales and long tones still aren’t fun, but they stop being meaningless. They become a way to keep that feeling of competence going.

What Does Getting Over the Hump Look Like?

For the student, it’s when:

They can play the scales in the key of the pieces you program (even slowly) without constant stops. For most band groups, this range is from three flats to one sharp.
Their fingers and tongue stop fighting each other.
They can read a rhythm pattern without falling apart two measures in.
They don’t ask, “Is this right?” after every attempt because sometimes, it is right.
They look a little less panicked in rehearsal and occasionally even curious.

Teachers will notice:

The kid who used to fake-play actually makes sound.
They’ll attempt a tricky passage instead of shutting down.
Section leaders aren’t handholding them on every entrance.
Instead of staring blankly, they’re engaged when you rehearse details.

When the above clicks, the student feels fluent enough to fully participate in rehearsal.

What a Fluency-Driven Rehearsal Looks Like

Fluent rehearsals don’t feel “harder.” They feel calmer and more focused. Less survival mode, more forward motion.

A flute player used to stop playing every time she made a mistake. One day, she missed a note, kept going and then raised her hand and said, “Can I do that again?” We all paused. That was her hump. She felt safe enough to try and strong enough to want a redo.

It’s not about playing it right. It’s about not getting left behind.

Here’s what that climb can actually look like.

Weeks 1–2: Finding Sound

Forget the concert. Focus on tone. Daily breathing, long tones, posture checks.

Literally, “How do I make a sound that doesn’t scare the dog?” That’s the first goal. If your beginning clarinets sound like a pterodactyl, build tone exercises into every warm-up until the bad tone is extinct (see what I did there?).

Teach how to practice during class — show them what repetition looks and sounds like. Dr. Elizabeth A.H. Green, author of “Practicing Successfully: A Masterclass in the Musical Art,” puts it simply: “Practicing is an adult activity.” Kids want to run full speed ahead … and the monotonous repetition of practice puts the brakes on this. Any variety you can add is key.

Kids don’t know what “go work on this” actually means. You have to model the methods for them.

Weeks 3–4: Building Control

Add rhythm patterns over long tones. Call-and-response drills: You play, they echo. Begin short excerpts of concert music — just a few bars at a time.

I used to skip this part. I’d go from scales straight into the music and wonder why everything fell apart. Once I started treating rhythm like a language instead of a side skill, things changed.

And yes, sometimes they still clap the wrong beat, but now they know it’s wrong. That’s progress.

Weeks 5–6: Fluency and Connection

Ask questions: “Why are we playing this scale?” Sit in the silence — give them time to discover that this scale is the same key as their piece.

If you have access to SightReading Factory or even literature to sightread, this is the time to begin putting new music in front of students. Start at their grade level or a half grade level down. If they are brand new, keep it short — just two to four bars. A win is a win, and the great thing about music is that we can also keep building up.

By now, students should be starting to feel capable. When they do, discipline gets easier. Both the discipline to work consistently at something, and classroom behavior and engagements.

Connect the Dots (Loudly. Literally.)

Kids don’t automatically understand that your warm-ups are connected to the music. You have to say it out loud, even when it feels silly.

Seriously, be dramatic. “Wait … our warm-up had F-naturals, and so does this piece?! HOLY CATS.”

You’ll get some eye-rolls, a few laughs and a handful of lightbulb faces. Even if 99% of your kids get it, that 1% needed this.

Your job isn’t just to teach them notes. It’s to show them how this stuff connects.

Side note: Sometimes, I’ll stop rehearsal just to say, “This is the same rhythm we just clapped.” And they’ll say, “Ohhhhh.” (Like it wasn’t on the board the whole time.)

A Practical Routine That Builds to the Hump

If you have 45 minutes, here’s one way to structure the climb every day:


TIME	FOCUS	WHAT IT LOOKS LIKE	WHY IT MATTERS
0:00–0:05	Tone & Air	Breathing, long tones, unison chorales	Start with sound. Always.
0:05–0:15	Technique	Scales and flexibility in the concert key	Directly applicable to your piece. Piece is in Bb? Play a Bb scale. Piece is in Db? Pick a different piece. (I’m kidding— kind of).
0:15–0:25	Rhythm & Literacy	Rhythm drills, call-and-response, simple reads	Pulse + clarity = confidence
0:25–0:40	Repertoire	Apply those skills directly to your concert music	“That warm-up scale? That’s measure 47!”
0:40–0:45	Reflection	Quick recap or goal for tomorrow	End with purpose, not frustration

The key here is flow. These aren’t disconnected exercises — they’re steps in one long skill chain. Warm-ups serve the technique. Technique feeds the piece. It all loops back to fluency.

And if something goes off the rails? You adjust. I’ve had days where the “quick recap” turns into a 10-minute group sigh — that’s okay. Sometimes the climb pauses. Just make sure it doesn’t stop.

Use Compound Lifts (Then Back Off and Isolate)

In strength training, a compound lift is an exercise that hits multiple muscles at once. So, you could work out and do some dumbbell flyers and cable crossovers to hit your pectoralis major and minor, and then some front dumbbell raises and seated machine shoulder presses to work the shoulders, overhead dumbbell extensions and skull crushers with an EZ curl bar for your triceps. Then, you could move to the stabilizing and supporting muscles with scapular push-ups, wrist curls, farmer’s carries, planks and Pallof presses.

Or, you could just do a bench press and hit them all.

For the time-strapped teacher, thinking in terms of “compound lifts” can really help you cover multiple concepts at once with one exercise.

Example: The articulation study on page 3 of “Foundations for Superior Performance” is a Swiss army knife.

Use it to work articulation
Layer in tuning (unison or chords)
Add balance layers (pyramid, reverse pyramid, mid-voice lead)
Isolate rhythm (have students chant or clap it first)

Also, just because it says “concert F” doesn’t mean you can’t do it in E-flat or B or C#. You’re in charge.

But isolate when needed. If you’re working rhythm, just focus on rhythm. Don’t correct the note or comment on tone. Let kids focus. (This will be harder for you than them!) Then layer more later.

Show Students What Progress Looks Like

If a student improves, tell them how. Be specific.

“That run was clean because you’ve played that scale every day for two weeks, and your fingers went down at exactly the right time.”

“You clapped that rhythm perfectly. That’s the same one from Tuesday’s warm-up. You used to rush it, but now you are putting the perfect amount of space between the two quarter notes.”

They won’t always see the connection. Your job is to draw the line and say it out loud.

Eventually, they’ll start drawing their own lines. When that happens, class doesn’t feel like a bunch of separate exercises. It feels cohesive.

letter blocks spelling out the word DON'T

A Few Don’ts

Just in case you needed permission …

Don’t just rehearse the ensemble as a whole. Listen to sections and individuals.
Don’t warm up in F, play a piece in Eb and wonder why it didn’t apply.
Don’t assume students know why they’re doing something. Tell them.
Don’t fill time just to say you taught bell-to-bell. Purposeful beats busy.

And finally: Don’t forget to always play. Always sing.

If kids are playing, they’re not talking. If they’re singing, they’re engaged. Keep them moving. (I know you’re now picturing the violinist or percussionist who is talking while playing … just suspend your disbelief for a moment, OK?)

This Is the Tired That Feels Worth It

Teaching this way isn’t easy. It takes planning and energy. You’ll leave the room tired, but it’s a good tired that makes students and teachers proud.

You can’t control their practice time outside of school. You can’t control if they take their instruments home. But you can control your rehearsal time.

Most kids don’t need more motivation. They need to feel like they’re not bad at it. And when they do, they’ll stay.

When You’re the Only Music Teacher in the Building

Written by Don Stinson on November 2, 2025. Posted in Self-Care.

Have you sat in a staff meeting and realized that nobody in the room understands what you do all day? You must be the only music teacher in the building.

Maybe you’re running both band and choir. Maybe you’re directing the musical on top of general music and some other class because “you’re good with kids.” Either way, you’re probably balancing a full load with no back up. Sometimes, you just need someone else to say, “Yeah, this is too much.” Because it is.

I remember walking into a “team” meeting during my first year, only to realize that I wasn’t on a team. Not really. Everyone else taught English, math or history. They had department meetings. Curriculum alignments. Common planning time. I had a never-ending to-do list full of all the stuff I had agreed to do.

You’re Not Supposed to Know How to Do All This

When you’re the lone music teacher, everyone assumes you can do everything. Soundboard broken? You must know how to fix it. Choir needs shirts? You can design them, right? Assembly tomorrow? Can you teach 40 kids the alma mater in four parts by lunch?

At first, it feels good to be needed. I remember thinking, Sure, I can help with that, because it felt like I was being a team player and getting on people’s good side. But there’s a difference between being capable and being a catch-all.

One time, I was asked to help with a pep rally — not the performance part but literally setting up chairs and running the projector. I said yes. Then, the projector didn’t work, and the whole thing became my problem because I was “good with tech.” I’m not. I just know how to wiggle the HDMI cable and switch back and forth between inputs. (Although one time I did insert a flash drive the correct way on the first try. OK — I’ll stop bragging.)

I spent years saying yes to every “quick favor” because I thought that’s what committed teachers did. It took me way too long to realize that I was basically the arts department version of setting myself on fire to keep everyone else warm.

And that fire spread! Eventually, I realized I wasn’t building a program — I was just putting out fires and none of them were mine.

You’re not failing because you can’t do it all. You’re human. You were never meant to teach every discipline of music, run the theater program, troubleshoot the PA and be on standby to sub second period. You were hired to teach music, not to focus solely on the “and-all-other-duties-as-needed” part of your contract.

You Can Be a Department of One Without Being Alone

It’s lonely and weird. Sometimes you just want to ask someone if your warm-ups are applicable to the literature without having to explain what warm-ups are.

I used to keep questions like that to myself. I didn’t want to sound unsure — especially around people who already didn’t understand what I did. One day, I finally cracked and emailed a former classmate who also teaches music. We hadn’t talked in over a year. I literally wrote: “Hey, do your high brass sound like they’re struggling with a lip slur above a third space C?” About 15 minutes later, he responded: “Yep. Sounds like progress.”

That one email turned into a weekly check-in. Nothing formal — just trading audio clips, questions and “should-it-sound-like-this?” texts. It helped a lot.

Sometimes, I would be grading and would send a message like: “I think I just heard a clarinet bite into their reed.” His reply: “That’s the only problem with band being before lunch. Tell them to eat a sandwich instead next time.” That was it. But it made me laugh, and that was enough to make the next class feel more doable.

If your district has other music teachers, reach out. Start a monthly check-in even if it’s just to vent. No agenda, no clipboard. Just a space where you can ask, “Is it normal that I’m building a marching show and directing the musical at the same time?”

Not sure who to reach out to? Email the high school band or choir director across town. You’re not bothering them. Odds are, they want the same thing you do — someone who gets it. Someone who knows the ins and outs of what you do. If you don’t have anyone in town, search online and find someone. There are plenty of authors on the Yamaha education blog or just about any of the Yamaha “40 Under 40” music educators who would be more than willing to answer your questions!

The best conversations I’ve had usually start with: “Hey, quick question…” that turned into a full-blown text thread of shared stress. You don’t need a whole department — you just need one or two people who know what a good rehearsal plan looks like.

man holding up index finger, saying wait

Stop Saying Yes Just Because You’re “the Music Person”

One of the hardest parts of being the only music teacher is how often you’re seen as “the flexible one.” You don’t have a department or standardized tests to administer. So, obviously you can just move your concert, right? Just cover this extra class. Just write a 5th-grade graduation song. Just combine your classes so we can use your room.

No.

Your program deserves the same protection as every other subject. If you have class time scheduled, use it.

I’ve lost count of how many times someone’s asked if I can “just scoot things around” so they can use the space for a guest speaker or testing overflow. It took me years, but now I say: “No, we’ll need to keep our scheduled class time.” Every time I say it, I expect push back. Sometimes I get it, but most of the time, people just say okay and move on.

And if they don’t? That doesn’t mean you were wrong to say no. It just means they were used to you saying yes.

If you already have three after-school events, it’s okay to say your plate is full. If the district decides to cancel music for a week to double up on literacy blocks, it’s okay to say something.

There’s a difference between being “supportive” and being invisible. This stuff only gets more complicated the longer you let it slide. The clearer your boundaries, the less people assume they can mess with your schedule.

Saying no doesn’t make you difficult. It keeps your program from falling apart. And nobody else is going to set those boundaries for you.

You Don’t Have to Do It All — Just the Stuff That Matters

When you’re running everything yourself, you must make cuts. Not because you don’t care, but because you physically can’t do it all.

You don’t need a marching show, three concerts, a pep band, choir festivals, the spring musical, solo and ensemble, a pops concert and a talent show. Especially because you’re also fixing instruments and chasing down field trip forms.

I’ve had years where I tried to do it all. It didn’t end well.

Half of it felt rushed, the kids were burned out, and I didn’t enjoy any of it. The one year I dropped the pops concert and alternated the solo ensemble contest to every other year? Everything got better. The kids still played great. The audience still came. Turns out nobody missed it. Not even a little.

One year, I didn’t conduct the musical. The world didn’t end. Nobody spray-painted “TRAITOR” on my door.

Pick what matters to you and your students and do those things well. Put the rest on a two- or three-year rotation. Or don’t do it at all. That’s not laziness — that’s strategy.

I’ve seen some of the best programs in the nation skip marching band entirely or rotate musicals. I’ve also seen programs that do it all, but they have a full staff, paid assistants and a budget big enough to support all their hopes and dreams!

Your program doesn’t need to look like anyone else’s. It just needs to be something you can sustain and something your students want to come back to.

If anyone’s confused about why you’re not doing “everything,” ask them when they last built four different performance calendars and taught eight preps.

You’re Not the Only One Even If You’re the Only One There

You’re not imagining it — it is harder when you’re the only teacher in the building. There’s no backup when you’re out. No team to bounce ideas off of. No one else who knows what it’s like to troubleshoot a reed emergency five minutes before performance time.

Remember, you don’t have to build your program in isolation. You can decide what to keep and what to cut. You can carve out time for what actually matters and stop apologizing for the rest. You can find your people, even if they’re not in your building. And, you can build something strong without doing it all yourself.

Some weeks, you may still feel like you’re barely holding things together. Remind yourself that the kids keep showing up. The music-making continues. Nobody’s grading you on how many hats you wear — and if they are, they can come wear one of yours for a day and see how it fits.

If no one has said this to you lately: You’re not behind. You’re not doing it wrong. You’re doing something incredibly hard and still showing up. And don’t forget: Even if you’re the only music teacher in your building, you’re not the only one doing this.

Justice Page Middle School band performance

Having Fun = Huge Participation Rate

Written by Amy Marie Orozco on October 31, 2025. Posted in Case Studies.

Zane Kaiser loves his job. “I literally enjoy what I do,” says the Band and Orchestra Director at Justice Page Middle School in the Tangletown neighborhood of South Minneapolis.

Justice Page bills itself as “an inclusive community committed to the success of each learner. We pursue growth, justice and positive change while celebrating our differences, expanding our curiosity, and having fun.”

The outgoing and energetic Kaiser takes the “fun” part very seriously, and, one could say, it is part of his teaching DNA. The numbers show that the fun has rubbed off on the middle schoolers. With a student population of roughly 1,000, around 700 to 750 students were involved in music during the 2024-2025 academic year — a whopping 70% to 75% student participation rate. “It’s a great percentage. We love it,” says Kaiser, whose main instrument is the bassoon.

The percentage is even more impressive because music is not a requirement for graduation. An art credit is required, which could be music, theater or visual arts. Of the 700 to 750 students who are in music by choice, Kaiser teaches about 450 of them in band and orchestra.

“Fifty to 75 students are multi-instrumentalists at our school, meaning they are in band and orchestra, playing different instruments and keeping up the practice/work to do so,” Kaiser explains.

Justice Page Middle School band rehearsing

A Multi-Prong Approach

Kaiser’s enthusiasm and commitment to fun in and out of the classroom are invaluable in the multi-prong approach to recruitment and retention of students in the school’s variety of music programs. He cites the Minneapolis Public Schools‘ 5th grade band and orchestra program, now in its fifth year, as a big reason students are being fed into the middle school program. Others say that Kaiser is the reason students stay in the program. “Everyone is welcome at any level,” Kaiser adds.

COVID-19 put the kibosh on campus visits to recruit students at feeder schools, but visits are starting up again. There isn’t an auditorium or other space large enough for the student body, faculty and staff to gather for a concert. Kaiser’s remedy for that are jazz band or chamber orchestra performances — that are just 15 minutes in length — before the school bell rings.

“It’s important to get students in front of each other. The staff sees them, too, so they don’t mind excusing students for band practice,” says the smiling Kaiser.

“Word of mouth helps a lot. I live in the [school’s] neighborhood, and I see and talk to students as they walk or ride bikes to school. Neighbors see that we’re having fun, and they all spread the word about the music program,” says Kaiser.

Students should feel inspired to be a member of a musical group, Kaiser explains, and see themselves within the curriculum and repertoire because they could have the opportunity to create their own music, work on chamber music in small groups, meet music professionals and perform on campus and at local venues. All of it is fun.

A range of ensembles is offered at Justice Page Middle School. There are four levels of band and three levels of orchestra. The levels are based on ability but often follow grade levels. The large student numbers gave the music department bragging rights with the largest single class of the 2024-25 school year — 74 students in their top Wind Ensemble.

From Band Nerd to Music Educator and Conductor

A self-described “band nerd,” Kaiser fell in love with band in high school. Actually, it was his bad experience with band in middle school that steered his career choice of making a better music learning experience for his middle school students. “It’s been fun and healing,” says Kaiser, who was recognized as a 2025 Yamaha “40 Under 40” educator.

With his art teacher mother and musician dad (who specializes in a contemporary modern sound), Kaiser and his music always had support while growing up in Duluth. He graduated from University of Minnesota, Twin Cities with a Bachelor of Music in Instrumental Music Education with an emphasis on bassoon. He earned a master’s degree from the Longy School of Music of Bard College, where his final project was titled “Creating Community Through Sensory-Friendly Concerts in the Public School Setting.”

Justice Page Middle School orchestra students group photo

Kaiser’s teaching career began eight years ago when he taught at two schools, Justice Page and the then-Field Middle School. Three years later, the Minneapolis Public School District implemented their Comprehensive District Design, resulting in closed schools, merged schools, changed positions and general chaos. Field and Justice Page combined into Justice Page Middle School, and Field became Field Elementary School. Kaiser says he has roots at Justice Page and is committed to seeing what he can do there. “It has taken five years to get to this point,” he notes.

Previously, outside of his work for the school district he participated in The Medalist Concert Band, Minnesota Philharmonic Orchestra and served as technical director of several musicals among other activities. Today he limits himself to conducting Camerate Vivace, a symphonic youth orchestra for students in middle and high school, with the Greater Twin Cities Youth Symphonies. “We perform around five concerts a year both in the community and at our annual Fall/Spring Festivals at Orchestra Hall, home of the Minnesota Orchestra. The Greater Twin Cities Youth Symphonies commitment to equity, inclusion and high musical standards has been inspirational for my own practice along with the strong musical growth of our student musicians,” Kaiser says proudly.

Justice Page Middle School group photo of music students

Community, Fun and High Standards

Even while gardening or tending to his chickens, Kaiser is constantly thinking about his job and his students. Along with the requisite dollop of fun, the foodie and wine enthusiast wants to give students a more diverse set of offerings in the future, such as mariachi and jazz band.

Kaiser is of the philosophy that students learn the most when they feel that they are part of something. They are better in an ensemble because they are all there, a sum of the parts.

“I believe in community, fun and high standards for my kids. Plus, a goal-oriented approach. Slowly and surely, it’s happening at Justice Page,” he says. “Old school band orchestra … I’m not against it … I stand in front of them with a baton every day, but it’s time for a new approach.”

Inclusivity is one of his music program’s greatest strengths. “We have a little bit of everyone — athletes, artists, multi-lingual students, differently abled and culturally diverse kids — with a long performance background. We’re together. It’s always positive,” he says.

As Kaiser looks ahead to what he would like to accomplish, he always seeks ways to include more students in music programs while also expanding their world view through band and orchestra. “Music education can be a beautifully flexible and diverse field; all we need to do as teachers is to bring as many opportunities to our students as possible,” he sums up.

And don’t forget the fun.

A lit up jack-o-lantern with a spooky, foggy forest scene in background.

Seven Halloween Songs Designed to Send Shivers Down Your Spine

Written by Yamaha Corporation of America on October 31, 2025. Posted in Music and Streaming.

It’s time for the apparitions to make their annual appearance! If you’re looking to put a spooky soundtrack to the ghostly comings and goings, here are our recommendations … as well as the stories behind some iconic Halloween songs.

I Put A Spell On You

Screamin’ Jay Hawkins (can you think of a better name for an artist on this list?) may have written this as a simple love song back in 1956, but the ensuing recording session transformed it into something very different. “The producer got everybody drunk,” Hawkins later recalled, “and we came out with this weird version … I found out I could do more destroying a song and screaming it to death.” Even the classy 1965 Nina Simone cover version couldn’t completely remove the sinister overtones. Listen to the original here and the Nina Simone version here.

Monster Mash

This half-sung, half-spoken 1962 graveyard smash by Bobby “Boris” Pickett rocketed (or flew on a broomstick) to the top of the charts just before Halloween that year. Pickett was an aspiring actor with a knack for impersonations who sang with a band called the Cordials. During a performance one night, he did the monologue to the song “Little Darlin’” in the style of horror movie actor Boris Karloff. The audience loved it, and a career was born. Listen to it here.

Season of the Witch

This Donovan song is not so much eerie as it is ethereal, but it’s been used/overused so much in horror movies and suspense TV shows that it deserves a place of honor here. The original 1966 recording features haunting guitar work courtesy of Jimmy Page, then a London session guitarist who was still several years away from finding fame and fortune with Led Zeppelin. Listen to it here.

Black Magic Woman

Most Americans are familiar with the 1970 Santana version of this spooky song, but Brits of a certain age remember it as a ’60s hit single by Fleetwood Mac … years before Stevie Nicks and Lindsey Buckingham joined the group. Listen to the original here, and the Santana version here.

Scary Monsters (And Super Creeps)

No listing of super-creepy recordings would be complete without the title track from David Bowie’s 1980 album. Featuring nails-on-a-chalkboard atonal guitar from King Crimson’s Robert Fripp, the lyrics (sung by Bowie in an exaggerated Cockney accent and effected heavily) describe a woman’s descent into madness. Listen to it here.

Thriller

This short film by Michael Jackson not only revolutionized music video back in 1982 but also spawned a hit single, complete with howling werewolves and an unnerving voice-over (accentuated with a burst of ghoulish laughter) from horror movie mainstay Vincent Price. Watch and listen to it here.

Ghostbusters

The theme to the 1984 film of the same name, this was not without its controversy. Songwriter/performer Ray Parker Jr. was later sued by Huey Lewis (he of The News) for plagiarizing his song “I Want a New Drug.” While the subject matter is quite different, there is undoubtedly a distinct resemblance! Watch and listen to it here.

The Sounds of Halloween

Written by Yamaha Corporation of America on October 30, 2025. Posted in Digital Pianos.

The ghosts and goblins will soon be coming out to play, delighting and frightening young and old alike. Whether you’re planning a big Halloween bash or just want to set the mood for the trick-or-treaters at your door, the right kind of music can always add some extra scream potential.

At the Yamaha Downloadables website, you’ll find all the ingredients for creating a scary soundtrack, including Halloween-themed MIDI songs, PianoSoft software and sheet music — everything you need to turn your keyboard into a haunted piano. And if you’re a Yamaha Disklavier user, there’s definitely no better time of year to enjoy the chilling “ghost player” effect of your instrument’s moving keys!

Here are some of the hobgoblin-y highlights:

Two PianoSoft albums that can turn even the most unassuming domicile into a foreboding haunted house: Boo – Halloween Favorites and A Haunted Halloween.
A great selection of Halloween sheet music. If you’re going to learn how to play the Tocatta and Fugue in D Minor by the 31st, you probably need to get started now!
With Disklavier Radio, you can stream Halloween music directly to your Disklavier — no need to change CDs or fiddle with your music player. And, as a bonus, the instrument will appear to be playing itself!
CVP and CSP Clavinova owners can enjoy an extra dose of ghoulish fun by downloading Kooky Karoake MIDI files such as Monster Mash, which, as demonstrated in the video below, automatically adds Boris Karloff-like effects to your accompanying vocals.

So stock up on the treats (a must if you want to avoid tricks), set out that jack-o-lantern and have yourself a super-spooky time!

For more information, visit the Yamaha Downloadables website.

Young woman with scary face creeping through the mud with fog and darkness behind her.

Scary in Surround Sound

Written by Joy Frye on October 29, 2025. Posted in TV & Movies. 1 Comment on Scary in Surround Sound

It took less than 20 years for cell phones to become an integral part of our lives. Home theater enthusiasts could say the same thing about surround sound.

The first movie to incorporate surround sound was Disney’s Fantasia in 1941. Audiences in theaters all around the world were mesmerized as the “Flight of the Bumblebee” buzzed all around them. In the 1990s, Dolby brought that experience to the home with Dolby Digital 5.1-channel surround sound. Since then, many of us have become so used to surround sound that watching movies and shows with the sound just coming from TV speakers leaves us flat.

Horror movies and TV shows in particular rely on audio to create the haunting, immersive scenes that fans both dread and crave. If you don’t think surround sound multiplies the fear factor, try listening to these eight gems of the genre in standard two-channel sound and then compare it to experiencing them in surround sound.

1. We Can Get Crazy – Us (2019)

This scene from director / screenwriter Jordan Peele’s second outing is no ordinary “get off my lawn” moment. When dad Gabe Wilson grabs a baseball bat and goes out to his driveway to defend his family from mysterious doppelgängers, you just want to scream, “Get out!” Check it out here.

2. Diner Scene – Brightburn (2019)

In this take on the Superman legend, Brandon Breyer is an alien boy who crash-landed on Earth and was raised by adoptive parents … but is decidedly not using his superpowers for the good of humanity. In this scene, he’s taking sadistic revenge on a local waitress. Just because a scene features the usual ploys — from flickering lights to a gruesome injury to a poorly chosen hiding place — doesn’t mean it’s not effective. Check it out here.

3. Samara Comes to You – The Ring (2002)

Remember the days of video rental stores and “Be kind, rewind?” The video tape in this movie is not very forgiving. Everyone who watches it receives a phone call telling them that they only have one week to live. In this scene, time runs out for one of the characters trying to figure out how to beat the curse. Check it out here.

4. Jangly Man Trailer – Scary Stories to Tell in the Dark (2019)

This trailer features a never-before-seen monster that is a combination of several stories from the controversial children’s book series. Although this movie also features standard horror movie elements, they’re standard for a reason: they work. The end result is that you root for the group of resourceful misfit teens who open the wrong book. Check it out here.

5. Final Trailer – Doctor Sleep (2019)

In this much-anticipated sequel to the 1980 classic The Shining, Ewan Macgregor plays Dan Torrance, the boy from the original movie, now all grown up and seemingly recovered from that harrowing year at the Overlook Hotel. His fragile peace is shattered when he meets Abra and is irresistibly drawn back into a life-and-death struggle over the Shining. Check it out here.

6. Peter Breaks His Nose – Hereditary (2018)

Toni Collette’s remarkable performance sets the tone for this movie about a woman grieving over the loss of her mentally disturbed mother and the ensuing events that befall her family. Her teenaged son Peter experiences the chilling effect of the family’s emotional inheritance in this extraordinary classroom scene. Check it out here.

7. The Rains of Castamere (The Red Wedding) – Game of Thrones: Season 3, Episode 9 (2013)

There were many plot twists and turns, and numerous favorite characters met their untimely ends during Game of Thrones’ eight groundbreaking seasons. This scene is one of the most jaw‑dropping. When a wedding guest is wearing chain mail under his clothes, it’s never a good thing. Check it out here.

8. Dustin and Suzie Sing the NeverEnding Story Song – Stranger Things: Season 3, Episode 8 (2019)

What’s more terrifying than being forced to sing a sappy love song to your Suzie-Poo in front of all your friends while you’re trying to save the world? Enjoy a lighthearted moment from this usually serious show. Check it out here.

If you’re there for the scare, surround sound is a must. So fire up your 5.1-channel home theater system and treat yourself to a frightening movie night!

For more scary clips, click here.

Want to set up a wireless 5.1-channel home theater? Learn how here.

10 Spooky Guitar Sounds

Written by Mike Levine on October 28, 2025. Posted in Electric Guitars.

It’s that time of the year again, when ghosts, vampires and witches abound. If you want to get into the spirit of Halloween, here are 10 ways you can make your electric guitar sound scary.

My tools for creating these spooky sounds were a Yamaha THR30II WL Wireless desktop amplifier, a Line 6 Helix LT effects pedal, the Line 6 Helix Native plug-in, the Steinberg roomworksSE plug-in, and/or some combination thereof. All the audio clips were recorded into Steinberg Cubase, with all the guitar parts tracked direct. (The line outputs of the THR30II and the Helix LT were connected to the inputs on my audio interface.)

Note that you can freely transfer any sounds you create in the Helix Native plug-in to and from Helix LT or other Helix pedals. They all offer the same effects and architecture, so you can consider them interchangeable.

1. Monstrous Chords

This sound utilizes a high-gain setting from the THR30II for distortion, along with the amp’s built-in Chorus and Echo/Rev effects. Reverb is almost always helpful in creating a spooky sound, but because I wanted one with an even longer decay than what was available on the amp, I inserted Cubase’s roomworksSE plug-in. If you’re just using the amp alone, you can still get a close approximation with the settings shown below.

With this sound, it helps to play a part with some dissonant notes if you want it to sound really spooky. The audio clip below has me playing some power chords (root and fifth only, with no third) under which I’m adding pulsing bass notes on the (mostly open) low E string. There are also a couple of half-step chord changes, which add to the scary vibe. Near the end, I hit a harmonic and let it ring out. As it did, I moved the whammy bar on my guitar slightly to make the pitch warble.

View of front panel. — *Monstrous Chords THR30II amp setting.*

2. Shakey Ghosts

Like the previous example, this sound features the THR30II with a similar high-gain setting, only this time using the amp’s built-in tremolo to provide pulsing modulation. Ambience comes from the amp’s Hall reverb and roomworksSE. The decay on roomworksSE is over 11 seconds, which is much longer than you’d use for conventional music production but works here to create the cavernous space needed.

View of controls. — *Shaky Ghosts roomworksSE setting.*

3. Mutant Spaceship Landing

All the effects and the amp sound for this one came from the Helix LT pedal. The setting combines a slightly crunchy amp sound with a bit of added distortion. The pulsating sound comes from a unique Line 6 delay called Bubble Echo, which creates a sample-and-hold effect similar to what you’d get on a synth. I also included some Harmonic Tremolo. The playing technique consists of slowly scraping a pick down the low E string from the top of the neck all the way to the nut. It’s fun and easy … plus you don’t need to have any guitar chops to play this one.

4. Alien Flux

I used the Helix Native plug-in to create this outer-worldly effect. Settings include US Double Nrm amp and 2×12 cab, along with Adriatic Swell, a swelling delay. The most critical effect in the signal chain is the Helix Mutant Filter, which provides the moving filter sound that’s key to the ethereal vibe.

The audio clip demonstrating this sound has me playing simple two-note chords in fourths that slide up the neck. At the end, notice how each beat’s volume goes up and down. That was done by putting the Cubase track into automation write mode and manually moving the channel fader up and down.

Screenshots. — *The Helix Native setting and the volume automation used for Alien Flux.*

5. Haunted Rings

A ring modulator is always a good choice for creating strange sounds. This particular example was created inside Cubase with four Steinberg effects plug-ins.

The effects chain starts with the Amp Simulator plug-in on a clean setting. Next is the Ring Modulator, which adds a buzzy resonance. Then roomworksSE provides a large reverb ambience with a decay time of close to 11 seconds. Finally, the Mono Delay plug-in adds motion to the sound: I set it to a short 50 ms delay time with the Feedback and Mix knobs at or near 50 percent. In the audio clip, I’m playing a three-note arpeggiated pattern with an augmented fifth interval to create dissonance.

View of control panels with corresponding soundwaves on screenshots. — *The four Cubase plug-ins used to create Haunted Rings.*

6. In the Depths

This sound was also created exclusively with Cubase plug-ins. The sustain is created with copious gain in VST Amp Rack’s Plexi model, exaggerated with a Fuzz box from the plug-in’s Post Effects. In the Pre-Effects, an Octaver adds a lower octave to the sound. Finally, there’s some reverb from the REVerence convolution reverb plug-in with the English Chapel preset.

The audio clip below consists of a power chord that sustains throughout the entire duration. The pitch variations resulted from my lightly moving the guitar’s whammy bar.

View of settings. — *The sustain for In the Depths was created in the VST Amp Rack using gain and fuzz.*

7. Demented Bells

This sound uses the THR30II exclusively. The amp is set to Hi-Gain/Classic, and has both the Flanger effect and Echo/Rev at their highest settings.

This example incorporates harmonics played on the guitar to create a bell-like sound. Because the intervals between the harmonics available in standard tuning at the fifth, seventh and twelfth frets are major, I tuned several strings down a half step, including the high E, D and low E. The idea was to create more dissonant-sounding intervals.

View of control panel. — *Demented Bells THR30II amp setting.*

8. Vampire Waking

For this example, the note choice — mainly from the diminished scale — was even more important than the sound for creating an ominous vibe. Sonically, I used the Helix Native plug-in with the Brit Plexi Jump amp and cabinet with Fuzz Pi, adding to the distortion.

The most critical effect in achieving the sound is the Glitch Delay in Helix Native, which divides each delay repeat into slices (in this case, four) and changes their order. The result is a short delay with many repeating taps that are rhythmically random.

9. Ghostly Slide

The Theremin is an electronic instrument often used to create ghostly sounds in horror movies. Here, I’m using a guitar slide to help create a pseudo-Theremin effect.

The amp sound comes from the VST Amp Rack plug-in with the Plexi model selected. I used Overdrive in the Pre-Effects section, and Fuzz and Compressor in the Post-Effects section, with the idea being to get as much gain as possible. To add more stereo width, I inserted Steinberg’s Ping Pong Delay plug-in at the end of the effects chain, set to a very short delay time.

The part you’ll hear in the audio clip below was played on the G, B and high E strings up high, with very heavy finger vibrato.

View of amp controls. — *Fuzz and compression was used to add lots of gain to Ghostly Slide.*

10. Diminished Returns

Here’s another example that only uses THR30II effects. It features a high-gain setting with the Tremolo and Hall reverb effects maxed out. In the audio clip, I’m playing fast arpeggiated notes from a diminished chord, slid up four frets after each three-note phrase. Then at the end, it just sustains and lets the THR tremolo effect provide the motion.

Amp controls. — *Diminished Returns THR30II amp settings.*

Man sitting in the dark staring at a computer screen.

Scary Video Games

Written by Jake Uitti on October 27, 2025. Posted in Gaming. 1 Comment on Scary Video Games

People often enjoy feeling frightened around Halloween. Each year, many of us dive into movies and media that make the hair on the backs of our necks stand up. Whether it’s revisiting a favorite horror flick or immersing yourself in a scary video game, being shocked and surprised by ghouls and ghosts has become a favorite pastime, especially around the end of October.

In this article, we’ll investigate eight of the most blood-curdling video games, all of which are made even more impactful when played through a dedicated gaming mixer like the latest Yamaha ZG Series mixers.

1. BLOODBORNE (2015)

Nothing is quite as scary as the dark, and this game is intentionally dimly lit. Here, the main character, known as the Hunter, traverses a Gothic, Victorian-era-inspired town where those still living are afflicted with a blood-borne disease. The Hunter must discover the source of the illness by deciphering the region’s quandaries and beating back the sickened beasts. To do so, he utilizes weapons like a massive axe, swords, guns and more. And all the sounds you hear as you play are the heavy breathing of your enemy, random rattling chains and the steps you take in darkened staircases. Preview it here.

2. SLENDER: THE EIGHT PAGES (2012)

Do you know the Slender Man? He’s a fictional tall, lanky villain with a white visage, black clothes and no facial features, and he’s on your trail in this title. So watch out! Set in a dense forest at midnight, players must search to find eight pages of notes from various spots in the woods. The problem is, you’re being chased, and visibility is low. In fact, you can hardly see a thing — just a limited circle of light from a flashlight keeps you from total darkness … and your batteries may run out! If you manage to collect all the pages, daylight will come. But if not, you’ll just be another victim of the Slender Man. Preview it here.

3. RESIDENT EVIL 7: BIOHAZARD (2017)

Supremely life-like, this title may have you thinking you’re actually in the game. Your mission, as protagonist Ethan Winters, is to find your long-missing wife as you wander a plantation otherwise left for dead. Literally. What’s more, you’re being hunted by a diseased family trying to take you down. A telephone rings and you get your cryptic directions for your next move. Everything is a mystery as you try and figure out where you are, what you’re doing and ultimately how to escape. Survival is the name of the game — in other words, it’s classic Resident Evil. Preview it here.

4. SILENT HILL 2 (2001)

This title is both creepy and eerie. Protagonist James Sunderland ventures into the town of Silent Hill, Maine, after receiving a letter from his deceased wife who tells him she’s waiting for him there (despite having died from illness three years prior). There’s only the sounds of your footsteps to keep you company and monsters around every corner … and on the rare occasions you’re alone, the fear of an attacker looms large. Along the way, you’ll encounter other humans: A teenage runaway, a precocious eight-year-old and a woman who strangely looks just like James’ wife. Prepare yourself for cold shivers and lots of adrenaline rush. Preview it here.

5. AMNESIA: THE DARK DESCENT (2010)

Your name is Daniel. You’re in a darkened castle with no memory of how you got there. And all you care about now is maintaining your wits and sanity. But this is no easy task, as you must traverse the castle and figure out puzzles to aid in your escape. Stay in the shadows too long and your mind goes mad, with hallucinations that decrease your chances at fending off attacking monsters. Find the light, restore your mind. The catch? Daniel cannot fight against foes. He can only flee. Scary side note: This title features an actual “afraid of darkness” meter, which says a lot. Preview it here.

6. OUTLAST (2013)

The sky is fire; the air, ash. And you, Miles Upshur, are investigating an old, decrepit psychiatric hospital located in rural Colorado. Miles is a freelance journalist and he’s on the job, digging into a tip he got about experiments being done on people in the asylum. But perhaps he wouldn’t have taken the gig had he known the hospital was populated by homicidal patients! Corpses line the hallways; danger lurks around every corner. He even has to outwit a crazy priest along the way — is nothing sacred? But Miles has weapons he can fight back with, right? Nope! He can only hide or try to sneak past them, staying in the shadows. Preview it here.

7. INSIDE (2016)

Guard dogs bark. A boy slides down a bumpy hill. Masked guards wave their flashlights. The surroundings are dark, grey, hopeless. The only way through is to solve scary puzzles. For example, parasitic worms cause farm pigs to run wild. The protagonist, called the “intelligent boy,” can use them to help in his escape. But where the boy finds himself next is a zombie-filled city. Gulp. His trump card? The boy can use a convenient mind control helmet to get the greying bodies to assist in the escape. But watch out for “the Huddle,” which is a blob made of human limbs that may be controlling your brain! Preview it here.

8. ALIEN: ISOLATION (2014)

Based on the Alien film series (so you know it’s going to be unnerving!), this title casts you as Amanda Ripley, daughter of the movie’s heroine Ellen Ripley, as she searches for the reasons behind her mother’s mysterious disappearance aboard a shiver-inducing space station. An alien creature is running rampant, causing carnage, and Amanda must find a way out. She also must find a flamethrower to thwart various enemies, from hostile humans to robots, along the way. And the whole time Amanda is chased by the alien, she cannot defeat it, only circumvent or evade the creature. You can use tools to track the alien, but that might mean — ugh! — giving away your location. Preview it here.

What is Three440?

Written by Kenneth Westling on October 24, 2025. Posted in Stories, Three440.

Yamaha Three440™ honors what it means to live as a musician, capturing artists through thoughtful storytelling about specific moments in their journeys.

Yamaha Artist Relations Group (YARG) launched this digital storytelling platform in January 2025, focusing on the space just beyond the spotlight to capture both the work and wonder that brought them there. The stories amplify the core belief that being a musician is remarkable in itself, while sharing deeply personal insights to inspire others beyond songs.

Three440’s roots go back to All Access, YARG’s celebrated print magazine that was published between 2000 to 2017. Known for its striking photography and in-depth features, All Access redefined what artist coverage could be. Readers gained rich perspectives into the artistry behind the world of music, and the publication set industry standards for authenticity and respect. When digital media consumption habits shifted, the YARG team reimagined how to evolve its legacy of storytelling excellence to resonate more powerfully through modern approaches and delivery. After years of development, Three440 emerged.

The name itself draws from Yamaha’s heritage. The “three” recalls the three tuning forks in the company’s iconic logo, which symbolize the company’s balance between melody, harmony and rhythm. The “440” references A440, the universal concert pitch that keeps instruments and musicians in tune, all together.

Three440 represents that balance, connection and resonance as a digital storytelling platform featuring incisive video production and expanded feature storytelling. Discover it through the kinetic joy of marimba player and avid cyclist Rebekah Ko, the pure gratitude of keys man Brother Paul Brown finding his home in music as a youth in a homeless school, acclaimed pianist Lara Downes’ innovations to grow the classical music audience, and more.

Explore all the artists featured on Three440.

Woman clutching a pillow with a scared expression.

The 20 Scariest TV Shows Since the Year 2000

Written by Rich Tozzoli on October 24, 2025. Posted in TV & Movies.

Just in time for Halloween, here’s a collection of 21st century TV shows that will light up your home theater in spooky shades of orange and red. You might want to keep the doors locked while watching these!

1. AMERICAN HORROR STORY (2011-PRESENT)

This continuing American horror anthology on the FX Channel consists of a dozen seasons (and counting), each of which follow different sets of characters in various fictional universes and locations. Actress Jessica Lange, in her first regular role on television, won two Emmy Awards^® and a Golden Globe^® for her performances. The first series, “Murder House,” was the most-viewed new cable show of 2011.

2. SUPERNATURAL (2005-2020)

An American dark fantasy drama on The WB, Supernatural starred Jared Padalecki and Jensen Ackles as two brothers who hunt monsters, ghosts, demons and supernatural beings. To add to the spooky atmosphere, many episodes during the 15-year run were filmed in an old abandoned military base in Vancouver, British Columbia.

3. THE WALKING DEAD (2010-2022)

A post-apocalyptic horror drama based on a comic book series of the same title, this long-running series (177 episodes!) featured a large ensemble cast as survivors of a zombie apocalypse.

4. STRANGER THINGS (2016-2023)

This Netflix hit is set in the 1980s in the fictional small town of Hawkins, Indiana, where the residents face the horrors coming from an alternate dimension known as The Upside Down. A group of nerdy friends eventually discover that the phenomenon is caused by a government facility that secretly experiments with supernatural and paranormal energy. (Check out the top 10 scenes here.)

5. THE VAMPIRE DIARIES (2009-2017)

Based on the book series of the same name, this supernatural drama focuses on teenager Elena Gilbert, who, after losing her parents in a car crash, falls in love with a 161-year old vampire. We soon learn that Elena’s neighbors appear to spend all their time guarding the town from witches, werewolves, hybrid creatures and ghosts.

6. SLASHER (2016-PRESENT)

Created by Aaron Martin, this horror anthology premiered on Chiller but was later acquired by Netflix. Featuring an ensemble cast along with recurring guests, each series presents a masked killer with no known motive for murdering his (or her) victims.

7. THE HAUNTING OF BLY MANOR (2020)

Ready for an eerie gothic romance drama? This Netflix series is based on an adaptation of the 1898 horror novella The Turn Of The Screw by Henry James. Its nonlinear narrative takes place in a haunted country manor in the United Kingdom, where a young American nanny cares for two children while dealing with the apparitions that reside in the home.

8. ATTACK ON THE TITAN (2009 -2021)

This highly successful anime TV series was set in a world where the residents live in cities surrounded by three giant walls that protect them from man-eating humanoids. These fearsome creatures, called Titans, are hunted by the central character, Eren Yeager, who has the astonishing power to turn himself into one of them.

9. YELLOWJACKETS (2021-PRESENT)

Part survival epic, part psychological horror and part coming-of-age drama, this Showtime production follows a talented girls high school soccer team whose plane crashes in the wilderness of Canada on the way to a tournament. As they fight to stay alive, they even have to turn to cannibalism at one point! The series has received seven Primetime Emmy Award nominations.

10. INTERVIEW WITH THE VAMPIRE (2022)

Based on the Anne Rice novel of the same name, along with other elements of her Vampire Chronicles, this AMC series is set in early 1900 New Orleans and depicts the horrifying nocturnal excursions of affluent vampire Louis de Pointe du Lac (Jacob Anderson) as he seeks new victims.

11. THE LAST OF US (2023)

This post-apocalyptic drama is based on the 2013 video game of the same name. It stars Pedro Pascal as a smuggler escorting teen Bella Ramsey across the country. The show is set 20 years into a pandemic where a mass fungal infection has transformed its hosts into zombie-like creatures. HBO recently announced a second series, though no release date has yet been set.

12. THE TERROR (2018-2019)

The first of this two-part series opens with two Royal Navy ships in the Canadian Arctic Archipelago seeking the existence of a fabled Northwest Passage. The ships become trapped in the ice floes, and the uncertain weather conditions compound the unknown menace that stalks the crewmembers. The second season takes place during World War II, where another creature terrorizes a Japanese-American community in the internment camps of Southern California.

13. SCREAM QUEENS (2015-2017)

This satirical black comedy/slasher series (!) featured an all-star cast that included Jamie Lee Curtis, Emma Roberts, Lea Michele, Glen Powell and Skyler Samuels. The first series centers around a fictional sorority, where a 20-year-old murder mystery has a serial killer reemerge, dressed as a Red Devil mascot. In the second season, new serial killers ply their grisly trade in a nearby hospital.

14. THE OUTSIDER (2018)

This critically acclaimed psychological thriller was based on the novel of the same name by bestselling author Stephen King. It stars Ben Mendelsohn as Ralph Anderson, a detective and a struggling alcoholic who is investigating the murder of a young boy while coping with the loss of his own son. Classic Stephen King!

15. EVIL (2019-2022)

Starting on CBS before moving to Paramount, this series centers around Dr. Kristen Bouchard, a somewhat skeptical forensic psychologist in New York who allies with a Catholic seminarian and a technology contractor to investigate supernatural incidents.

16. THE WATCHER (2022-PRESENT)

This Netflix mystery thriller stars Naomi Watts and Bobby Cannavale as a married couple who buy their dream home in a suburban neighborhood … but soon after moving in, they find themselves stalked by someone who signs letters to them as “The Watcher.” Spooky events follow, such as empty rooms that play music and doorbells that ring with nobody there.

17. CASTLEVANIA (2017-2021)

This adult animated action series was based on the Japanese video game of the same name. It centers around a vampire named Vlad Dracula Tepes, whose wife is buried at the stake after a false accusation of witchcraft. Vlad summons demons to kill the people of the town where it happened, but a monster-hunting savior, aided by a team of helpers, takes the vampire on.

18. BATES MOTEL (2013-2017)

This psychological horror drama series was meant to serve as a prequel to Alfred Hitchcock’s 1960 film Psycho. It explores the twisted relationship between creepy Norman Bates and his even creepier mother, but takes place in a modern-day setting. The show won three People’s Choice Awards, for Favorite Cable TV Drama and Favorite Cable TV Actress (Vera Farmiga) and Actor (Freddie Highmore).

19. THE STRAIN (2014-2017)

In this eerie series, the head of CDC’s fictional Canary Project, Dr. Ephraim Goodweather, has been tasked with investigating an airplane that lands in New York City with all passengers dead. He and his fellow scientists discover an ancient strain of vampirism in a viral outbreak, which begins to spread. War is soon waged to save humanity!

20. THE CHANGELING (2023)

This recently premiered Apple TV^® horror fantasy is based on the novel of the same name. It presents the story of a man in search of his missing wife and abducted son in an alternate New York City. The answers he seeks force him to enter a magical world where mysteries await.

Check out the 20 scariest movies since the year 2000.

Jack-o-lantern with scary face lit from within.

The 20 Scariest Movies Since the Year 2000

Written by Rich Tozzoli on October 23, 2025. Posted in TV & Movies.

What’s better than a chilly October evening with a blanket, candy corn, apple cider and a bag of tasty Halloween treats? A scary movie, that’s what. This collection of bloodcurdling 21st century movies are guaranteed to keep you on the edge of your seat. What can be more fun than that?

1. Halloween (2018)

Let’s start with this epic slasher film — a sequel to the 1978 original (and the 11th in the series), with Jamie Lee Curtis and Nick Castle reprised in their original roles. Once you see that creepy mask that takes you back in time, the fear starts to grow as you realize Curtis is the sole survivor from the original killing spree. You won’t sleep well after this one!

2. Get Out (2017)

This underground horror classic takes a little time for the plot to develop as the shocking secrets unfold one by one. Both the American Film Institute and the National Board of Review rated it one of the top 10 films of 2017, plus it was nominated for Academy Awards^® for Best Picture, Best Director and Best Actor, with director Jordan Peele taking home a Best Original Screenplay Award.

3. Fantasy Island (2020)

From the producer of Halloween and Get Out comes this adaptation of the classic 1977 television series. It follows a group of people on the infamous island who quickly realize that their fantasies have turned into nightmares of sheer survival, complete with zombified surgeons, drug cartels, grenade explosions and plane shoot-downs. Mostly filmed in Fiji, this creeper will make you think twice about going to an island for your next vacation.

4. A Quiet Place (2018)

Most of the Earth’s population has been wiped out by extraterrestrial creatures who are blind, have hypersensitive hearing and communicate through clicking noises. That’s the premise of this post-apocalyptic flick starring Emily Blunt and John Krasinki, who also directed … and it will have the hairs on the back of your neck standing up from start to finish. During filming, the crew avoided making noise so the real sounds recorded on the set could be highly amplified in post production. Be careful what you listen for!

5. The Conjuring (2013)

The first in the Conjuring Universe franchise, this film follows the life of authors / paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), whose work inspired the Amityville Horror series of flicks. Check out the cool score and soundtrack album from composer Joseph Bishara, who also wrote the music to Insidious.

6. Saw (2004)

Okay, there has to be one splatter film in this collection. Directed by James Wan, the first installment in the Saw series centers around a gruesome “Jigsaw Killer” who forces his victims to play evil games in order to survive. For a movie made in 18 days with only one set build (a bathroom), it did spectacularly well, grossing over $1.2 million dollars and becoming a cult classic. (A word of caution: The opening scene sets the tone in the worst of ways.)

7. Shutter Island (2010)

When you combine Martin Scorsese’s brilliance with a cast that includes Leonardo DiCaprio, Ben Kingsley and Mark Ruffalo, you know you’re off to a great start, whatever the genre. This neo-noir psychological thriller centers around the investigation of a missing patient at a psychiatric facility on Shutter Island in Boston Harbor. The spooky soundtrack features modern classical music from Mahler, John Cage, Ingram Marshall and Max Richter.

8. Candy Corn (2019)

This horror film takes place on Halloween weekend (what else?) and involves small-town bullies picking on a local kid. When they rough him up outside his traveling carnival trailer, things go way too far. However, with the help of some carnival friends, he rises up in the afterlife to seek revenge. Check out the freaks on the loose in this one.

9. It (2017)

Also called It: Chapter One, this supernatural fantasy is based on Stephen King’s 1986 novel of the same name. Hey, any time there are seven kids involved, all living in a small town in Maine, it makes for a good horror plot. There’s plenty of fear and survival to go around as well as stunning visual effects, plus a fabulous score from composer Benjamin Walfisch.

10. Coraline (2009)

This stop-motion animated fantasy features the voice talents of Dakota Fanning, Jennifer Saunders and Teri Hatcher, complemented with a great score by composer Bruno Coulais. The main character, Coraline, discovers an alternate world in a secret door in her house but soon finds out there are dark secrets within. The “Other Mother” scene is particularly disturbing, with screeching doors in the dark, chocolate bugs and a mind-numbingly scary Mom.

11. The Invisible Man (2020)

Architect Cecilia Kass (Elisabeth Moss) believes she is being stalked by her wealthy ex-boyfriend. However, since he apparently committed suicide, she’s convinced that he has somehow become invisible. Things take a turn for the worse in the psychiatric hospital where she is remanded and, well, let’s say the creep factor increases with each scene. Inspired by the classic novel written by H.G. Wells.

12. Haunt (2019)

This may be a slasher flick, but it’s one with a few twists and turns. Set on Halloween night, it follows a group of friends who go into a haunted house and get separated, only to encounter a series of ghoulish events that will make your stomach turn. The undulating child-like bells that accompany many of the gruesome goings-on won’t do anything to make you feel better!

13. The Witch (2015)

Subtitled A New England Folktale, this supernatural horror film is set in the 1630s, when the rules of society were not the same as they are now. It follows a Puritan family who have been banished from their colony, with evil things taking place in the woods outside their farm. A witch steals the family’s baby and uses it to create a dark ointment, setting the tone for a scary adventure … and the soundtrack is filled with creepy vocal choirs that make the whole thing even more chilling.

14. Terrifier (2016)

This slasher clown horror film is no laughing matter. Here, an insane clown terrifies a group of three women on Halloween night. There are lots of sharpened tools and deeply uncomfortable moments, augmented by a dark soundtrack from composer Paul Wiley. Art the Clown, who also appeared in the 2013 film All Hallows Eve, stars.

15. Hereditary (2018)

Written and directed by Ari Aster and featuring music by Colin Stetson, this deeply unsettling film follows a family of four through trauma, grief and an uncomfortable family dynamic that turns into a full-blown nightmare. Guaranteed to keep you up all night!

16. Us (2019)

This horror film from director Jordan Peele stars Lupita Nyong’o. When her character wanders into a funhouse off the Santa Cruz Beach boardwalk, she’s exposed to a doppelganger of herself. Later in life, her family is exposed to a gang of doppelgangers and the nightmare unfolds. The Luniz song “I Got 5 On It” makes its first appearance here, in a unique and memorable way.

17. The Cabin in the Woods (2011)

Follow a group of college students to a cabin in the forest and you’re bound to discover creepy engineers in an underground laboratory that are directing zombies and monsters to terrorize them. Of particular note: a gory “down the elevator” scene that’s filled with shock, horror and hard-hitting sound effects.

18. Paranormal Activity (2007)

This, the first in the six-film Paranormal Activity franchise, features a couple being haunted in their own home. It was originally developed as an independent picture for only $15,000, but was later expanded with some additional budgeting. Considering that it has brought in almost $200 million dollars to date, the investment was well worth it!

19. Midsommar (2019)

The premise doesn’t seem very scary at first, but things soon turns macabre as we follow a couple who travel to Sweden to visit a fabled festival that comes around once every 90 years. The only problem is that there’s a violent Scandinavian pagan cult that traumatizes them, and when the psychedelic mushrooms come out, bad trips turn even worse. Check out the cool Nordic-inspired soundtrack composed by electronic musician The Haxan Cloak.

20. The Ring (2002)

This goosebump-raising supernatural horror film has some top-flight visuals and is based on Koji Suzuki’s 1991 book of the same name. It follows journalist Rachel Keller (Naomi Watts), who investigates the legend of a cursed videotape where whoever watches it dies seven days later. The moral of the story: Be careful what you watch!

Check out these related blog postings:

20 Scariest TV Shows Since the Year 2000

Scary In Surround Sound

Five Ways Surround: AI™ Enhances Horror Films

A Bassist’s Guide to Modes, Part 1

Written by E.E. Bradman on October 22, 2025. Posted in Bass.

Modes are essentially scales, but when we talk about modes, we’re talking about notes in relation to a key. If you’re playing in the key of G, for example, the G major scale is the first mode; if you play the same notes beginning and ending on A, you’re now in the second mode. There are seven modes in the major scale — one for each note in the scale — and even though you’re playing the same notes (G – A – B – C – D – E – F# – G) in each mode, they have a slightly different sound because it starts on a different root.

THE MAJOR MODES

One of the easiest ways to understand the modes is to group them in terms of major, minor and diminished. The Ionian mode, the Lydian mode and the Mixolydian mode are all based on the major triad (root, major third and fifth), so they are the three major modes. In the key of G, that’s G Ionian (the G major scale, starting on G), C Lydian (the G major scale, starting and ending on C), and D Mixolydian (the G major scale, starting and ending on D). When played as scales, they all share the root, major third, and fifth.

THE MINOR MODES

The Dorian, Phrygian, and Aeolian modes are based on the minor triad (1 – ♭3 – 5), so they are the minor modes. In the key of G, that’s A Dorian (the G major scale starting and ending on A), B Phrygian (the G major scale starting and ending on B) and E Aeolian (the G major scale starting and ending on E). Aeolian mode, which we call the minor scale, is the most common; if you hear the phrase “relative minor,” it refers to the key’s Aeolian mode — E Aeolian (also known as E minor) is the relative minor of G major, and G major is the relative major of E minor.

THE DIMINISHED MODE

The seventh mode of the scale, called the Locrian mode, is neither major nor minor. It starts like a minor triad with a root and a minor third, but the fifth is a half-step flat, so it’s called a diminished triad. In the key of G, that’s F# Locrian.

Now that we’ve established the general concept, let’s take a closer look at these seven modes individually.

IONIAN MODE

The first mode, Ionian, is simply the major scale. The illustration below shows a two-octave G major scale that puts all four strings under your fingers.

It’s easy to think of each mode as an isolated piece of information, but one of the best ways to hear how they’re related is to play them against a drone. Here’s the Ionian mode played against the G drone we’ll include in each of the following examples:

As you can hear in this next audio clip, it can be fun to groove with the Ionian mode too.

DORIAN MODE

The second mode, Dorian, starts on A. In G, the Dorian mode consists of the notes A, B, C, D, E, F#, G and A.

Notice how the sixth (in this case, F#) is a half-step sharper than it would be in a minor scale; that’s what gives Dorian mode its distinctive sound. Jazz musicians frequently substitute Dorian mode for the minor scale.

Here’s an example of a Dorian groove in A:

PHRYGIAN MODE

In the key of G, the third mode, Phrygian, uses the notes B, C, D, E, F#, G, A and B.

Phrygian mode sounds different than Aeolian or Dorian because the second scale degree is flat — the root and the second note in the scale are only a half-step apart.

As you can hear in the audio clip below, that “flat 2” gives the Phrygian mode a flavor associated with metal and non-Western traditions such as Arabic music and flamenco.

LYDIAN MODE

If we start on the fourth note of the G major scale, C, we get Lydian mode. The notes are C, D, E, F#, G, A, B and C.

Notice that Lydian mode sounds like the major scale (Ionian mode) except for the fourth degree (in this case, F#), which is augmented (a half-step sharp). Jazz musicians often substitute Lydian mode for the major scale to create a brighter, more modern sound.

A Lydian groove can emphasize the sharped fourth that gives this mode its flavor.

MIXOLYDIAN MODE

The fifth mode of G, Mixolydian, starts on D. The notes in D Mixolydian are D, E, F#, G, A, B, C, and D.

Mixolydian mode is a major scale with a flatted seventh. (In the key of G, Mixolydian starts on C.) If you’ve listened to the blues or heard of the dominant scale, you’ll probably recognize its sound.

As you can hear, that flatted seventh is an important part of the Mixolydian sound:

AEOLIAN MODE

The sixth mode, Aeolian, is the same as the minor scale. In the key of G, it starts on E. The notes are E, F#, G, A, B, C, D and E. Let’s use the open E and A strings for this two-octave exercise, as shown below.

We know this sound and the shape as the minor scale.

Minor-key grooves are common in R&B, rock, soul and many other genres.

LOCRIAN MODE

In the key of G, the seventh mode, Locrian, starts on F#. The notes are F#, G, A, B, C, D, E and F#.

Locrian mode is usually considered dark, dissonant and mysterious. It’s like Aeolian mode with a flatted fifth (in this case, C instead of C#).

Here’s how Locrian mode sounds against a sustained G drone:

PRACTICE MAKES PERFECT

The best way to feel what modes do is to play along. Here’s a G drone with a beat you can use to explore each mode; notice what sounds good and what clashes against that sustained G:

There are hundreds of scales, and each one has modes, but the modes built on the major scales are the best known and most-often used. Learning to play the major scale modes in every key will help you train your ears and learn your fretboard, and it’ll come in handy for songwriting, improvising and soloing.

In Part 2, we’ll explore four additional scales — pentatonic, melodic minor, harmonic minor and symmetrical diminished — and the modes they engender.

Note: All audio clips played on a Yamaha BBP35 bass.

Check out E.E.’s other postings.

Great Programs Can Have Small Numbers

Written by Don Stinson on October 21, 2025. Posted in Teaching Tips.

You’re talking with a few fellow music teachers when someone casually asks: “So how many kids are in your program this year?”

It’s meant as small talk. You answer, and in an instant, it feels like your value is on trial. You start comparing. Your number sounds small. You brace for the awkward pause, a quiet head nod or the polite: “Oh, that’s nice.”

In your head, you want to shout: The number doesn’t tell the whole story. Your kids are showing up, helping each other tune, leading warmups. They actually want to be there — and some still swing by after they graduate just to say hi.

Instead, you nod back, and the small talk moves on, but that sinking feeling doesn’t.

small clay figure looking up at a giant figure

Bigger Isn’t Always Better

For a long time, I thought “more” meant “better.” I had this goal in my mind that I would be successful when my band needed two buses and couldn’t fit on one riser.

So, I went after that goal. I pushed hard on recruitment. Took every dropout personally. Said yes to every performance and then some.

I constantly tracked numbers. Compared enrollment year over year. Started looking at national averages and school report cards to see if our trends lined up. Here’s the funny thing: When our numbers went up, I felt validated. Like the hard work had paid off. Like I’d made it and proven something.

Then one year, our numbers dropped. Not a huge dip, but enough that I noticed. I waited for the principal to ask what was going on. But he didn’t; no one did.

Instead, I had a quieter year with fewer chairs to set up, less paperwork and — oddly — better teaching. I could hear every student play, every day. I could give more feedback. We had time to revisit sections and try new things instead of steamrolling to meet a deadline.

I still remember a rehearsal where we stopped and experimented with phrasing not because something was wrong, but just to try it a different way. That would have been difficult with a 70-piece group and a tight concert turnaround.

Midyear, I realized: This was a good band, and it mattered to every student in it.

man wearing mask and working in a laboratory

A Small Group is a Teaching Lab

The upside of small numbers? You can actually teach like you always wanted to.

In a 60-piece group, it’s easy to miss the clarinet kid who’s been having a problem going over the break for two weeks. In a 20-piece group, you hear it immediately, and you have time to fix it without derailing the whole rehearsal.

One of my kids last year had a strange embouchure issue that only popped up when he played above the staff. It was only because we had a slower pace that I even caught it. We fixed it by March. That wouldn’t have happened in a group where I was just hoping everyone got through the piece in one piece.

Here are a few things that work well in small bands:

Split-section work, even within one room: Let half the group run a chorale in pairs while the others work on finger drills. Then switch.
Rotate leadership: Assign a new student to lead tuning or a breathing warmup each day. It builds ownership and keeps them engaged. A bonus is that “student-led” sometimes buys me two extra minutes to deal with small items that come up at the beginning of rehearsal.
Solo-pass-off lines: End warmups with “line 32, who’s got it?” and let students volunteer to play. The more confident they get, the more they want to go next.

You don’t need 100 kids to teach music well. Sometimes, fewer is better.

Sound First. Always.

I’ve heard phenomenal performances from 14-piece concert bands — and I’m not talking “good for their size.” I mean genuinely tight, musical playing.

What those groups had in common wasn’t perfect instrumentation. It was clarity of purpose. The directors chose literature that matched their kids — not just technically, but emotionally and logistically.

Some of my go-to strategies for small-but-mighty bands:

Lean on flexible instrumentation: Start every rehearsal with something that lets everyone play in unison or in harmony, such as chorales, drone-based tuning, call-and-response. We’ve had full rehearsals that were just chorales and phrasing work, and those rehearsals stuck with the kids more than any sectional.
Choose literature that lets you win: That Grade 2 piece with three percussionists and a unison low brass line might sound way better than the flashier Grade 3. Trust your ears, not the catalog.
Build in chamber moments: One day a week, split into trios or quartets. Let kids sight-read duets. Or give each group four measures from the concert piece to rehearse and perform for the class. (Bonus: I get to walk around and listen in without talking the whole time.)

You’re teaching tone, intonation, balance. No matter the size of your group, these concepts are paramount.

Rehearsal Routines that Do the Heavy Lifting

If your students aren’t practicing at home — and many don’t — your rehearsal structure matters more than ever. Here’s what I’ve used to build consistent progress with small bands.

Daily Routine (10 to 12 minutes max):

Long tones with balance drones
Articulation grid (add rhythm cells over time)
Lip slurs / chromatics / rudiments — layered as one ensemble
Chorale or Bach-style phrasing work

Skill Rotation (2x/week):

Sight-reading Monday
Rhythm drill Wednesday
Scale check-in Friday (even just one scale a week)

Personalized Goals:

With fewer kids, you can actually keep track of which student needs what. This is the beauty of a small group.
I wrote one goal on a sticky note for each student every month. They stuck it inside their folder. We checked in mid-month.
Students knew I was holding them to a standard, and that’s what they wanted. (You’ll know it’s working if you forget to do the sticky notes one month, and the kids remind you.)

sign that reads "Small Band, Big Dreams"

If It’s Just You and 12 Kids

Some of you may be thinking, “This all sounds nice, but I’ve got 12 kids and 10 instruments. What now?”

You still have options. Try these:

Recruit from within: Find one student who plays clarinet and say, “Want to learn trumpet, too? I’ll teach you myself on Fridays.” (That same student is now my go-to for brass transpositions. He also fixed my projector once.)
Rewrite parts: Don’t be afraid to hand a flute player the second trumpet part. Use notation software or a pencil — whatever you have. (It won’t be perfect, but it’ll be playable. That’s the bar sometimes.)
Adapt drills: Turn a scale exercise into a duet. Or have one student clap rhythms while another plays. Make it interactive. (I once had kids alternate scales by note — one played even notes, one played odds. It was chaos. Then it was good.)
Ask your kids: One year, I asked the band, “If we only played three pieces this semester, what would you want them to sound like?” Their answers shaped the whole concert.

By the way, if your group sounds good, people don’t even care about the numbers.

man over-explaining to a woman, who looks disinterested

Stop Explaining. Start Reframing.

You don’t owe anyone an explanation when they ask how many kids are in your program. You can answer honestly — and stop there.

Or you can reframe it entirely: “We have 18 this year, and I gotta say, it’s one of the most dialed-in groups I’ve had.”

Or even: “Small group. Big sound.”

Say it like you believe it. Eventually, you will.

A Win is a Win

You’re not less of a teacher because your numbers are small. You’re still teaching music. You’re still building community. You’re still showing up for your students.

That’s what matters.

And if today’s rehearsal felt like an actual class where kids learned something and laughed a little? That’s a win. Full stop.

MEAs

Written by jkikuchi@yamaha.com on October 20, 2025. Posted in Conferences.

Learn, Grow and Connect at Your MEA

Welcome, educators! We’re thrilled to join you at your state music educators’ convention. Among the 50 million students in U.S. public and private schools, countless young musicians are lucky to have access to music programs led by passionate and dedicated band, choral and orchestra directors like you. Designed as a resource for music educators, this page features curated materials from the Yamaha educator community to help you enhance your professional development, strengthen and expand your program, and achieve success in the classroom.

Before you go, be sure to join our biweekly educator newsletter, so you never miss a beat! You’ll be the first to know about our latest guides and programs.

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Professional Development

Celebrating Excellence in Music Education — “40 Under 40”

Each year, Yamaha recognizes 40 young music educators who run innovative programs by implementing out-of-the-box thinking.
5 Teacher Tools that Will Maximize Your Efficiency

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Going Viral: Propelling Music Education to New Heights on Social Media

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Five More Steps to a Productive First Five Years

To be successful, young music educators should focus on recruitment, repertoire, networking and joining professional organizations.
Expert Tips for Navigating Your First Festival

Follow our real-world guide that includes detailed planning mixed with the need for adaptability.
Tips to Get the Most Out of a Conference

Learn, network and thrive at local, state and national music education conventions.

Program Expansion

6 Real Ways to Reach the 80%

Music educators must explore different ways to see the musical potential in students who don’t fit the traditional mold. Take it from one music rule-breaker who forged an unforeseen path to success in the music industry.
5 Benefits to Creating a Keyboard Orchestra

In your group piano class, use the various “voices” of a keyboard to create an orchestra of different effects and instruments.
STEAM-Powered Music Technology

Expanding music horizons and empowering students are keys to an Arizona arts academy and its music technology program.
Pop Guitar as an Entry Point

Try these five steps to introduce guitar in a process-focused, structured way.
Reach Nontraditional Students

Through music technology, guitar and modern music theory courses, a Chicago music educator has bridged the gap to “the other 80%.”
Use Fusion to Engage Students

Combine two or more genres of music to bridge the gap between music your students know and the realms of classical, jazz and world music.

Program Health

AI in the Music Classroom

Music educators must consider the pros and cons of artificial intelligence, which can lead to a more engaging and empowering music learning experience for all students.
Develop Atomic Habits for Your Program

A key to success is to have a consistent system of routines that you and your students follow.
Financial Tips for Music Educators

When it comes to funding for your program, never get discouraged because there is always money somewhere. You just have to work hard to find it.
Start a Guitar Program

A guitar program will provide a musical opportunity to students who would not usually join traditional band, orchestra or choir.
The Yamaha Master Educator Collective

Schedule time with one of these distinguished educators who will inspire and motivate music teachers to meet and exceed their professional goals.
5 Music Apps and Software that You Should Check Out

Music educators and musicians should look into these five music apps and software programs to enhance their music-making.

Teaching Tips

Music Tech: Getting Started Teaching the DAW

Transform music education by using new technologies and low-cost gear for recording and composing.

6 Strokes for Front Ensemble Warm-Ups

Develop an effective warm-up exercise sequence for marimbas, vibraphones, xylophones, timpani, drum set, glockenspiel and more.
Fix It: Trumpet Teaching Tips

Try these expert tips on fixing common errors that trumpet students make.
Modern Music and Tech in Beginning Strings

With off-the-beaten-path lesson plans and performance opportunities, an orchestra director has higher student engagement, retention and overall program growth.
Tips for Engaging Wind Rehearsals

Try these tips on how to rehearse your winds section and maximize your time during rehearsals.

Dorico

Take Note: Dorico is a Must-Have for Music Classrooms

Dorico is an easy-to-learn music notation software that music educators can use to teach music theory, composition and so much more.
Quick Start Guide to Dorico

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Eight Spooky String Techniques

Written by Jenelle Spencer on October 20, 2025. Posted in Strings How-to.

As night grows longer and souls start to wander, the need for spooky and unique orchestral string techniques grows stronger. String instruments have long been the secret weapon behind the shivers in your favorite suspense scenes. The classic horror film starter pack includes glissando, tremolo, trill and harmonics, but this list will guide you through other unique extended techniques that are either fun, spooky or both, with video examples. Listen to the techniques of the night … and what music they make!

1. SUL PONTICELLO AND SUL TASTO

By bowing close to the bridge or fingerboard (respectively), a mildly scratchy, metallic sound is created. Don’t worry, it’s coming from your cello and not the attic! View and listen to this technique here.

2. THE BARTOK SNAP

A fun and loud type of pizzicato (also known as pizz) is done by plucking the string hard and releasing it, making the string snap against the fingerboard. Performing this move for the first time strikes fear into the hearts of musicians because strings are expensive… and can hurt! View and listen to this technique here.

3. SCORDATURA

More commonly used by guitarists, this unique technique can be a nightmare to experiment with. It can be risky to tune a string differently (tuning a violin’s E string higher could cause it to snap, which will give you the perfect opportunity to be a pirate this Halloween) but it is usually fine for short durations. However, over-tuning a string too high can eventually damage the strings and bridge of the instrument, though tuning lower should carry less of those risks.

While this Vivaldi score may not sound unusual, the difference in tuning can be heard when comparing the first chord. Shown on the top line of the score is the violin part. On the left next to it, you can see that the composer is leaving a cryptic clue. Vivaldi is trying to indicate the use of Scordatura by showing the notes that each string should be tuned to.

Here, the violin’s G string (the lowest string) is tuned almost two notes higher, to a B flat, while the E string (the highest string) is tuned one note lower, to a D. In this specific score, the notes the stay the same as if there were no changes, but they will sound different. For example, the bottom note of the first chord is written as a G, but it sounds like a B flat, and the top note is written as a G, but sounds like an F. Confused? The performer probably is too.

4. CHOPS

Although rarely if ever used for horror effect, this is a cool, crunchy technique primarily performed within the genres of jazz and everything not classical. It requires a lot of finger and wrist motion from the bow arm and is played near the frog of the bow… but don’t drop this frog into your cauldron! View and listen to this technique here.

5. PAGANINI’S RICOCHET

Niccolò Paganini was nicknamed “The Devil’s Violinist” because of his immense talent. People rumored that he may have sold his soul in exchange for skill. There comes a time in every classical violinist’s career when they must face his work. Ricochet involves naturally bouncing the bow on the string and is one of the most difficult techniques to master. View and listen to this technique here.

6. LEFT HAND PIZZICATO

Why pizz with one hand when you can pizz with both? Now not only are you doing two tasks with your arms, you are doing three: fingering, plucking and still bowing. Some pieces call for four, where you pizz and finger with the left hand, and switch between pizz and bowing with the right hand. Now that’s scary! View and listen to this technique here.

7. COL LEGNO

This defies everything your music teacher tells you: Flip the bow upside down so that the wood (rather than the hair) of the bow is scraping the strings. View and listen to this technique here.

8. SUB PONTICELLO

Looking for something really crazy? Play below the bridge to create a sound one would hear while being crept up on in the shower. View and listen to this technique here.

THE FINAL WEIRD TECHNIQUE BOSS: ROSIN EATING ZOMBIES FROM OUTER SPACE

Check out this horrifically amusing piece that is meant to be a parody of horror film scores. We all played this in middle school, and many other school orchestras enjoy performing it too. At 1:17 you can hear beautiful sub ponticello … as well as blood-curdling screams. Headphone users: Beware!

As you can see (and hear), almost anything can be a musical technique. Next time you’re watching a scary or suspenseful scene, try to think about how the underlying music was created. Modern film soundtracks use sound from a variety of sources, but pretty much any old-fashioned black and white movie can provide a gold mine of interesting string music.

With this new knowledge in mind, you can now use your instrument to let the serenading stop… and the screaming begin!

happy student holding folder and with earphones around her neck

5 Small Things That Make a Big Difference

Written by Don Stinson on October 15, 2025. Posted in Teaching Tips.

A kid hangs around at the end of class. They’re not there to ask for help. They’re not angling for attention. They just wait — until you finally say, “See you tomorrow.” Then they leave.

Later, you overhear that same kid telling a friend that band feels different. Not because of the music or the new uniforms, but because, as they put it, “The teacher actually talks to us.”

That’s the kind of thing students remember. Not the concert program you spent hours formatting. Not even the pieces they played. What sticks with them is that you looked up and said their name.

These things don’t require more budget or more hours. They just require you to show up and stay in it, even when it’s messy.

Here are five small things that matter more than you might think.

1. Say Hello Like You Mean It

The morning chaos is real. You’re behind on photocopies, a kid needs reeds and your baton has mysteriously vanished. Again. But even on those days — especially on those days — don’t skip the greeting.

You don’t have to be chipper. You just have to be there. Eye contact. A name. “Good to see you.” That’s enough.

There’s a freshman whose name I butchered for the first three weeks of school. I kept correcting myself and kept apologizing. Finally, I got it right. He eventually told me that I was the only teacher who got his name right.

You don’t need to greet every student with the energy of a camp counselor. Just acknowledge them. I used to think that if I wasn’t feeling 100%, I should hang back and not fake it. I learned that there’s a middle ground. Neutral-but-present beats over-the-top and checked-out all the time.

It’s also the cheapest classroom management tool you have. Kids are less likely to act out when they know you see them — not just their mistakes, but them.

2. Ask One Question that Isn’t About Music

You already know who’s out of tune, but do you know who bombed their chem quiz? Music is what we teach, but it’s not the only thing that’s happening. For a lot of students, it’s not even the biggest thing happening.

There’s a student in one of my classes who almost dropped out this year. Not just from my class — from the school. I had no idea until I casually asked how her part-time job was going. She shrugged and said, “It’s fine, but I missed the first three periods yesterday because I worked late and overslept.”

One thing led to another, and she ended up telling me more in 30 seconds than I’d learned all semester. I couldn’t fix her situation, but I could at least adjust my expectations and remind her she’s not just a name on a spreadsheet.

Even five-second check-ins shift the dynamic. “Hey, how was your cross-country meet?” or “Did you ever finish that video game?” These questions make students feel seen. And honestly, it gives you a break from only talking about eighth-note lengths and tuning tendencies.

I used to feel awkward asking about non-music stuff. I didn’t want to come off weird or like I was trying too hard. But kids can tell when you’re genuinely curious — even if you’re bad at it. They’ll meet you halfway.

3. Say Goodbye

The bell rings, and the scramble begins. Instruments are everywhere. Half a dozen “did-I-tell-them-about-uniforms?” moments flood my mind. It’s easy to let the exit become a blur.

The end of class is its own moment, and like all transitions, it has weight.

“See you tomorrow.” “Nice work today.” “Hope your game goes well.”

These final words of class don’t have to be fancy or deep. But they matter. That closing loop reminds them that class wasn’t just another 50-minute block. It was something, and you noticed them on the way out.

Some days, I mess it up. I’ll get caught in a sidebar with a section leader or run out of time trying to untangle the schedule for tomorrow. I always regret when the goodbye moment gets swallowed by logistics.

The students may not say much in response, but they remember whether or not you said something.

4. Stop Changing the Plan Every Day

Teachers love variety. Students? Not so much.

You might be tired of the same warm-up, same rhythm drill, same order of operations. For students, however — especially the ones whose lives are unpredictable — that sameness is a safety net.

There was a stretch when I kept trying to shake things up in my class with new exercises, new bell-ringer routines. I thought I was keeping things fresh, but the kids were floundering — not because they didn’t understand the material, but because they didn’t know what to expect. One clarinet player finally said, “Can we go back to the old way? That made more sense.”

I’ve gone off-script before. Skipped the warm-up to “save time.” Tried a new routine because I got bored. Every time, the room felt a little wobbly.

I learned that it’s not about control — it’s about consistency. Predictable doesn’t mean boring. It just means students aren’t on edge. And kids who are not on edge play better.

One thing that helped me was naming our routines. Instead of “Let’s do lip slurs,” I’ll say, “Let’s do the Morning Five.” Kids latch onto those anchors, especially when the rest of their day feels like dodgeball.

And when you do need to switch things up, preview it. “Hey, we’re skipping the Blue Book today because we’re doing small groups.” That little heads-up keeps the room grounded.

5. Say One True Thing to One Student

It doesn’t take much.

“You’ve become way more confident on that solo.” “I saw you helping the younger trumpets and that helped rehearsal.” “You’ve come a long way since August.”

That’s it. One sentence, spoken directly, with no strings attached. No group praise. No “great job, everyone.” Move away from the generic, move toward the specific.

These small, personal acknowledgments last longer than we think. I’ve had kids bring up a compliment I gave them two years ago — something I barely remember saying (which makes me think, “I better be careful about everything I say!”). Meanwhile, they’ll forget my perfect rehearsal plan by Friday.

When I made this a habit, I started noticing more good things. Not because the kids changed, but because I was looking. You tend to find what you’re focused on.

Just try to make one student feel noticed each day. It adds up.

________________________________________________

I used to think my job was music first. Now, I think it’s more like music is the channel I use to show kids they matter.

What I’m really trying to do is show students they matter in ways that don’t require budget approvals or new initiatives.

The kid who hangs in the music room all the time isn’t waiting for a cleaner cutoff or a cooler piece. They’re waiting to see if you’ll notice them. And you acknowledging them is what keeps them coming back.

Creating a Pro-Level Guitar Rig on a Budget

Written by Robbie Calvo on October 15, 2025. Posted in Guitars How-to.

Does the price you pay for a guitar, amp or pedal determine its musical value, or the quality of tone that it produces?

The short answer is no. Great tone starts with the player, while the tools we use to express our artistry are simply conduits that either pair well with our creative vision, or not. While expensive guitars and hand-wired amplifiers can produce some amazing tones, these days you can also achieve excellent results playing through a modest rig … especially if you pay special attention to some essential elements in the signal chain, along with careful pairing of the instruments, effects and amplifiers for your chosen application. Price does not determine musical value, as long as the rig you put together allows you to achieve high-quality results.

In this posting, we’ll describe how to create a pro-level guitar rig on a budget and explore some of the many options available to you. First though, let’s address the most basic question:

What is a Guitar Rig?

A guitar rig consists of three main elements: the guitar itself, an amplifier (and speakers) and effects, which usually come in the form of pedals. You can also substitute a digital modeler for the amp/speaker part of the equation; doing so allows you to connect your rig directly to a DAW (digital audio workstation) for recording or to a P.A. system for live performance.

I’ve chosen the Yamaha Revstar RSE20 as the guitar in the pro-level budget rig we’ll be describing here. It’s an extremely well-built electric guitar that punches well above its weight compared to more expensive options.

A yellow electric guitar. — *Yamaha RSE20.*

Given that we are going for affordability as well as great sound, I also decided to use the Line 6 HX Stomp digital modeler to provide effects as well as serving as the amplifier and speaker cabinet in the rig.

A guitar footpedal. — *Line 6 HX Stomp.*

Effects

I like to think of effects as falling into two categories. There are those I like to have before the preamplifier section (I term these “Pre” effects), and “Post” effects that sound best after the preamp, but before the amplifier and speaker cabinet sections.

“Pre” effects include:

- Noise Gate
- Compression
- Overdrive
- Distortion
- Tremolo
- Wah Wah

“Post” effects include:

- Delay
- Reverb
- EQ
- Chorus
- Phaser
- Flangers
- Other modulation effects such as vibrato, ring modulation and rotary speaker

Amplifiers

I really like old British tube amplifiers and generally choose ones that aren’t super high-gain for my digital guitar rigs.

The HX Stomp’s Essex 30 preset is a model of a 1960’s Vox AC30 amplifier — perfect for both “chimey” rhythm tones and soaring leads. I generally leave this preset pretty flat in terms of EQ and use an overdrive pedal to drive the amp harder when I need more rock’n’roll edge.

Speaker Cabinets

The HX Stomp allows you to choose from a large number of speaker cabinets to pair with the amp you select — everything from a 1 x 10″ to a 4 x 10″, 1 x 12″ or 2 x 12″ to a 4 x 12″ configuration.

I like to use two different cabinet types in my digital rig: a 2 x 12″ and a 4 x 12″. A 2 x 12″ will generally have more high-end clarity than a 4 x 12″ (which provides great low-end punch), so I try to find a nice blend between the two.

The Stomp also allows you to specify the type of microphones are used on each of the cabinets. There are a wide variety of condenser, ribbon and tube microphone models to choose from. You can also dial in the proximity (distance of the microphone to the speaker) and the axis (the distance from the center to the cone rim) to the speaker cone for each cabinet.

If that’s not enough editing potential for you, you can even fine-tune the early reflections of the digital room the cabinets and microphones are placed in. This allows you to add a touch of room ambience to the tone for extra reality to the digital signal.

It really is well worth spending the time to audition the various cabinets, microphones and their placement, as it makes a huge difference to the overall tone … as you’d expect.

Creating Your Signal Chain

Given that all of your amplifier, cabinet and effects options are inside the HX Stomp, creating highly customizable signal chains couldn’t be easier. What’s more, you don’t need patch cables, a pedalboard or a microphone to do so — this simple, affordable 7-inch by 5-inch package (which weighs in at only 1.7 pounds) may well be the most flexible, portable guitar rig ever.

When you consider that the HX Stomp offers hundreds of effects, popular amplifier models and speaker cabinet configurations, it’s almost impossible to settle on just one rig. But then again, you don’t need to, because you can create your own user patches and recall them at the tap of a foot switch, or via MIDI, whenever you need them. What’s more, the Stomp’s free editor app makes it easy and fun to tweak presets or user patches via a simple USB connection to your computer.

Your signal path enters the HX Stomp in mono from your guitar and exits in stereo via two 1/4″ jacks connected to a physical onstage amplifier or directly to the P.A. or personal monitoring system (i.e., in-ear monitors). These outputs are balanced, so they deliver the highest audio quality. In addition, you can record everything to your DAW via the USB port, allowing you to monitor the signal through your studio speakers.

Preferred signal chains are of course subjective and can vary wildly depending on personal taste and the sound you are going for. Here’s a screenshot of the HX Stomp editor and the patch I created for the rhythm guitar parts in the video below:

The compressor and overdrive pedal at the front of this signal chain serve as my “pre” effects. The compressor is helping to tame the dynamic range of the incoming guitar signal, while at the same time adding a touch of sustain. I like to run the compressor before the overdrive, as I find this helps to smooth out the overdrive tones as well.

The screenshot below shows the patch I created for the lead guitar parts in the video:

I like to use a dual delay and hall reverb for my post effects. I create a parallel pathway for the delays so they won’t be affected by the reverb (the split in the signal path for the delay). I then return the delay signal back into the chain after the reverb effect.

I’m also a big fan of using quarter note delay on the left channel, and an eighth note or dotted eighth note delay on the right channel. I find that the quarter notes define the tempo and pulse, while the eighth notes add the subdivisions and interesting movements.

You can also choose to add a touch of chorus or tremolo modulation to the delay repeats, which makes for a really sweet sound. I often use a subtle tremolo on my delay signals.

The Guitar

A man playing a yellow electric guitar in a home studio.

As mentioned previously, the Yamaha RSE20 is a great choice when you’re creating a pro-level guitar rig on a budget. In addition to its affordability and playability, the RSE20’s mahogany body has been acoustically tuned to allow for excellent resonance and sustain. Its mahogany neck profile is a rounded C-shape, which I think most players will find welcoming, and the satin finish is smooth, fast and easy to navigate. The pearl-colored tuners not only look cool against the black headstock facing, they keep everything nicely in tune, even after a solid playing workout.

The black headstock of an electric guitar with ivory tuners.

There’s nothing complex on this guitar to distract the player from making music, which is a huge plus when all you want to do is dig in and play. The RSE20 sounds great too! Its Alnico V humbucking pickups are smooth, articulate and extremely versatile, making the instrument suitable for all kinds of musical genres, including jazz, blues, rock and pop. The bridge pickup has enough growl and bite for heavier styles of music, while the neck pickup is fat, warm and sweet — the perfect complement for jazz voicings, pop-tinged extensions and slash chord spreads.

A closeup of a yellow electric guitar bridge showing two pickups, two knobs and a pickup selector switch.

The RSE20’s three-way toggle switch allows you to blend the two pickups together for the best of both worlds. To expand the tones even further, the “dry switch” pull-pot on the tone control acts as a subtle bass filter, allowing you to reduce the low frequency response of the pickups … great for dialing in clarity when recording guitars in a dense mix or performing live with a full band.

The Video

This video demonstrates just how good our budget rig can sound when dialed in correctly and paired with the right guitar.

All the guitar parts were recorded using a Revstar RSE20 plugged into a Line 6 HX Stomp, then recorded directly to my DAW via the Stomp’s USB output.

If you’d like to jam along with the video, here’s the chord progression I used:

II: Ami9 Ami9/G I F5/2 I Ami9 Ami9/G I F5/2 Gsus :II

And here’s the backing track on its own:

As a bonus, you can find the patches I used for the recording here. You’ll be able to import them into your own HX Stomp if you have one.

The Wrap-Up

Great tone doesn’t need to be expensive; it’s more about the pairing of quality elements within your signal chain, and learning how those conduits work together for maximum musical effect.

Listening intently and connecting with your personal musical sensibilities will help you develop the tone you produce from your fingers, guitar, amp and effects.

PHOTOGRAPHS COURTESY OF THE AUTHOR.

Check out Robbie’s other postings.

When Kids Compare You to Their Old Director

Written by Don Stinson on October 14, 2025. Posted in Self-Care.

The first time I heard it, I felt like the air had been sucked out of the room. A senior rolled her eyes and said, “Our old director never made us do it this way.”

I’d barely finished the sentence about concert posture. Suddenly, I wasn’t me anymore — I was the failed replacement of a ghost. Few things rattle a new teacher faster. But the truth is: You’re not the old director. So, stop trying to be.

teenage girl with hand on forehead and rolling her eyes

Acknowledge It, Then Move On

Kids test boundaries, patience, and they definitely test loyalty to the past. When someone drops the “our old director” line, don’t fight it or give a lecture about it. Acknowledge the change, then keep moving.

I say, “I know that’s how it was before. Here’s how we’re going to do it now.”

It’s short, simple and calm. I’ve tried the other approaches. I’ve over-explained, justified, even apologized for doing something differently — and every time, it felt like handing away a little authority. Students didn’t walk away impressed by my reasoning; they walked away knowing I could be rattled. Every time you defend your position like it’s on trial, you just make the ghost louder.

What surprised me is how quickly the moment passes if you don’t feed it. Kids are experts at baiting us. They’ll toss out a line just to see if you’ll bite. And if you don’t? Most of the time, they drop it and move on.

Be Consistent

Change feels huge to students at first. They’ll complain, compare and remind you that everything was “better” before. The good news is that kids adapt faster than you think.

If you’re consistent — same expectations, same routines, same consequences — the new way becomes the normal way.

I remember switching our rehearsal warm-up order during my first year. You would’ve thought I’d outlawed oxygen. The complaints were constant. “This isn’t how we do it.” “Why are we wasting time?” “Mr. _____ never made us start this way.”

For weeks, every rehearsal started with groans. I questioned myself more than once — was this small change really worth all the drama?

By October, the eye rolls slowed down. By December, no one remembered it was ever different. Kids who had fought it the hardest were suddenly explaining the routine to freshmen as if it had always been tradition.

That was my first real reminder: Consistency beats charm every time. You don’t need to be persuasive every single day. You just need to show up the same way long enough for it to stick.

You Don’t Need to Win Everyone

Early on, I wasted a lot of energy trying to get every single student on my side. In reality, you actually don’t need 100% buy-in. A handful of kids will be loyal to the last director no matter what. That’s not your problem to solve.

I had one trumpet player who would correct me under his breath every time I explained articulation. “That’s not how Mr. ___ said it.” At first, I bent over backward to prove myself — citing pedagogy, pulling up method books, even playing examples. It never mattered. He didn’t want my explanation; he wanted his old director back. (To be honest, I kind of wanted him back, too, at that point!)

Eventually I stopped chasing him. I kept teaching, kept setting expectations, kept showing up prepared. Over time, he stopped with the commentary. Not because I convinced him, but because he ran out of energy to care.

What matters is steadiness. Show up prepared. Keep your expectations clear. Treat kids fairly. Over time, even the skeptics usually soften — or at least stop caring enough to resist.

You don’t have to win them. You just have to show up over and over again.

colorful sign that reads "Time for Change"

When to Change (and When Not To)

So how much should you change from the last director’s way of doing things?

If the old director was beloved and the program is strong? Don’t change a thing your first year. Learn the culture. Earn trust. You’ll have time to add your voice later.
If the old director wasn’t respected and the program is weak? Change everything. Students actually expect it, and momentum can be your friend.
If it’s somewhere in between? Start small. Pick a few things you care about most — maybe rehearsal flow, grading expectations or communication systems. Let the rest sit until year two.

In one of my first jobs, I walked into a strong program with deep traditions. Everything was organized, the kids had a routine, and the old director had retired on a high note. I had a list of “innovations” ready to go — new grading policies, new repertoire ideas, even a different way of arranging the chairs.

I’m glad I had a mentor tell me, “Don’t touch anything this year.” It was the best advice I received. Instead of trying to prove myself, I watched, listened and learned. By the end of the year, kids trusted me enough that the following fall, when I introduced a few small changes, it wasn’t a battle.

It’s not about proving you’re smarter. It’s about making changes slow enough that kids don’t revolt.

hand holding pen over notebook page, ready to write

Ground Rules for Making Shifts

When you do start making changes, here are a few ideas that have worked for me.

Explain the “why.” Students don’t need a speech, but a quick and simple explanation like “we’re tuning this way because it saves us rehearsal time” goes a long way. One time, I skipped this step and just announced a new policy. Within minutes, rumors were flying about me “not trusting” students or “trying to make things harder.” A 20-second explanation would have saved weeks of pushback.
Hold the line. If you introduce a new policy, stick with it. Waffling just feeds nostalgia for the past. I once caved on a seating chart because seniors argued it wasn’t tradition. The next day, freshmen asked if they could opt out of sectionals “since it wasn’t tradition either.” Lesson learned.
Pick your battles. Not every tradition needs to be overturned. If seniors want to keep their corny chant before concerts, let them. Save your authority for the things that matter musically or structurally.
Involve students where you can. Give them ownership in decisions that don’t compromise your core values. They’re more likely to buy in if they have a say. I’ve let students vote on concert shirt designs, choose one piece per concert, even give input on rehearsal break routines. None of those decisions undermined the program, but they gave kids a sense that change wasn’t just happening to them.

None of this is magic. I’ve had changes bomb. I’ve explained the “why” and still had blank stares. I’ve held the line only to find out later that the line didn’t actually matter. That’s part of the job. Having some guardrails just makes the inevitable bumps less jarring.

___________________________

Hearing “This isn’t how so-and-so did it” stings because it feels personal. It’s not. It’s just students adjusting to change the only way they know how — by comparing.

The longer you teach, the more you realize you’ll eventually be someone’s “old director,” too. When that day comes, some kid will roll their eyes at your replacement and say, “Mr. Stinson never made us do it this way.”

That’s not failure. That’s just the cycle.

What matters is showing up as yourself, staying steady and letting students adapt — because they will.

Top photo by Abzal/AdobeStock

Coty Raven Morris and her choir students during a performance

Using Choir as a Tool for Belonging, Voice and Agency

Written by Nicole Sipe on October 9, 2025. Posted in Case Studies.

Coty Raven Morris, the Hinckley Assistant Professor of Choir, Music Education and Social Justice at Portland State University in Oregon, believes that her life’s purpose is to touch as many lives as she can through music. She works primarily with students who want to make music or music education their career, but she also mentors students who want to try out chorus at the university level.

“I meet some students who say, ‘I can’t sing,’” Morris explains. “I say, ‘Yes, you can — you just can’t yet.’ Someone must have entered their lives at a vulnerable developmental state and told them they couldn’t. I tell them, ‘You just didn’t have the right teacher. But I’m here.’”

A Musical Beginning

Growing up in New Orleans, Morris was consistently surrounded by music. Her grandmother, Olga, was a jazz singer, and her aunt, Lillian, sang in the church choir. Morris was encouraged to sing in the church choir as a way to keep out of trouble. When she moved to Texas when she was 12, her eyes were opened to the magic of what art, in the form of a choir class, can do.

“I remember a specific moment when my high school choir teacher, Patrick Dill, played a song on the piano called ‘Water Night’ by Eric Whitacre,’” Morris recalls. “I was hearing all these amazing cluster chords of crunchy notes. Then, the music just opened up. I heard these angelic voices sing with no accompaniment, no instruments. My first thought was, ‘Oh my God, someone could lead people to make these sounds.’ I wanted to know what it was like to do that. It was the first time that I processed what choir could do for people — for the mind and for the body.”

Morris majored in vocal music education at Texas State University. Throughout undergrad, she sang in collegiate choirs, went to competitions and conferences, and attended All-State Choir Camp, which was a formative experience.

“I had a tumultuous upbringing, and camp was a place where I was able to be whoever I wanted to be,” Morris says. “I could be my complete dorky, chaotic, beautiful, vulnerable, emotional self around a whole bunch of other kids who were investing a part of their summer to learn music, performing dances and doing all of those fun adolescent things.”

During her freshman year, the idea to pursue music education piqued her interest, so she joined a group called METS (Music Educators at Texas State). But it was the influence of two of her choir teachers, Dr. Joey Martin and recently retired Director of Choral Music Education, Lynn Brinkmeyer, at Texas State, who sparked the idea of going into music education.

“The experiences in their classrooms and seeing what they were able to provide for us as students, really laid out a path for me to be an educator,” Morris says.

A Pedagogy of Patience and Empathy

In her own classroom, Morris endeavors to foster clear communication and empathy among her students.

“It can be the physical act of singing in the choir or communicating with the neighbor next to you,” Morris explains. “It could be in moments when my students know that I said something incorrect, and they say, ‘Professor Coty, I think what you actually meant was this.’ Or, ‘When you said that thing, it hurt my feelings, and I want to talk about it.’ That kind of communication is something that takes practice.”

Morris feels fortunate to be a positive influence on so many young people, especially to those who are still trying to figure out who they are and where they belong in the world. “I meet a number of students who are discovering themselves, and it is not my job to tell them who they are or who they are not,” she says. “It’s my job to create a pathway that they can walk down and discover that for themselves.”

As a Black woman, Morris knows what it’s like to be told that everything that she does is good “considering,” good “despite.” In her classroom, everyone is special, but no one is given special treatment.

“I’m going to teach my students of color with the same love and care as I do with students who are not of color,” Morris says. “I never want a bar to be lowered just because of the circumstances that I’ve been in, so it’s the same with my students. I want my students to find fortitude in themselves. I want to help them become reliant on themselves and trust their gut.”

Coty Raven Morris and her choir students

Being Human Together

Communication is such an integral part of Morris’ teaching philosophy that she started Being Human Together, a community of music educators striving to normalize difficult topics they encounter. Through workshops, these educators come together to discuss topics like micro-aggressions and how bias presents itself in different spaces. Through conversation, traditionally taboo subjects like mental health, systemic oppression, diversity and inclusivity are examined.

“The main goal of Being Human Together is to facilitate these difficult conversations,” she says.

With the number of complex issues that are happening with young people today, Morris felt that there needed to be a safe space to address these topics head-on. “We ingrain conversations about social awareness, self-awareness, self-management and responsible decision-making, and we reveal it from the material,” she explains.

Working with the Houseless Community

Morris also makes it a priority to work in collaboration with the houseless community of Portland. This is important to her because she was houseless from around the age of 15 through her undergraduate studies.

She doesn’t have to go far beyond the classroom to find people who are in need. “We have a lot of houseless students here at Portland State,” Morris says. “So, you must start from the inside out. You must take care of your house first. My goal is to make at least some parts of their academic experience not questionable, and to show them what they could have access to.”

In June 2025, Morris took 78 of her students to Carnegie Hall in New York to perform as a headlining ensemble at the In Harmony Concert. Many of these students had housing insecurity or had been displaced because of their gender or sexual identity. “It was magical,” says Morris of the performance, during which she premiered an original piece with over 450 singers, including the Gay Men’s Chorus of Washington, D.C.

Next year, Morris, who was recognized as a 2025 Yamaha “40 Under 40” educator and a three-time Grammy Music Educator Award nominee, is looking forward to partnering with Path Home, a community for houseless families. Under her supervision, Portland State students will serve as teachers and leaders for youth and parent ensembles. “We have the partnership and the funding coming in to support these initiatives, so we’re actually able to employ people into this work,” Morris says. “It’s very exciting.”

Coty Raven Morris embracing some choir students

Love is a Verb

Above all, Morris wants her actions as an educator to speak just as loudly as her words.

“Love is a verb,” Morris says. “It all happens in our actions, in our words. It happens first as a thought and a seed that we plant in our minds, and our actions must align with those thoughts. If, on the way to executing love, you have missteps, just know that you have the ability to begin again. Do not give up! Take a timeout, learn the lesson, find your way of processing the chaos that’s happening around you, because you are needed.”

Through music, Morris is able to use this art form to empower her students to feel like they are a part of something bigger than themselves, one lesson, one song, one note at a time.

“Let art be the vehicle that allows you to soften your heart and strengthen your mind,” Morris says.

The SR-C20A sound bar mounted on living room wall.

How (and Where) To Mount a TV and Sound Bar

Written by Eric Thies on October 8, 2025. Posted in Audio How-to.

The television is the centerpiece of any home theater system. As a custom installer, it always amazes me how often a television or sound bar is mounted in the wrong place … sometimes even with the wrong bracket! But proper TV and sound bar placement will greatly enhance your home theater experience, so it behooves you to do it safely and correctly.

Here are some best practices that will allow you to get it right the first time.

TV Positioning

Obviously you want the TV to be placed directly across from your primary seating position, and not off to the left or the right … so get it right in the middle! If you mount the TV off to one side, it will be uncomfortable to view and can even result in neck strain if you do a lot of binge-watching.

Even when properly centered, TVs are often mounted too high. For aesthetic reasons, you may want that TV over your fireplace, but trust me, it is the absolute wrong place to mount it. For a comfortable viewing experience, you want your eyes (at a seated position) to be at the center of the TV.

This can be easily calculated, as follows:

When seated, an average person’s eyes are 42.5″ off the floor
The formula is: 42.5 – (TV height / 2) = Ideal height of the bottom of the TV

A typical 65″ flat panel TV is 33″ tall, so the bottom of this TV should ideally be 26″ (42.5 – 16.5) off the ground. However, in many installations this may be impractical due to the fact that there may be a piece of furniture underneath the TV. So what is your fudge factor? The sweet spot is the center, but you can go as low as the bottom 1/3rd line of the TV. In the case of a 65″ flat panel, this would mean that the bottom of the TV could start at 31.5″ off the floor. Since most furniture is 30″ high, you will have just enough room to squeeze that credenza under the TV.

Sound Upgrade

As TV bezels keep shrinking and shrinking, this leaves virtually no room for speakers. This means that any built-in speakers need to be small and/or project off the side or back of the TV, making for a tinny, poor-quality listening experience. So, to round out your viewing experience, an upgraded sound system is a must. But if the idea of setting up and using a full multi-channel receiver with discrete speakers feels daunting, a sound bar — especially one with Dolby Atmos technology and a wireless subwoofer (such as the Yamaha True X Bar 50A) — provides a simpler surround sound solution.

A sound bar and subwoofer. — *Yamaha True X Bar 50A.*

Wall-Mount or Tabletop?

These are the two most common options when it comes to placing a TV and sound bar. Which is better?

This is largely an aesthetic decision, but I have a couple of arguments for wall mounting. For one thing, it tends to be a safer installation. Large flat-screen TVs can be top-heavy and therefore fairly easy to knock off a stand. Wall mounting also gives you more flexibility in terms of mounting the TV exactly where it needs to be versus being stuck with the height of the furniture you sit it on.

This same debate can be extended to the sound bar. Here, though, it’s typically best to follow whatever you are doing with the TV, but consider the TV mounting method as well. (See “Wall Mount Options” below.) If you are using a flat or tilt bracket, you’ll be fine with mounting the sound bar on the wall directly below the TV. However, if you are using an articulating arm, you’ll instead want to attach the sound bar to the arm itself, so that the sound follows the angle in which you position the TV.

This also brings up the question of whether a sound bar works better above or below the TV. I suggest mounting it at the location that is closest to 42.5″ off the ground (again, where your ear falls at a seated position). This is typically below the TV in 95% of real-world installations.

Wall Mount Options

Flat mount. This is the right choice if you are able to mount the TV at the correct height and you don’t need to angle the TV to watch it from different positions, or a different room. There are ultra-thin models available, but bear in mind that if you need to mount anything behind the TV (such as a Firestick, Apple TV^® or HDMI^® balun), you’ll have zero room for these devices.
Tilt Mount. If you are forced to position the TV too high (i.e., above the center of your eyes when seated), this is probably your only mount option, since it allows you to tilt the TV downward.
Articulating Mount. This is a mount that allows you to pull the TV out from the wall and swivel it towards a secondary viewing area. Keep in mind that these mounts add significant depth and make the TV project off the wall quite a bit (sometimes up to 6″). The upside to an articulating mount is that it makes it very easy to service the TV and plug/unplug devices.
Recessed Mount. Some companies make a recessed articulating arm that allows you to completely recess the bracket into a flush mount enclosure in the wall. Installation of this kind of mount is not for novices since you need to perfectly place the recessed box within the wall and center to the room. This may require framing and drywall repair to get it just right, but the look is fabulous and it allows you to push the TV right into the wall with no gap.

Step-by-Step

Once you’ve worked out positioning and mount options, it’s time to roll up your sleeves and get to work. Here are step-by-step directions for mounting a TV and sound bar to a wall.

1. Mount the Plate. A TV bracket typically has two components: a plate that mounts to the wall and the brackets that attach to the back of the TV. Begin by mounting the brackets to your TV, then temporarily connect the wall mount to the brackets.

2. Measure. Next, measure the height of the lower bracket-to-plate points to the bottom of the TV. This will tell you exactly where the wall bracket needs to be mounted in order to get the bottom of the TV in the correct place. (See “TV Positioning” above.)

3. Find the Studs. Get out your handy-dandy stud finder and find the studs that line up with your wall plate mounting holes. Make marks on the wall where you are going to connect the plate with the supplied lag bolts. Never mount a TV to drywall only; for a safe installation, always find the studs (and use them!).

4. Check the Cables. Before drilling any holes, make sure that your electrical and audio/video cabling is in the right place in relation to the plate. If you are mounting a sound bar on the wall under the TV, make sure that you have appropriate connecting cables in the wall from behind the TV to behind the sound bar so that you don’t see a cable between the two. Bear in mind that you will also need a power outlet behind that sound bar, or a power extender that allows you to plug the sound bar into the outlet behind the TV

5. Drill. Once you are certain that your cabling and power wires are aligned with your mounting plate, go ahead and drill some pilot holes into the wall to make the supplied lag bolts easier to install. Before actually installing the wall bracket, however, make sure it is level, as most wall brackets do not have those kinds of adjustments.

6. Lift. Get a couple of helpers to assist in lifting the TV so as to mount it on the wall bracket. Three is the ideal number, since two people can hold the TV up while the third can get behind it and make all of the video, audio and power connections before the TV is placed on the bracket.

7. Level. Make sure your sound bar wall mount is level to the TV, then mount it below the TV on the wall where your optical or HDMI cable is poking out. Most sound bars do not weigh very much, so using drywall anchors is usually safe. If you are using an articulating mount (see “Wall Mount Options” above), you’ll need to connect the sound bar to the articulating arm, below the TV. There are many products out there designed specifically for this purpose.

Learn more about Yamaha sound bars.

8 Ways Students Can Make Their Practice Time Productive

Written by Josh Gottry on October 8, 2025. Posted in Teaching Tips.

If you teach private weekly music lessons, it’s important to remember that better than 80% of your students’ potential improvement happens when you aren’t in the room. The time spent in the six days of practice between lessons has the capacity to accelerate your students’ growth far more than the limited time you teach them one day a week.

Students who don’t take weekly lessons or who rely on intermittent assistance from a band director, local professional or fellow student are even more dependent on themselves for their musical and technical improvement.

Either way, students can greatly increase the value of their practice time to make lessons more productive. First, and most importantly, students need to …

COMMIT TO THE TIME

It’s impossible to improve without practice time! Therefore, the first step in your students’ musical growth is committing to practice time. Recommend that they start with 20 or 30 minutes a day. Increasing that time to an hour or more is quite reasonable when they include technical exercises, etudes, solo literature, ensemble music and sight reading. However, the total amount of time is less crucial than the commitment to practice daily.

For example, if my student only has 15 minutes available on most Mondays, I encourage them to practice diligently for those 15 minutes. Skipping a session and promising to make it up later can make it even harder to find motivation to practice the next day because they’ve interrupted their progress, disrupted their practice habits and potentially feel like they have to find extra time rather than just maintain daily growth. Once they have made the time, they must make sure to …

MAKE A PLAN

Time is valuable, so students need a well-organized and well-intentioned practice session to ensure the minutes or hours spent with their instrument are not wasted. Before starting a practice session, they should take a minute or two to make a plan. What warm-up exercises will they use to get started, get their brain engaged and start enhancing their technique to prepare for the literature they are learning? Help your students learn to identify which pieces and, more specifically, what sections of those pieces most need their attention in each practice session. Remind your students to gather the supplies and music they need to practice before getting started, and they should have a pencil and a metronome handy. Phones should be silenced or turned off to avoid distraction so they can focus on the practice plan they’ve created.

A few minutes before the end of the practice session, students should take a moment to evaluate how well they did in executing their plan. Did they work on everything they had intended to practice? Can they identify specific improvements in their technique or musicianship? Which measures, phrases or pages did they get under their fingers that they couldn’t yet play when they started practicing that day? Encourage your students to make a few notes about what next needs their attention to help accelerate the plan for their next session. This can be information that they bring to a lesson to help inform the focus of that time as well.

By committing to the time and planning how they use that time, your students are creating valuable practice habits. They are also training their mind and body to expect that regular interaction with music and giving themselves the opportunity to create a correct …

MUSCLE MEMORY

The intention of practice, in sports, music or any other active discipline, is to create enough repetition of a physical motion that people can count on accuracy of that motion when it matters in a game or performance. It is much more difficult, if not impossible, to repeat musical successes if the physical elements are inconsistent.

Encouraging students to take time to analyze a piece for the best sticking, fingering, bowing, breathing, tonguing, etc. early in the process is the best way to save time later as they establish a physical motion that is repeated the same way every time. As they learn notes and rhythms, they should pay an equal amount of attention to the markings above and below the notes; this is where the music truly lies, and each dynamic or articulation requires a distinct physical approach. Learning a piece or passage of music without incorporating how they play those notes and rhythms dynamically creates an inaccurate muscle memory of how the piece will eventually be performed, requiring some degree of unlearning when they add them in later. This is a lot to keep track of all at once, so it is critically important that your students …

SLOW DOWN

Practice doesn’t make perfect; practice makes permanent. By extension, only perfect practice makes perfect, and it is a whole lot easier to be perfect if your students take things slowly! Before they start playing — whether working a technical exercise, learning a new etude or solidifying a phrase from a solo — they should first consider what tempo will allow them to practice perfectly. It doesn’t matter whether the metronome is set to 144 or 40, humility and patience are valuable traits in the practice room and taking tempos down a notch (or 10) is the best path toward ensuring your students are able to perform with confidence later.

Students can keep track of their progress in a notebook, on their phone or with a penciled tempo marking at the top of the music so they can see their growth. Make sure they know that accuracy and musicality take priority over speed. It’s a lot easier to play faster if the music is repeatedly played correctly. Rarely will students play correct notes and rhythms if tempos are too fast to allow for consistent accuracy. They must make the commitment to play with a metronome at a tempo that allows for excellence and then make a plan to increase their speed strategically to arrive at a performance tempo that will showcase the music they solidified through patience. I assure my students that it will take less time than they think, especially if they approach the music in …

BITE-SIZED CHUNKS

It’s possible for your students to play every measure of a five-minute solo in 20 minutes of practice. However, this is not a good use of their time. Success comes from repetition, and repetition is a byproduct of focused attention on a manageable amount of music.

Let’s say a student has 30 days to learn a piece that is 60 measures in length. If they perfect three new measures a day, they will be done in 20 days and will have 10 days to put it all together. Trying to practice a whole piece in one day is like working at a tempo that is too fast — there’s a high probability that tomorrow’s practice session will be no better than today’s. So, help students break their music into manageable pieces that allow for sufficient repetition. As they focus their attention on these smaller sections of music, be sure they devote time before playing to …

COUNT OUT LOUD

My grandfather was a music educator, and he always said, “If you can count it, you can play it.” Having now taught percussion for over 30 years, I know with certainty that he was right.

When you count, you are intentionally engaging your brain in the process of figuring out the music you are playing, thereby firmly rooting the figures in your memory. By counting out loud in time, you are giving yourself something to mimic, and humans are naturally gifted at copying what we hear. After all, none of us learned to speak from reading a book!

Have students count through passages of music regularly during lessons. Encourage them to first count a phrase, then play that same phrase, mimicking the rhythm they just heard. Listening to and mimicking their own counting, or listening to and copying what they hear on professional recordings of the music they are learning is an exceptional reinforcement of their reading efforts. An over-emphasis on rote learning is not a recipe for future musical success, but developing your students’ ability to imitate is a tool worth having. And speaking of recordings, students should also …

young male student sitting at piano with mobile phone pointing at him

RECORD THEMSELVES

It’s difficult for students to be both performer and judge at the same time, but they can be both at different times. Given that the technology to create a decent audio or video recording is often in their pocket or backpack, your students should incorporate recording and critiquing as part of their practice time.

Tell them not to worry about the video quality or getting the perfect angle or orientation, and they should definitely not panic when they make a mistake when the camera is rolling. These recordings are for their use and learning only, not for public display. When your student believes that they have a pretty good run ready of a given section, tell them to pull out their phone, hit record and give themselves something to review later as either confirmation of success or as a guide to those areas that need more attention next time. If they have limited time with an instrument or are in a rehearsal space, recording themselves can be the last thing they do in the practice session. Then, they can use time away from the instrument to watch and take notes about areas for improvement.

While incorporating all these strategies and practice disciplines, tell students to remember that …

THERE IS VALUE IN THE EXPERT

Private music teachers, band directors, student teachers or other music professionals are dedicated to their students’ musical growth, and their input should be utilized whenever possible. Even if a majority of our students’ progress as musicians happens during their personal practice time — requiring them to teach themselves — being mindful of their habits, strategies and areas of focus can makes the limited time they have with those experts even more impactful.

I repeatedly tell my students to make it harder on me as their teacher to find areas for improvement. Don’t let me tell you what you should already have observed and addressed; instead, come with those items mastered and let me use my expertise to help you fully dig into more advanced musical considerations!

ASU’s Popular Music Program Focuses on Access and Community

Written by Savy Leiser on October 7, 2025. Posted in Case Studies.

At the start of 2020, Arizona State University (ASU) scheduled Erin Barra, then an Associate Professor at Boston’s Berklee College of Music, to give a presentation as part of her job application. Barra was in consideration for the director role at ASU’s upcoming Popular Music Program, which was set to launch the following school year.

Barra was happy in her role at Berklee but couldn’t pass up the chance to lead a brand-new department. “It was the ultimate opportunity to build something from nothing,” she says.

With a flight scheduled, Barra felt prepared to give the presentation of a lifetime. Then, shortly before she was set to leave for Phoenix, the world shut down because of the COVID-19 pandemic.

Thankfully, Barra had plenty of online teaching experience from working with Berklee Online, so she quickly adapted her presentation for Zoom. Several weeks later, she was offered the ASU role and faced another difficult choice: “I had to decide [whether] to move my family to Arizona, without ever having been there,” she says.

Realizing how much influence she could have on a new program ultimately motivated Barra to accept the job. “So much of academia is inertia; things have been happening a certain way for decades and changing it is insurmountable for most people,” she explains. “The fact that I was going to have a huge impact right away was incredibly alluring.”

After a cross-country move and adjusting to a new profession, Barra quickly realized that she made the right choice. “It was the best decision I’ve ever made in my career,” she says.

ASU’s Popular Music Program, which includes academic tracks for disciplines like songwriting, music technology, music business and more, has now completed five years of operation and graduated two groups of students, many of whom work in the music industry.

Barra attributes the program’s success to its inclusive environment, individualized approach for each student and collaborative community.

Building from the Ground Up

When Barra first prepared her presentation to interview for the director role in 2020, she decided to go all-out. “I had nothing to lose,” she says.

Because she already had a great job at Berklee, Barra didn’t feel the need to pander to her interviewers, instead she was brutally honest. “I put together what I thought was one of the most progressive visions for a popular music program,” she says. “I put my real thoughts down on paper and shared them in full transparency.”

To her surprise, ASU faculty were instantly open to her ideas. “I was shocked at how willing they were to do something different,” she says.

Barra’s goals for the new program focused on inclusivity. “I’m always talking about how we can make more inclusive spaces for people to learn,” she says. “As a woman in music technology, I’ve experienced what it’s like to be othered.”

While building a new program from the ground up, Barra and other faculty members worked on fostering inclusion through redefining musicianship. “A lot of schools have a very narrow idea of what constitutes preparedness for a college music degree,” she says. “At ASU, we have so many options. You don’t have to be an instrumentalist. You don’t have to have 10 years of private lessons.”

Instead, she explains, the admissions team measures each applicant’s qualifications on an individualized level. “We measure someone’s ability to succeed based on their musicianship: their ear, their rhythm and so many other ways,” she says. “We’re inclusive of digital musicians, traditional musicians, DJs, composers, writers, everyone. As long as you have the will to succeed and decent ears, you can come be with us.”

Erin Barra performing on her digital music station

Choose Your Own Adventure

This individualized approach to music education begins with one-on-one interviews during admissions. “If they want to come in and study guitar, we’d watch them play guitar obviously, but we also assess melodic recall and rhythmic recall. We ask basic music theory stuff,” says Barra, who was recognized as a 2025 Yamaha “40 Under 40” educator. “We assess how far you can take somebody. We have conversations with them.”

The aim of these conversations is to determine each student’s individual goals, passions and areas of expertise. “If their musicianship is oriented in a different way, we have them walk us through their workflows,” Barra says. “We’re taking the time to sit down and figure out who these people are and what they want to do.”

Once students are accepted into the program, and they complete all prerequisite classes, they gain access to all equipment and technology, regardless of their area of study. “In many programs, there’s this demarcation between a technical field and a creative field, and only certain students get access to the full array of technology they’ll experience in their careers,” Barra says. “We democratized all technology. As long as you take the prerequisite courses, you can use it. It doesn’t matter if you’re an engineer or a songwriter.”

Another feature of the program is the variety of topics each student can study. “Musicians need to be a million things right now,” Barra says. “I created a program where they get to pick two or three areas where they want to specialize, so it’s just enough to be dangerous when you leave.”

All students take the same introductory classes, like music production fundamentals and music theory, to give everyone the same baseline experience. “”When they hit the third semester and beyond, they get to explore,” Barra says. “They really choose their own adventure, and it culminates in a year-long capstone where they pull it together in a big project.”

The Music Industry Career Conference

In its five years of operation, one of the Popular Music Program’s biggest accomplishments has been launching its yearly Music Industry Career Conference in Phoenix, which is open to both ASU students and the public.

As Barra explains, this conference takes advantage of Phoenix’s strategic location in relation to music industry hubs. “We have such prime access to the music industry because of where we are — we’re close to Los Angeles — and because of the economic and cultural development happening here in Phoenix,” Barra says. “We’re the fifth largest city in America right now. There’s so much opportunity to build in Phoenix.”

Music industry professionals from around the country fly in for the conference, which allows students to learn from them during panels and workshops, plus students can network with people in their desired career field. The 2025 conference featured producer Timbaland as a special guest.

Barra says that the conference has helped students get their foot in the door for internships and potential jobs after college. “We’re trying to connect to what happens once they leave ASU,” Barra says. “Once they graduate, they become part of the music industry in Phoenix, or wherever they decide to go.”

The conference isn’t beneficial only to students; it’s also a positive force for the entire community. “ASU often talks about how we’re accountable for the communities we’re embedded in,” Barra says. “We’re in the cultural hub of what’s happening in Phoenix right now.”

Community, Not Competition

A program focused so much on preparing passionate students for creative careers can easily veer into a competitive environment. However, Arizona State avoids this problem by intentionally fostering a collaborative community among the students. “One of our biggest assets is the culture of the program. Students talk about how the program is collaborative within the backdrop of community,” Barra says.

The secret ingredient to a successful collaborative environment is the faculty you hire, Barra says. “Everything trickles down from who’s sitting in front of a classroom,” she says. “That’s where the tone really gets set. We’ve done a lot of thoughtful hiring.”

Thoughtful hiring means seeking educators with a variety of different specializations and who reflect the vast diversity of the student body. “I hire people representative of the type of person I want the students to be: People who are involved in multiple things,” Barra says. “Our assistant director, Samuel Peña, is a DJ, a percussionist, a beat maker, and he does a lot of nonprofit stuff.”

For this musical creativity, community, diversity, inclusion and collaboration go hand in hand. “That’s the reality of the music industry,” Barra says. “Nothing gets done alone.”

Barberton City Schools' band room -- flutes

A YouTube Channel for Winds Practice

Written by Amy Marie Orozco on October 6, 2025. Posted in Winds.

Lee B. Gibson, the Assistant Director of Bands at Barberton City Schools in Ohio, teaches four periods at the middle school, two at the high school and marching band. Located seven miles from Akron, Barberton High School and Barberton Middle School are across the street from each other with teachers going from campus to campus. It was during one passing period in the pre-COVID era that Gibson had an aha moment in the middle of the street — he would create a YouTube channel to help his winds students practice.

He started the channel nine months before the lockdown. “It was a serendipitous thing,” says Gibson.

The Result of His Aha Moment

Described as a one-stop shop for practice aids for winds, TheBandRoom videos cover rhythm, breathing exercises, lip slurs, tone development, play-along scale tracks, practice drones and other complementary exercise materials. Though regular uploads have tapered off, TheBandRoom is dynamic, keeping practice sessions fresh and serves the novice-to-professional demographic.

Gibson, who was recognized as a 2025 Yamaha “40 Under 40” music educator, created the channel for students, not as a side hustle, not for money. All the videos have to do with playing and fundamentals. Containing minimal text, they are not intended to be instructional but used for practicing — ideally, on a daily basis.

For example, the Bass Ensemble Drones playlist has 12 videos, each about two and a half minutes in length, with this simple guidance: “A practice drone comprised of a Full Brass section in octaves. Use this drone to practice long tones, intonation, blending and tone color. Listen carefully and match the sound of the drone as closely as possible.”

Warm-up videos include Breathing, Tone Development, Articulation and Lip Slurs offering “play-a-long practice videos.” The Lip Slurs exercise directs students to “use your favorite two-measure lip slur exercise with this. It also works with woodwind technique exercises that are designed to work alongside lip slur exercises.”

Channel Response

Gibson does all the video production. Thanks to his artistic father and stepfather, he has the skillset to make videos. His degree in composition gave him the tools to craft backing tracks and arrange the music. Gibson modestly notes there is a community of other YouTube music educator channels with better production values than his, citing Swick’s Classroom (launched by 2021 Yamaha “40 Under 40” educator Tyler Swick) as superb.

Still, TheBandRoom has been very well received and supported. There’s been no pushback from admin, parents or anyone regarding the YouTube channel. Maybe most important to the channel’s success is Gibson’s very understanding wife. The father of a 6- and 1-year-old jokingly says, “It’s bad enough to be married to a band director!”

The channel has 572 subscribers and 466 videos with 72,000 views and growing. Analytics indicate that most of TheBandRoom’s subscribers are not Gibson’s students — they come from all over the world. There’s TheBandRoom Facebook page, too.

Barberton City Schools' band room -- trumpets

Every Kid Deserves to Play an Instrument

Gibson comes from a musical family, although he’s the first to be musically literate and read music. He joined band in the 5th grade and learned saxophone followed by clarinet in 8th grade. A woodwind doubler, Gibson claims the tuba as his instrument. While playing community band in high school, he decided to be a band director. He went to school for composition and graduated from Bowling Green State University College of Musical Arts, which boasts one of the nation’s top music teacher education programs with more alumni teaching in Ohio than any other university.

Teaching jobs were scarce when he graduated in 2010. He pieced together a livelihood with substitute teaching, freelancing, giving private lessons and working at afterschool programs. His first regular teaching job was choir and general music for pre-kindergarten through 12.

The Barberton City Schools district is a rarity in education. Its music programs are “extremely well-funded,” according to Gibson, who also has secured grants to further enrich music education. The 3,645-student district has three band directors, two choir directors and two elementary music teachers. The Barberton Band Boosters have purchased instruments throughout the years, and the district covers the cost of repairs. The instruments range from beginning up to professional-quality for upper-level high school students. The schools also pay for other costs like reeds and private lessons.

Philosophically speaking, Gibson believes every kid deserves to be musically literate and play an instrument. He is appreciative that music is a graduation requirement in his district. He feels “lucky” he has the resources to do special projects like TheBandRoom YouTube channel for his students because it has given him the chance to use his skills in different and creative ways. A win for him, his students and music education around the world.

Gibson encourages all educators to cultivate their special talents and abilities to use in the classroom — not everyone has to build a YouTube channel! Following are his 10 reasons why.

10 Reasons to Cultivate Your Special Qualities

Forge Stronger Connections: When you let your unique personality shine, you create more genuine connections with students. They see you, not just a teacher, which builds trust and rapport.
Boost Student Engagement: Your unique approach can make lessons more memorable and engaging. Maybe you have a knack for storytelling, a talent for funny analogies or a passion for a niche subject that you can weave into your teaching.
Increase Your Confidence: The more you lean into what makes you special, the more confident you’ll feel in your teaching abilities. This confidence is contagious and will have a positive impact in your classroom.
Stand Out (in a Good Way!): In a sea of educators, your unique style will help you stand out. This isn’t about being flashy but about offering something distinctive that students appreciate and remember.
Find Your Teaching Niche: Discovering what makes you unique can help you identify your “superpower” as an educator. Are you the master of classroom management, the queen of creative projects or the guru of group discussions?
Model Individuality for Students: By embracing your own uniqueness, you implicitly teach students the value of their own individuality. It shows them it’s okay to be different and to celebrate what makes them special.
Develop Creative Solutions: Your unique perspective can lead to innovative solutions for classroom challenges. When you think outside the box, you’re more likely to find fresh, effective ways to teach and manage.
Be More Authentic: Trying to be someone you aren’t is exhausting! Embracing your unique quirks and strengths allows you to be truly authentic, making your teaching feel more natural and less like an act.
Enjoy Teaching More: At the end of the day, when you’re being true to yourself and leveraging your unique strengths, teaching becomes a more joyful and fulfilling experience for everyone involved.
Rekindle Your Passion: Sometimes, teaching can feel like a routine. Tapping into your unique self can reignite your passion for the profession and remind you why you became a teacher in the first place.

Following his own advice, Gibson keeps his talents honed for use in and outside of the classroom. Another Gibson project is the Akron Piccolo Christmas concert.

Guitar Electives: A Gateway for Growth

Written by Mark Stanford on October 3, 2025. Posted in Guitars.

The introduction of a Guitar and Ukulele elective in 2019 at Springfield High School in Pennsylvania has been a key driver for growth and expansion within our music department. Since then, we have added a full-time music staff member and introduced Guitar Level 2.

For the 2025-2026 academic year, we introduced two more music electives — Modern Band and Fundamentals of Piano — and revived our Introduction to Music Theory course, which hasn’t been offered since the pandemic!

Break Down Barriers with Guitar Courses

Guitar and other chordophone courses are especially unique tools for engaging students beyond core ensembles. The Guitar and Ukulele elective course ushered in hundreds of students looking to not just learn about music in, say, a Bach to Rock class but to actually make music! The overwhelming majority of guitar students had not taken any other music elective during their high school experience.

Why is guitar breaking down barriers for student access to music education?

It has mass popular and cultural appeal.
It meets students where their interests lie: The artists they enjoy play these instruments.
Guitar can be played in many popular styles or genres.
It easily facilitates a natural sound before sight approach to learning music.
With good instruction, success can be achieved quickly!
With the guitar, students can play melodies and harmonies
It doesn’t require a reliance on traditional notation.
No ensemble is required with the guitar!
There is a wealth of high-quality and low-cost method books, YouTube channels, apps and websites dedicated to guitar instruction.
Guitars are reasonably priced and readily available at local and online distributors. We like and use the Yamaha GigMaker Deluxe Package.

The guitar is an incredible engagement tool for music education.

Engagement from Guitar Courses

As music educators, we know how awesome music is! It’s fun, expressive and part of the shared human experience. Through guitar, we are able to share that message and inspire a passion for music with a much larger student population. We are planting a seed.

From that touch point, we can do two critical things in elective guitar courses:

Find out what and how students want to learn about music and offer courses and curricula that meet their needs and interests.
Direct students to course offerings that already exist to meet their interests and needs.

Surveying your courses and providing music offerings students want is a surefire way to grow and expand your music program.

Pathway to New Courses

This year, we are expanding our instruction to include Modern Band and Fundamentals of Piano courses. Many of our guitar students who progressed into Guitar Level 2 were looking for a way to apply their skills and Modern Band provides that opportunity. This course also opens the door for other musicians such as bass players, drummers, keyboardists, etc. and allows guitar students to apply their skills in the context of an ensemble.

The piano elective came at the request of elective guitar students who were interested in learning piano. Some felt that guitar wasn’t for them, but they wanted to continue making music. Others simply had a piano at home and were looking for instruction. Fundamentals of Piano is structured in a similar manner to our guitar electives, so students will already have knowledge of chord symbols and notation.

Pathway to Music Theory

The Guitar and Ukulele elective has been a catalyst for reviving our music theory program.

Playing guitar requires students to interact with basic music theory concepts and vocabulary. As a fretted chordophone, guitar lends itself as a powerful teaching tool for both melodic and harmonic concepts in theory unlike many traditional ensemble instruments. In my courses, learning to play major and minor chords, structuring progressions and reading music piqued the curiosity of students from our guitar classes. Basic theory concepts that must be taught in a beginning guitar class plant the seed for further music theory learning.

This year, the majority of Introduction to Music Theory students are not in an ensemble, but they have taken guitar or another music elective — this is the first time this has happened! These students are on a path to potentially take AP Music Theory and earn college credit.

Pathway to Other Electives and Ensembles

Once students opened the door to music education through guitar, it was a lot easier to get them to stick with music by offering and promoting more music classes that appeal to their interests. Guitar and Ukulele allowed our department to cast a wider net and create a captive audience. It gave us the opportunity to do what really grows music programs — build relationships.

Use guitar classes to recruit students for your other courses, especially when you identify a talent or interest. All you have to do is talk to your students about taking Digital Music Production or putting in a recommendation in your class-management system. I identified good singers for chorus through guitar class and even recruited a guitar player for Jazz Band!

Tone and Sound on Your Guitar, Part 2

Written by Bob Habersat on October 2, 2025. Posted in Guitars.

In Part 1, we focused on shaping your tone at the guitar, from picking and fretting to pickup choice. Now we’ll follow the signal beyond the instrument, exploring amps, EQ, effects and presets. When students understand these elements, they will be able to create tones that feel good and sound great with the rest of the band.

Cables and Signal Flow

I tell students that the signal coming out of a guitar is like water — it flows out (OUTPUT) of a source, and it flows in (INPUT) to something else. The TS (tip-sleeve) cable is used to bring the instrument level OUT of a guitar and IN to an amp. Both ends are the same, so it doesn’t matter which end goes in the input or output. If pedals are being used, they go between the guitar and the amp. I use a modeling amp, like the Line 6 Catalyst CX 100, but do not use pedals for beginners. This removes the clutter on the ground and the potential for cable chaos.

Your body and pieces of metal pass electricity, so if you touch an instrument cable when it is plugged into an amp that’s turned on, you will hear it. If you take a cable out of a guitar when the amp is on, you will REALLY hear it. Remind students to turn off their amps when plugging in their instruments — this will eventually become routine, and students will police each other.

I have students route their instrument cable through their strap. This acts as a strain relief for if/when they step on the cable while playing, and it will keep them from having an embarrassing moment on stage.

There are different jacks on an amp. Some are inputs and some are outputs. The input that the instrument cable plugs into is usually closest to the preamp volume knob. Students will plug the cable into different jacks in the amp — they are kids after all — but you can get ahead of that eventuality by doing a lesson on the anatomy of an amp when they start out. After students know where things go, have them take turns sabotaging each other’s rig, and then, figure out how to get them working again.

The Pre-Amp and Power Amp

There are three gain stages in a guitar amp – two in the pre-amp and one in the power amp. The power amp volume, or master volume, control is usually closest to the right side of the amp and controls the level speaker. This is the first control that I show students because it adjusts the overall loudness of the amp.

The job of the pre-amp is to bring the instrument level from the pickups to the line level, which is the amount of signal that most pro-audio gear runs at and is best for EQ and effects. Most preamps have controls for the gain (or drive) and the channel volume. The gain knob controls the amp’s input sensitivity. The channel volume adjusts the amount the instrument signal is raised to get to line level. Both these stages can be set to green, yellow or red depending on the desired sound.

master volume on the Line 6 Catalyst amp

Each amplifier has a different type of pre-amp, and there are some popular amps that have been used to produce different sounds.

Fender Twin: Crystal clean sounds with scooped mids; clean rhythm parts, funk, jazz
Vox AC30: Clean to crunch with more mids and sparkle; clean rhythm parts with some edge, crunchy rhythm parts, bluesy leads
Marshall Plexi: Classic crunch; crunchy rhythm parts and some single note riffs
Mesa Dual Rectifier: High gain; single note distorted metal parts, searing leads
Diezel VH4: Modern high gain; low tuned djent, modern metal leads

Each amp or amp model will sound different when the pre-amp is pushed because each has its own characteristics. For example, some will get distorted earlier than others.

It’s good practice to be able to craft a clean, crunch and lead sound to be used in different parts of a song. Here are some general rules of thumb to get these different sounds.

CLEAN: Find a clean amp model (labeled Clean or Boutique on the Catalyst CX). Have students turn the master volume higher with the channel volume turned to about half. Adjust the gain knob from 0 until there is still clarity, but there is body to the sound.
CRUNCH: Find a crunch amp model (labeled Chime or Crunch on the Catalyst CX). Turn the master volume lower than for clean, and the channel volume higher than half. Adjust the gain, so there is distortion when the guitar is picked hard.
LEAD: Find a lead amp model (labeled Dynamic or High Gain on the Catalyst CX)Same level of master and channel volume as crunch. Adjust the gain so that there is distortion even when picked quietly.

It’s important to note that clarity is lost when there is too much gain. A beginner’s mistake is to turn up the gain too much, which makes it harder to hear the beginnings of the note and hides picking mistakes. This sounds great when the player is playing by themselves, but the attack of their notes gets lost when the ensemble is playing. Most of the power in a distorted guitar sound comes from the pick, NOT the gain knob. You would be surprised to hear how clean Eddie Van Halen’s guitar sound is on Van Halen’s isolated tracks. Most of his power came from his picking style.

EQ

There is usually a three-channel equalizer in the pre-amp section of each amp. This allows you to boost or cut certain frequency bands. What’s tricky is that you hear frequencies differently when you are playing by yourself as opposed to when you’re playing with the rest of the band. Have a tone workshop day where you experiment with different settings for everyone in the band, so they can start to develop and understand their sound’s role in the group.

When playing in an ensemble, have students turn the bass knob down to 2 or 3. The low frequencies in a band are carried by the bass guitarist, so cutting the low frequencies on the guitar amp makes for a cleaner mix on stage. Most band rooms have issues with low frequency build-up, and multiple amps taking up this low range can result in a volume war between players — no one needs or wants that!

I like to think of the mids as the voice of the guitar. The notes you play live primarily in the mid-frequency band. Boosting the mids makes the notes sound thicker, which creates more of a jazz tone when played clean. Cutting the mids produces a scooped sound.

I usually have my students keep the mid knob around the middle. If their tone is overly full, I’ll suggest cutting it slightly. Many instruments in a band occupy the mid-frequency range, so it’s important not to muddy up the mix with your guitar tone.

If a cheap guitar has a particularly thin-sounding pickup, I might have a student boost the mids. Conversely, if a guitar has pickups where the mids are overpowering, I’ll recommend cutting them—but just a little. With mids, a little adjustment goes a long way!

The highs alter the amount of clarity in the sound. Some budget guitars will sound too dark and can be fixed with a boost of the treble control. Some parts — like a funky, single-note Chic-style rhythm line — could benefit from a little boost, as well. Maybe students are using the bridge pickup for a country twang line and the tone is like an icepick to the ears. In that case, turn the treble down a little. Again, a little goes a long way.

Speaker

Where you point the speaker is very important. If the signal flow is like water, then the speaker is the hose’s nozzle, and it sprays the sound in a cone shape. Students must point the cone where it counts.

Students should always stand in front of their amps, and if possible, they should be tilted up slightly. Higher frequencies are more directional than lower ones, and students won’t be able to hear the attack of the sound and might overcompensate with their EQ or volume on stage. This could result in blasting the front 15 rows with the dreaded ice-pick sound (especially if they are on their bridge pickup).

Effects

Effect pedals are placed between the guitar and the amp to “affect” the sound. There are hundreds of different effect pedals, so I’m not going to get too specific in this section. Most sounds that students need can come from the different amp models — a modeling amp like the Catalyst CX will have virtual versions of the pedals. These effects can be put into the following categories.

Boost, Overdrive, Distortion: These pedals add more gain or boost the level of the guitar before hitting the pre-amp. They can be used in a song to push the volume in a solo or change the character of a clean sound. Some overdrives like an Ibanez Tube Screamer have different EQ characteristics that can cut through the band during a solo or important riff. Cycle through different pedals like this on clean and crunch sounds to create different layered patches. The Catalyst has a different boost pedal for each amp model that works well with that specific sound. My students use this boost all the time for solos, especially since it can be easily triggered with a footswitch.

Fuzz: This is one of the earliest guitar effects and replaces the sound of distortion. It works well for very specific parts, and I only have students use it for certain songs. If you are doing “Foxy Lady” by Jimi Hendrix or “Cherub Rock” by Smashing Pumpkins, try a fuzz sound instead of distortion. Fuzz adds authenticity to a part, but it can be omitted if you want to keep it simple for students.

Modulation (chorus, flanger, phaser, ring modulator, etc): These are special sounds that are specific to different songs. I only have students use these sounds if the sound is characteristic of the song. Some examples include Kurt Cobain’s (Nirvana) watery chorus sound in “Smells Like Teen Spirit,” or Chris Cornell’s (Soundgarden) swirly rotary sound in “Black Hole Sun.”

Delay: Delay or echo adds repeats to the sound. You can usually control the amount of delay you hear (wet mix or level), the number of repeats (feedback) and how long between each repeat (time). Some delay pedals have a tap tempo function that allows you to tap a footswitch to match the tempo of the song. Delay adds space to the sound, and I have students use it on cleans in some sections, on songs like, “Shut Up and Dance” by Walk the Moon or “Where the Streets Have No Name” by U2. A short delay time with little feedback makes for a great slap-back sound for a country part.

Delay is great for leads. It adds a thickness that can help cut through the band. Use a longer delay time and moderate feedback for a lead delay. Dial in the amount of wet mix until it is present but not overpowering. Try it with your band and have students use TOO much of it on purpose and then dial it back.

Reverb: Most amps have a reverb setting and most students LOVE to turn it up too high. I like a little bit of reverb on a clean sound. For a crunch sound for power chords and single note riffs, it helps to keep things tight, so go without reverb. For a lead sound, add a little bit of reverb.

Channel Saving and Switching

A modeling amp, like the Catalyst CX, allows you to save settings into easily recallable presets. The preset includes the amp model, gain, channel volume, EQ and effects. The master volume is not included in the channel. Have students build a clean, crunch, lead and boosted lead presets.

Saving presets is different on each amp, but it usually is as simple as holding down the button for the preset on the amp for a few seconds until it flashes. When building out presets, make sure the overall volume is similar between each sound by using the channel volume. Make sure the crunch and clean are close in volume with the lead being slightly louder.

How to Get Students to Own their Tone

Students must be stewards of their own tone and be trained to listen to themselves as a soloist and in relation to the band. Ask your players what the songs need and have them adjust their rig and listen critically.

If possible, allow students to observe professional guitarists, so they can ask them questions about their rig. If there is one thing musicians love to talk about, it’s their gear!

Students should listen to recordings of their favorite players, which should prompt them to use their guitar and amp to recreate sounds on different recordings. Turn it into a game with multiple players. It’s impossible to get it exactly right, but practice and persistence makes perfect.

female guitarist on stage and pointing toward audience

Tone and Sound on Your Guitar, Part 1

Written by Bob Habersat on October 2, 2025. Posted in Guitars.

Playing an instrument that sounds good makes a student feel good, which encourages them to continue playing. Conversely, playing an instrument that sounds bad makes a student feel bad, and discourages them from playing.

Student guitarists must understand the tone of their instrument and amp, and how their tone affects the rest of the band. It’s as important as a clarinet player knowing how to maintain their reed or a trombonist knowing how to use a spit valve.

The Guitar

Old strings will sound dull and are difficult to tune. A guitar that has its action too high, its truss rod set incorrectly or has issues with the nut will also be difficult to play. If you have a local guitar shop, contact them and tell them that you will send students their way for guitar setups. They will likely give your students discounts. The difference a setup makes on a guitar (especially a beginner one) is huge!

When trying to create your own unique sound, exploration is key. Try this … first, pick close to the bridge, then play closer to the neck. What do you notice? Playing closer to the bridge creates a brighter sound. A warmer sound is achieved when you play closer to the neck. The pressure used on the pick alters the sound, too. I find that when students practice electric guitar without an amp, they tend to overplay, so they can hear themselves. This develops a bad habit that results in students going into the red and distorting the strings.

Guitar is a very dynamic instrument and developing touch and control in the picking hand will help create a good sound. There are times when you might want to overdrive a string and bring it into the red — for example, when playing a Stevie Ray Vaughn riff or a Metallica rhythm part — but there are times when you want to keep it in the green to create headroom for accents in a jazz line.

If students are playing electric guitar, make sure they use amps or headphones. Have them think about their picking velocity, like the volume knob on a stereo. They should be able to play a single note (open or fretted) or a chord at a volume of 1, 2, 3, 4 and 5. A good exercise is to have them copy a simple, single-note melody, like “Seven Nation Army,” at these different volume levels. They can then alternate loud and soft for every other note. With practice, this becomes second nature.

Proper fretting impacts the sound of the guitar, as well. Creating positive contact between the string and the fret helps make your instrument sing. Make sure students are using the fretting technique where their fingers are curled and they are using the tips of their fingers to contact the string. Students with small hands should place their fingers closer to the fret (never on it). This allows them to get a good ring without having the sting of pressing down too hard.

Unintentional ringing of strings outside of a chord or notes bleeding into each other during a single note can muddy the sound. To help with this, students must practice purposeful string muting. Have students fret a note on adjacent strings with each finger. For example, have them place finger 1 on fret 3 of the high E string, finger 2 on fret 4 of B, finger 3 on fret 5 of G and finger 4 (yes, the pinky!) on fret 6 of D. Students can shift this up if it’s too uncomfortable. Have them play the notes from high to low while keeping their fingers on the string when that string isn’t being played — this keeps it from ringing.

closeup of guitar's pickup selector — Guitar’s pickup selector.

Pickups and Guitar Controls

Pickups are actually tiny generators. When the string vibrates in their magnetic field, it produces electricity. Don’t worry, you won’t get zapped by playing a G chord while holding the other end of an instrument cable — the level of energy that comes out of the pickup is called instrument level and it’s very weak. The controls on a guitar allow the player to quickly change the instrument level signal.

Pickup Selector: The pickup selector chooses which signal is allowed to pass through the guitar. These controls come in different shapes and sizes, but most allow you to choose the neck only, bridge only, either the neck or bridge, or some combination of a middle pickup.

The different pickups have different timbres that correspond to the different picking zones. The bridge pickup is usually very bright and is used for crunchy riffs, country twang and searing leads. The neck is much warmer and is used for bluesier riffs, jazz and different rhythmic patterns. The combo positions have a nice quack attack and are great for strumming parts or single-note funk.

Choosing the right pickup for a song or song section can make or break the sound. Students will hardly play clean chords and rhythm parts on the bridge pickup — it’s a common error. During a set, a guitarist may change the pickup control between songs or even between song sections. There are times when I have changed pickups during a solo to alter the timbre. The goal is to make students aware of what the different pickups sound like and to identify which pickup is being used on certain recordings. They can then try to copy these sounds when they play.

close up of guitar's volume knob — Guitar’s volume knob.

Volume: The next control in line is the volume knob. This isn’t as important a control as you might think. I have my students turn the volume all the way down when I don’t want to hear them noodle during practice, but I have them turn it all the way up when they are playing.

When you turn the volume knob down, you aren’t turning down the loudness of the amp, you are decreasing the amount of signal from the pickups, which makes it very thin and BELOW green. A more nuanced player will use this to their advantage, but I teach my students to keep the volume knob up at all times.

closeup of guitar's tone control — Guitar’s tone control.

Tone: The next control is tone. When the tone control is all the way up, the signal from the pickups is unchanged. When it is turned down, the higher frequencies roll off. Turn it all the way down, and it gets very muddy. For the most part, I have my players keep the tone control all the way up, and we do adjustments to EQ on the amp because it’s more flexible. For a jazzier sound, have students pick a single note and slowly turn the tone down until the attack of the note is clear, but its character is darker.

Some guitars have a volume and tone control for each pickup while others only have one for all the pickups. The best way to find out is to have the student play and start turning knobs to figure out what does what. This is a great learning opportunity and is one of the first steps to get students in control of their sound.

In Part 2, I’ll go into amplifiers, effects and more.

open laptop with sticky note that says "help" on it

A Realistic To-Do List

Written by Don Stinson on October 1, 2025. Posted in Self-Care.

At 7:12 a.m., you finish your beautiful color-coded to-do list. It has categories and timelines. It has stars, asterisks and those little squares that feel oh-so-satisfying when you check them off.

At 3:30 p.m., you look at that color-coded to-do list again — it was untouched all day.

You’ve eaten two granola bars, dealt with a missing trumpet mouthpiece, broken up a hallway argument over Pokémon cards and sent three “I-promise-I-didn’t-forget” emails. And now, your brain is mush, and that pristine to-do list is quietly mocking you from the corner of your desk. Sound familiar?

If you’re in your first few years of teaching and wondering why you never seem to get ahead, this might be part of the answer: You’re planning for a version of yourself that doesn’t exist — at least not yet. So, how do you make a list that doesn’t fall apart by lunch?

If It Doesn’t Fit on a Sticky Note, It’s Probably Fiction

Early in my career, my to-do list lived in a three-ring binder that had dividers, a table of contents, color-coded tabs. I was so proud of it — until I realized I was spending more time organizing the list than actually doing anything on it.

Eventually, I switched to something a lot smaller: a single sticky note.

For me, if it doesn’t fit on one sticky note, it’s not a real list — it’s a wish list. The sticky note forces you to make choices. It cuts the fluff. You stop writing down things like “organize digital sheet music archive” and instead write “find the baritone part for Pep Tune #6 before 3rd period.”

This was a huge shift for me. I liked the idea of the “master list.” I still do — but that master list lives somewhere else now. It’s on my laptop or buried in a planner. It’s not the list I stare at between 2nd and 3rd period when I have six minutes and a kid waiting at my office door with a broken clarinet.

The sticky note is the only list I trust during the day. Not because it’s perfect — but because it doesn’t lie to me.

Here’s the catch: If you’re like me, be careful of spending more time perfecting your system than actually doing what needs to get done. At one point, I had three different productivity apps and a bullet journal going at the same time. (I wish I were kidding.) They all made me feel like I was doing something important — when really, I was just procrastinating with better stationery.

I know how satisfying it is when you cross something off your list. Sometimes I’ll even write something down that I already did just to cross it off. ~~Laundry. Feed dog.~~ Get life together. Score study. (Well, you can’t get everything done, can you?)

messy desk with laptop, notebooks, crumbled paper strewn everywhere

Plan for 30% Less Energy Than You Think You’ll Have

On those days when you’re feeling really ambitious and put seven big things on your list? Yeah, don’t do that.

In my experience, teaching music isn’t just physically draining — it’s decision-fatigue on steroids. You’re balancing 100+ personalities, instruments, classroom dynamics, hallway noise, tech glitches, impromptu counseling sessions and “can I play my solo for you real quick?” all before lunch.

So, here’s my rule: I plan as if I’ll have only 70% of my energy. On paper, it feels lazy. In real life, it’s the only reason I get anything done.

I used to schedule post-rehearsal tasks like writing grants or doing inventory. Those things did not get done. Why? Because my gas tank was empty — I had no brainpower left. I was lucky if I had enough focus to send a semi-coherent email or remember to eat the granola bar in my desk drawer.

Now, I build in “filler” tasks for those low-energy hours. Things I can do on autopilot. Like copying music, responding to surface-level emails or cleaning out the trumpet spit bucket. (OK, maybe not that last one.)

I still have big-picture tasks. I just don’t trick myself into thinking that I’ll do them at 4:15 p.m. on a Thursday. When I stopped pretending I was superhuman, I was able to actually get more done — and I didn’t feel guilty for collapsing at the end of the day.

Lists Aren’t Promises — They’re Suggestions

A to-do list is like a weather forecast — it’s useful, but often wrong. Before, every task felt like a solemn vow. If I wrote it down, it had to be done — preferably by 4:00 p.m., neatly checked off and filed in the binder of accomplishment.

Then one day, I had to choose between finishing an admin report or helping a student through a personal meltdown. I helped the kid. The report waited.

I missed the imaginary “deadline” that I had set for myself, but I didn’t regret it. The student needed me more than the spreadsheet did. I started realizing that maybe — just maybe — the world wouldn’t fall apart if something didn’t get done right away.

That report? It still got turned in eventually.

Now, I build my lists with more grace. I assume that one or two things won’t happen. Not because I’m lazy, but because I’m teaching in a real school, not a productivity seminar. There’s no trophy for finishing your to-do list if you’re a husk of a human when you do it.

If you’re worried that you’ll forget something? Write it down somewhere else — in a backlog, a planner, the notes app on your phone. Just don’t let it sit on your “today” list giving you a guilty look all day.

classroom with two students talking in foreground and concerned teacher and student in the back

Being Busy Isn’t the Same as Being Effective

I know you’re working hard. Probably harder than anyone knows. But if your day is full of constant motion and you still feel behind, it’s worth asking: Am I actually getting anything done — or just staying busy enough to feel like I am?

I had to learn the difference between urgent and important. Urgent tasks are time-sensitive and often add the stress of “putting out fires” that can be distracting. Important tasks are more long-term, impactful and tied to your overall goal.

Urgent: A kid forgot their music again.
Important: The same kid hasn’t made eye contact with you in three days.
Urgent: Replying to that admin email marked “high priority.”
Important: Rewriting the warm-up to better serve your low brass.

I’ve made entire lists of urgent things — and at the end of the day, I still felt like I hadn’t moved anything forward.

One trick that helped me: Write down one quiet priority each morning. Something that doesn’t shout at you, but matters. Like “check in with percussion section” or “sit in the flute section and just listen.” Small moves that build trust, musicianship or momentum.

If your to-do list is full of things that don’t require you to do them? Delegate. Your students can do more than you think. (Mine have helped run the supplies cabinet, stuff programs and even set up our mic system better than I can.)

The Real Win? Leaving School With Something Left in the Tank

Some days, I leave work feeling like I still have something to give — to my family, to myself, maybe even to my horn. Other days, I walk out like a zombie and eat chips in the car.

The goal isn’t perfection. It’s sustainability.

If you constantly leave work totally drained, something’s off. Maybe it’s your list. Maybe it’s the expectations you’ve internalized about what “good teachers” are supposed to do. Maybe it’s just a hard week.

Your list can either help you survive this job or quietly sabotage you.

One of my mentors once said, “Don’t make a career out of being exhausted.” That stuck with me because, let’s be honest, there’s always more to do. Always. You could work 14 hours a day and still feel like you’re behind.

So, instead of doing everything, try doing the right things — and doing them with enough energy left to be a real person at the end of the day. Whatever’s left on the list will be there tomorrow.

So, start with what you actually have time and energy for. A sticky note’s worth. Build from there. And remember: The teacher you are right now is already doing enough.

woman pointing to herself with her hands

The Booster Club Isn’t Your Boss

Written by Don Stinson on September 30, 2025. Posted in Self-Care.

You’re six minutes into your planning period when a parent walks in holding a clipboard, a coffee and bouncing with the kind of energy that only comes from group-texting at 2 a.m. She smiles, sits down and says, “So we had a great idea at last night’s meeting …”

You weren’t at that meeting. You weren’t told that there was a meeting.

What follows is a list of fundraisers, events and purchases — all with dates and price tags — none of which were run by you first.

Sound familiar?

It doesn’t take long to learn that parent groups can be powerful allies. However, if you’re not careful, they can also run straight past collaboration and into micromanagement, and it usually starts with moments just like this one.

Let’s talk about how to set boundaries with your booster club — and why your program will be stronger for it.

Be Nice, But Start With a Boundary

In your first year or two, the idea of saying “no” to any kind of help feels ridiculous. Especially when someone shows up offering money, time or volunteers — all the things you desperately need.

So, you nod politely and thank them. You say yes. Even when their ideas conflict with your goals or their plans overextend your already maxed-out schedule.

I’ve been there. I remember a parent asking if we could do a pancake breakfast fundraiser in the middle of our concert prep week — and I said yes because I didn’t want to be the person who crushed enthusiasm. So, instead of rehearsing, we were flipping pancakes and borrowing cafeteria tables. Great fundraiser, but a disaster for the ensemble.

If you don’t set boundaries early, you’ll spend years trying to walk them back.

When a parent group starts planning without your input, say something right away. Be warm and professional, but clear. Try: “Thanks for taking initiative — I’d love to be looped in early next time so we can make sure this supports our teaching goals.”

You don’t need to go into defense mode. Just make it clear that you’re the one who decides what fits the program and what doesn’t. You’re not being bossy. You’re just doing your job.

It’s easier to draw the line before it’s been crossed too many times. Otherwise, you’ll end up spending a lot of energy undoing plans you didn’t make in the first place.

Fundraising Doesn’t Equal Control

This one’s tough because we all want to say yes to fundraising help. Uniforms, music, travel, instruments … there’s always a need. Boosters are often ready to jump in with ideas and energy, but fundraising doesn’t mean they get to call the shots.

I’ve had parents tell me, “Well, we already raised the money, so we figured we’d just go ahead and order [insert a thing we didn’t ask for].”

That’s when the awkward conversation starts — because now I’m saying no after they already did the work. Nobody likes being in that spot. Now I’m the jerk — and they already ordered the thing we didn’t ask for.

Just because someone raises the money doesn’t mean they get to decide how it’s spent. That’s your job — with your admin’s approval. If a parent offers to fundraise for something you don’t want or need, you’re allowed to say no. Even if they raise unrestricted funds, you still set the priorities.

I’ve had to say, “I appreciate your work on this, but right now we’re focusing on instruments and materials for beginning players. We’ll pass on custom polo shirts this year.” Was that a fun conversation? No, but it reinforced a key point: The program’s mission must lead the money, not the other way around.

Try to avoid the trap of “well, we already raised the money for it.” That’s not how school finance works — and if you’re at a public school, it’s likely a legal gray area, too.

You’re not being ungrateful. You’re doing your job. You’re allowed to keep the focus on what students need most, even if it’s not what a parent group is excited about that month.

Don’t Let Logistics Override Learning

Here’s what can happen: You get sucked into planning car washes, T-shirt orders and pasta dinners — all with the idea that they’re “supporting the program.” Suddenly you’re knee-deep in T-shirts and pasta sauce and wondering why your jazz kids still don’t know their parts.

Meanwhile, you’re spending less time on literature, assessment and ensemble development. I’ve looked at a concert folder the night before rehearsal and realized I didn’t prep a single measure of music that week because I spent my time managing fundraisers. That’s a wake-up call.

If the booster club’s efforts start pulling focus from your core teaching goals, it’s time for a reset.

Your job isn’t to keep the social calendar full. It’s not to make sure every parent’s idea gets implemented. Your job is to run a music program that teaches students how to grow as musicians and people.

Yes, a spaghetti dinner might build community. However, if it means you didn’t finish preparing your chamber group for contest, it’s time to reassess. That doesn’t mean you can’t have fun, creative fundraisers or events. It just means teaching must come first.

Sometimes, you have to explain to parents why you’re scaling back: “We’re going to skip a few events this semester so we can really focus on building the ensemble. I want our students to feel proud of what they accomplish musically.”

If they push back? That’s okay. You’re allowed to decide what’s worth your time.

Your Admin Has Your Back — If You Loop Them In

Too often, teachers feel stuck in the middle between pushy parent groups and unresponsive administrators. In my experience, admin teams are far more likely to back you up when you’ve kept them in the loop. The key: Do not wait until things explode.

If a parent group is stepping out of bounds — booking travel, spending money or making plans without approval — document it and bring it to your admin. Don’t wait until you’re so frustrated you want to blow up the whole relationship.

Try: “I really value the booster group’s support, but we’re running into some conflicts around decision-making. Can you help reinforce some guidelines for collaboration moving forward?”

I’ve had admin help me reinforce budget policies, set up a communication chain and even send a reminder email to parent leaders clarifying roles. That only worked because I brought the issue up before it became an emergency.

Good admin teams will back your leadership — but only if you let them know what’s going on.

You Can Say “No” and Still Be Collaborative

This is the big one. Saying “no” to an idea doesn’t mean you don’t want to work with parents. It means you want to build a structure that makes collaboration sustainable.

Start with clarity. Put your expectations in writing — even a one-page handout or email can do wonders. Include things like:

How funds are approved and used
Who makes final decisions on trips and purchases
What kind of help you need (and what you don’t)
How and when you want to be involved in meetings

You’d be amazed at how many issues vanish once everyone knows the system. Most parents aren’t trying to step on toes — they just don’t know where the line is. So, show them.

Here’s a real example from a friend’s program: A parent once offered to “help” by booking travel for our band trip. She was trying to be helpful, but she made calls, picked dates and even started collecting checks — all before she shared the itinerary with the band director. Once a written process was put in place, things calmed down. She still helped — but within a system that supported, rather than sidelined, the program.

When booster groups know the system, they’re more likely to work within it. And when they feel heard — even if their idea isn’t used — they’re more likely to stick around and help again.

You’re Allowed to Lead

If this all feels awkward — like you’re afraid of offending someone or sounding ungrateful — remember this: You are the music educator — not the parent with the clipboard. You know your students, your goals, your building and your limits. You’re allowed to lead. In fact, you have to lead.

Parent groups can be incredible partners., but only if the relationship is built on respect — not pressure. If you’re clear and consistent, they’ll usually follow along.

And your students will be better for it.

Five Steps to Build Brave Music Classrooms

Written by Laura Del Rosso on September 29, 2025. Posted in Case Studies.

As music educators, we want our students to achieve the highest level of musical success possible. We spend much of our time honing our pedagogy and focusing on the best way to teach notes and rhythms. As important as this work is, I believe that our students will achieve high levels of success if we focus on one simple thing: Making our classroom a brave space for music-making.

Teaching students to be brave involves careful consideration of how we create the physical and emotional classroom space, how we teach students to speak to and about each other, and how we push their learning edge. Over my years as a middle school music educator, I have developed tools to help establish and create this brave space with a new group of students each year. By keeping an emphasis on community-centered values, authenticity and a positive atmosphere, it is possible to help all your students become brave, talented and joyful music-makers.

music room door with positive notes on it

1) Curate the Classroom Environment

Classroom Expectations: Creating a brave space for music-making starts with the physical and emotional curation of the classroom environment. A brave emotional space is created when you set the tone for the year with your classroom rules. I like to frame my classroom expectations with a positive lens that centers on community care.

My classroom rules are simple:

Care for the space.
Care for each other.
Care for yourselves.
Have fun!

I intentionally keep these statements open-ended because my “first-day-of-school” activity is to define them. When asked what it means to “care for the space, each other and ourselves,” my students always land on the same messages — take care of the instruments (don’t break them), one speaker at a time, follow the “Golden Rule,” and speak kindly to ourselves even if we make mistakes.

That last one is my favorite, and one that I refer to constantly throughout the school year. When you teach your students to speak kindly to themselves, they feel more emboldened to try new things and are less afraid to make mistakes.

From Day One of music class, my students know that they can feel safe to make mistakes and are encouraged to be brave and bold in their mistakes. All while learning from those mistakes. I always say, “If you’re going to make a mistake, make a big one so we know you meant it!”

I repeatedly say this to impart the message that mistakes are encouraged and celebrated because they are important parts of the learning process. This message comes in handy particularly when you ask students to take the mic to sing or to perform a solo. When they lead with community care in mind, they know that their musical skills will be celebrated even as they are evolving.

Classroom Decor: Another way I curate my classroom space to be one of acceptance and bravery is by hanging different identity flags around the room. It’s critical that our students are able to identify adults and spaces that are accepting of their full identities. One way to signal this safety from the moment they step into the room is by including identity flags in your space.

For me, this most often includes pride flags, Black Lives Matter flags and an indigenous land acknowledgement. When students ask me to include a flag from their home country, I am happy to find a place for it in my classroom. This simple act of decorating the space with intention creates a welcoming environment in which all students can feel comfortable being their true selves.

2) Lead Intentional Community-Building Activities

Once the classroom environment has been curated to support our goal of bravery, it’s time to reinforce it by engaging in direct community-building activities. My favorite activity is to create musical affirmations with my students. There is power in our words, and teaching students to speak words of support, success and bravery into the musical space creates a joyful environment. These affirmations build on the community care elements of my classroom rules and allow students to start thinking about how they will put our musical community first when they step into my classroom.

I allocate a full class period to engage in a musical-affirmation lesson. While this does take away from rehearsal time, this is one of those moments when creating community can and should take precedence. To teach about affirmations, I follow a simple process:

Define and Brainstorm: What are affirmations and what role can they play in our lives? What are some examples of affirmations?
Create: What would a music-focused affirmation sound like? Independently write a musical affirmation on an index card.
Share: Capture the responses on chart paper, slide show or whiteboard. Some affirmations that students have created include:
- Everyone in the band matters.
- It’s okay to make mistakes.
- Never give up.
- I am capable of learning anything.
Connect: Identify common themes and create a classroom set of music affirmations.

After this lesson, we practice speaking our affirmations out loud by sharing them with each other. For this activity, I ask my students to stand in a circle and present a talking piece. Students toss the talking piece to another member of the band and reads an affirmation to them. For example: “You (student’s name) are an important member of the band” or “You are brave.”

This activity is powerful. It is one thing to say an affirmation to yourself, but it’s quite another to hear your peer say it to you. In these moments, students are breaking down social barriers between each other and affirming one another’s value to the musical community. After the day is over, I capture the musical affirmations and post them on the door inside my classroom. They are visible and central to the room, so students are always reminded of how to be kind to themselves and others during the learning process.

3) Be a Relentless Cheerleader

You have now curated your classroom space, created affirmations and helped your students understand that they are all on the same team, now it’s your turn to be their biggest cheerleader. To be their biggest fan, I deeply believe a few things:

Progress is always more important than perfection.
Their best is good enough (even if their best is not what I had in mind).
Mistakes are always okay.

I do not focus on perfection in my classroom because I believe that an emphasis on perfection breeds stress and anxiety that will ultimately harm our students’ mental health and desire to make music in the long run. I want my students to leave my music program knowing that their effort and hard work was always valued over their final product. The best part of having this mindset is that students almost always meet or exceed performance quality expectations when they are given this space to grow and learn in a judgment-free environment. I have found that students take on more challenging repertoire and push themselves to achieve higher levels of musical excellence simply because they are safe to do so.

My personality while teaching is one of a cheerleader. Bright, excited and relentlessly positive. I will tell students when something they are practicing can be improved and how to practice improving, but it is always through the lens of positive growth and encouragement. The phrases above are great places to start when encouraging your students, and they are easy for them to repeat, especially when they get stuck or frustrated. I remind students to always remember the classroom expectation of “care for yourself” and help them reframe their frustration into positive thinking.

two happy students sitting in front of keyboard

4) Guide Students Out of Their Comfort Zone

Once students are used to being in a music space where their mistakes are celebrated, their identities are included and they believe in their progress, it’s time to encourage bravery and push them out of their comfort zones. We can push our students out of their comfort zones by giving them harder repertoire, assigning a new player a solo, challenging them to take on a new instrument, or through performing for others. My personal favorite way to encourage bravery while always improving musical performance skills is through structured peer performances.

In this scenario, one group of students performs for the entire class or another small group of students, and they receive feedback from their peers. Before the performance days, we spend time defining the term “constructive feedback” and practice giving feedback in ways that are supportive and positive. On performance day, students are expected to both give and receive feedback, and ALL students perform for each other. The first-time students experience this activity, they are nervous and worried about sharing their progress with peers. Once they have experienced it a few times, however, students are excited to receive feedback and support from their peers and begin to shed their idea of perfection. They begin to enjoy the process of sharing an unfinished product with others, which makes them become braver music-makers.

5) Have fun!

If we are not having fun making music, what is the point? Learning music can be challenging and frustrating at times, but the goal should always be to access joy making music independently or with others. It is OK to laugh with our students and at ourselves in front of our students. It is OK to have a karaoke break sometimes, or to let our students share about an awesome concert they just attended or play their new favorite song for the class. Each day in your classroom should be infused with joy!

Once we have established a positive classroom environment, given students opportunities to empower themselves and others, taught them to push their comfort zone and left room for joy, we will have created a brave musical space where students want to continue making music long into adulthood. It is a joyful endeavor to cultivate lifelong music-makers, and these steps are a launching point to achieve that goal. Happy teaching!

Forney High School band performing on field

6 Strokes for Front Ensemble Warm-Ups

Written by Riley Warren on September 26, 2025. Posted in Percussion.

Marimbas, vibraphones and xylophones — OH MY! The modern-day front ensemble consists not only of these well-known percussive keyboard instruments, but also the glockenspiel, timpani, drum set, synthesizer and a range of auxiliary percussion instruments. Since its inception and over the past four decades, the front ensemble has evolved into a crucial part of marching band, indoor drumline, and drum corps productions, often providing supportive and even featured melodic, harmonic and electronic material. When considering the implementation of the front ensemble in your percussion and band programs, you must consider which exercises and pedagogical philosophies to employ.

Double Stops

A logical first exercise for your warm-up sequence is one that addresses basic double-stop motions. In the world of percussion, a double stop occurs when both mallets or sticks strike the instrument at the same time. One of the most common double-stop exercises popular among today’s front ensembles is called “Shifts.”

Shifts is a scale-based exercise, which means it can be transposed into any other key. It can be performed in a circle or multiple circles to extend the rep to the desired length. For instance, the instructor could call for “Shifts, Minor Scales, Circle of 4ths” as a way to increase the demands of the repetition.

In regards to its name, the exercise works on “shifting” quickly from note to note, emphasizing the importance of stroke efficiency. By performing this exercise using multiple scale-types and circles at the start of each warm-up sequence, instructors can help students mentally acclimate to the demands of the rehearsal. The music for Shifts is included below in C major, including parts for timpani and synthesizer. The final 2/4 included at the end is for connecting multiple scales together.

Download Shifts.

Alternating Strokes

Once the appropriate double-stop stroke has been established, it’s time to address the alternating stroke technique. This sequence is performed similarly to double-stops except that the strokes are performed one after another rather than at the exact same time. Acknowledging that many front ensemble arrangements contain rhythmically dense, often fast, scale-based melodic passages, the alternating stroke technique deserves specific attention during warm-up. For many decades, keyboard players and front ensemble performers have utilized the works of 1920s xylophone-extraordinaire George Hamilton Green. Inspired by the hundreds of exercises published in Green’s most notable work, “Instruction Course for Xylophone,” these exercises have come to be known as “Green Scales.” An example of the structure of the typical “Green Scale” is provided below, with suggestions for timpani and synthesizer parts included.

Download Green Scales.

Want to expand beyond the simplicity of Green Scales, which is geared toward beginner and intermediate groups? Options are available for more advanced ensembles. My personal favorite alternating stroke exercise, “Yellow” (a nod to the G.H. Green himself), is provided below. Notice the additional groupings of notes — patterns of 3, 4, 5 and 6 — and the particularly challenging final descending passage.

Download Yellow.

Double Vertical Strokes

As the front ensemble evolved throughout the 1980s, 1990s and early 2000s, the implementation of four-mallet keyboard technique became more popular and eventually became universally applied to large majorities of front ensemble curriculums internationally. The increased use of four mallets introduced a wider range of textures, skillsets and sonic contributions. The most common four-mallet stroke type is called the “Double Vertical Stroke,” or “block chords,” which require striking all four mallets at once. Building the appropriate muscle groups to develop this unique stroke is an important step in any modern front ensemble warm-up sequence. A simple block chord exercise that starts on Cs and Gs and moves up chromatically is provided below.

Download Double Vertical Chords.

Single Independent Strokes

The next common stroke type to be addressed is the single independent stroke, which is when only one mallet in each hand strikes a note at any given time. These strokes can be practiced in a variety of combinations using the same chords in the “Double Vertical Chords” exercise provided above by replacing the four-note chords with two-note chords. Simply play two mallets at a time rather than four, followed by the remaining two mallets.

At this point, let’s go over how mallets are referred to based on their placement in the hands. The mallet farthest to the left is known as mallet 1, and its left-hand counterpart is known as mallet 2. The mallet farthest to the right is known as mallet 4, and its right-hand counterpart is known as mallet 3. Due to their outward nature in each hand, mallets 1 and 4 are known as “Outer Mallets” and mallets 2 and 3 are the “Inner Mallets.” Therefore, possible mallet combinations for practicing single independent strokes would be: 13-24, 14-23, 24-13 and 23-14. A one-measure example of each of these combinations is provided below using the first chord of the “Double Vertical Chord” exercise described in the previous section.

Single Independent Stroke musical sample

Download Single Independent Strokes.

Single Alternating Strokes

We’ve covered two basic four-mallet stroke types, so now it’s time to explore the next level of complexity. Going from single independent strokes to single alternating strokes can be achieved by simply switching which hand is engaging the mallets at any given time. Therefore, the stroke type remains relatively the same, with the added caveat that no two mallets play together at the same time. For this reason, our permutative possibilities expand with the introduction of this new stroke type: 1-3-2-4, 1-4-2-3, 4-2-3-1-, 4-1-3-2, 2-4-1-3, 2-3-1-4, 3-1-4-2, 3-2-4-1. Each permutation is provided in a 1-beat example below.

Single Alternating Stroke musical sample

Download Single Alternating Strokes.

Double Lateral Strokes

The last of the four major four-mallet stroke types is the double lateral stroke, which occurs when one hand plays two mallets back-to-back. Permutative possibilities are: 1-2-3-4, 3-4-1-2, 4-3-2-1, 2-1-4-3, 2-1-3-4, 3-4-2-1, 1-2-4-3, 4-3-1-2.

Download Double Lateral Strokes.

Including Auxiliary Players

Many front ensembles enlist younger, still developing members to perform on multiple-percussion set ups called “auxiliary percussion” or “rack,” which provide a variety of orchestral percussion sounds to the overall musical production. While these performers have important roles in the ensemble, they can easily be overlooked when not actively engaged during the warm-up process.

I recommend pairing these percussionists on the larger keyboard instruments (I suggest marimba) with more experienced players. Another option is to write out “drum-set” style counterparts for them to coincide with different front ensemble warm-ups. A setup like this would allow these players to move their hands percussively in time with the rest of the ensemble and give them the opportunity to contribute to the sonic landscape of each warm-up.

Advanced Techniques and “Lot Tunes”

The seven exercises provided in this article are meant to serve as a starting point for any music educator who wants to develop an effective front-ensemble warm-up sequence. A long list of advanced techniques can be explored in addition to these exercises as your group begins to master the fundamentals and are ready for something more challenging. Many of the industry’s well-known music publishers have workbooks that contain front-ensemble exercises with a wide range of difficulty levels. In addition to the common exercises, many front ensembles will conclude their warm-up sequence with a “lot tune.” These lot tunes often exist in the form of front-ensemble arrangements of pop songs on the radio and provide an opportunity for ensembles to transfer the fundamentals practiced in the traditional exercises to a more audience-accessible musical performance.

Front ensembles have come a long way since their inception in the early 1980s. There are many exciting techniques to be explored in the daily warm-up sequence, and there are certainly many different ways to approach them! I hope this article will serve as a starting point for those wishing to develop a thoughtful and effective exercise routine for their ensemble.

overwhelmed student holding face in her hands

Stop Fighting Sports

Written by Don Stinson on September 25, 2025. Posted in Self-Care.

It’s 3:15 p.m. on a Tuesday. You’ve been looking forward to this sectional all day — it’s the one chance this week to fix that trombone entrance before the concert. You’re reviewing your notes when the door bursts open. Three kids rush in, panting, dripping sweat, cleats still on. They just came from practice. They missed rehearsal (again). They’re sorry. They want to make it up.

You nod and smile politely, but inside, you’re irked. You’re tired of this tug-of-war — music vs. sports, week after week. You feel like you’re the only adult in the building who has to beg for time with your students.

Then one of them casually mentions that during sprints, they were humming their clarinet part to keep it fresh. That stops you for a second. Not because it fixes the conflict — it doesn’t. But because, against all odds, they still care.

The Overlap Is Real — and It’s OK

At some point, many of us were told that we’d only build strong programs if students gave us 100% of their time and energy. We were supposed to win their hearts completely, keep them all to ourselves, and then — maybe — they’d sound good enough for a superior rating.

But here’s the thing: That’s not how teenagers work anymore. (If they ever did.) Kids today are juggling way more than we did. Sports, jobs, AP classes, family responsibilities — and yes, sometimes band. The good news? Most of them actually want to do band and sports — and they can.

I’ve had students miss every Tuesday rehearsal, but they showed up prepared because they practiced on their own. I’ve had others who sat in the back row all season, quietly soaking in the music, then became section leaders their senior year. The point is to stop assuming that less time means less commitment.

If a kid shows up sweaty and out of breath, it means they ran to get to you.

And let’s be honest — I’ve had plenty of kids with perfect attendance who didn’t prepare a note. They were present but not engaged. Meanwhile, the kid who’s juggling three sports and a job might be running fingerings in their head while riding the bus to an away game.

Time’s easy to measure. Attention isn’t, but it matters more — a lot more.

Make Them Choose Less Often

One of the most helpful shifts I’ve made over the years is to stop waiting for conflicts and start planning for them.

Get with the coaches in August and compare calendars. Trade some dates and ask for alternating absences if rehearsals or games land at the same time. And when things do conflict, work together to let the student choose without guilt.

This only works if you lead with trust. Most kids aren’t trying to skip out — they’re just trying to survive their schedule. Give them clear expectations, but also real options: “If you miss rehearsal for a game, here’s how you can make it up.” Then — and this part’s important — actually let them make it up. Preferably without turning it into a punishment.

Last year, one of my trumpet players filmed herself playing her part on a field after practice. Was it the best tone? No. Did it show she cared? Absolutely.

I’ve had students record parts in stairwells, church basements, locker rooms — anywhere they could find five minutes and a music stand. And sure, some of those videos were rough. But you know what? I’ve also had students sitting in my room with a perfect setup and zero urgency. The location doesn’t matter nearly as much as the intent.

Some directors have told me, “I don’t accept recordings — if they miss rehearsal, they’re out.” I get it. But if we’re trying to teach accountability, shouldn’t we also be modeling flexibility?

When you stop fighting for time and start fighting for the kid, everything changes.

Shift the Blame (and the Weight)

I used to take it personally. When a student picked volleyball over band, I’d feel like I lost. When a parent prioritized a tournament over a concert, I would get irritated. I told myself it was about respect. But really, it was about control.

Here’s what I’ve learned: It’s not the kid’s fault they love both things. It’s not my job to fix the whole system, but it is my job to make our space one where kids feel seen, heard and welcome.

It may help to reframe who the real enemy is. It’s not the coach, the kid or even the parent. It’s the calendar. It’s the limited number of hours in a week. It’s a system that hasn’t caught up to the fact that students are more than one thing.

When a student misses rehearsal and you feel your blood pressure rising, try this: picture their planner. Mentally add up the hours they’re in class, at practice, at work, doing homework, helping with siblings. There are only so many blocks to go around.

So instead of stewing, I started collaborating. I’ve had some great conversations with coaches who were more than willing to trade days or let a kid come late to warmups. One even came to our concert — in a letterman jacket — and clapped louder than anyone.

I’ve had others who didn’t respond to emails, didn’t want to budge and clearly saw band as optional. That’s frustrating. But it also reminded me: not every coach is the enemy, and not every conversation needs to be a battle.

Some coaches get it. Find those people. And if you can’t find them yet, at least don’t turn the kid into collateral damage.

students playing saxophone — Photo by Malikova Nina/Shutterstock

You Don’t Need Every Minute — Just the Right Ones

This may be the most painful truth, but here it is: You’re not going to get every student’s undivided attention every day. But you can get their best selves in the moments they’re with you.

Don’t chase perfect attendance. Chase the right kind of rehearsal.

Some of my best rehearsals have been with 75% of the group — not because the music sounded better, but because we worked with the group we had. We were present, focused and productive. And no one was sitting in the corner upset about who wasn’t there.

One Thursday afternoon, we were down eight clarinets. Instead of losing the whole rehearsal, I scrapped the original plan and we spent 30 minutes on breathing, tone and phrasing exercises with the group that showed up. Was it the rep we needed to clean? No. But was it the kind of rehearsal that makes kids feel like their time matters? Yes.

That’s the kind of rehearsal that kids remember. It’s what makes them want to come back, even when life is pulling them in other directions.

We get caught up in perfect attendance as a sign of a healthy program. But what if the real measure is: Do they want to be here?

That’s a question worth answering.

__________________________________________

You’re allowed to be frustrated. It’s exhausting trying to build something meaningful in a system that constantly pulls students away. But if you’re spending your energy being mad at sports, you’re going to burn out — and your students will feel it.

They need music teachers who don’t just demand their time but earn it. So, stop fighting sports. Start fighting for your kids — all of them. Even the sweaty ones in cleats.