Page 15 – Yamaha Music

Small round metal disc held in place against a wooden frame with a metal bracket.

Which TransAcoustic Guitar is Right for Me?

Written by Mac Randall on July 3, 2020. Posted in Acoustic Guitars. 2 Comments on Which TransAcoustic Guitar is Right for Me?

The first time you play a Yamaha TransAcoustic guitar can be a surreal experience. It certainly was for me! A couple of years ago, I was visiting the recording studio of a friend who had just come into possession of an FG-TA model (I’ll explain the differences between the various models shortly). I picked the instrument up and inspected it. To my eyes, it simply looked like a really nice acoustic guitar. That’s what it sounded like too, as I began playing. But with one press of a small button on the guitar, everything changed; that very same instrument now sounded like it was being played in a concert hall, with a lush, almost tangible reverb lingering after each note.

I’d read a bit about the company’s TransAcoustic technology, so I wasn’t completely unprepared for this. But even so, I found myself looking around the room for a hidden amplifier or a wireless connection to a remote pedalboard. Of course, there was none to be found: What I was hearing was coming straight from the guitar’s body. Not that TransAcoustic guitars can’t be plugged into an amp (they can, via a handy jack that carries the signal from an onboard piezo pickup). But the only thing a guitarist has to do in order to access that reverb and an equally lovely chorus effect is to simply play the instrument.

The secret of the TransAcoustic sound is a device called an “actuator” that’s attached to the inner back of the instrument. When you play the guitar, the actuator picks up the vibrations of the body and adds its own — vibrations that, through a kind of sonic translation process, become effects. Knowing this secret, however, doesn’t do anything to diminish the strange magic being produced.

As surreal as that first experience is, you quickly get used to it. And being able to aurally expand the size of the room you’re playing in, with no cables or plugs involved, is a pretty cool trick. But if you want to have that experience for yourself (and I heartily encourage it), you may be wondering where to begin. That depends on where you’re at as a player and what you prefer in your guitar. Here’s a rundown of the six current TransAcoustic models, so you can make a more informed decision.

LL-TA and FG-TA

Standard-size acoustic guitars (also known as Western-body guitars or dreadnoughts) are bright and loud, with a pronounced bass resonance, perfect for strumming out big chords in rock, folk, and country music. Yamaha offers two standard-size TransAcoustic guitars: the LL-TA and the FG-TA. The differences between them mainly come down to the types of wood used and the way their bodies are braced (the bracing allows the top to vibrate while still keeping it stable).

LL-TA.

FG-TA.

The LL-TA has a solid Engelmann spruce top that’s been treated with a Yamaha process called A.R.E. (Acoustic Resonance Enhancement). One reason why vintage acoustic guitars can be so highly prized is that the tone produced by many woods tends to get richer over time. A.R.E. aims to replicate that quality in a new instrument. The LL-TA has a rosewood back and sides, and its bracing is non-scalloped, meaning that the pieces of wood used to brace the top are fairly uniform in their dimensions; these features equal a brighter, more direct sound. (Here’s a video of the LL-TA in action.)

The FG-TA has a solid spruce top (with no A.R.E. treatment), a mahogany back and sides, and scalloped bracing. Mahogany tends to impart a dark tone, and scalloped bracing — created by shaving away or even simply removing parts of the wood braces inside the instrument — allows the top to vibrate more, creating a kind of halo around notes and chords. The result is a deeper sound; one might even call it a little mysterious.

LS-TA and FS-TA

Concert-size models are my personal favorite type of acoustic guitar. Their bodies are smaller than standard size, and they’re more suited for music that’s intricate and detailed. Bluegrass, blues and folk players — particularly guitarists who like to fingerpick — often have a special relationship with concert-size acoustics.

Yamaha makes two concert TransAcoustics: the LS-TA and the FS-TA. The differences between them are the same as those between the LL-TA and the FG-TA: Engelmann spruce top with A.R.E. versus standard spruce top, rosewood versus mahogany back and sides, and non-scalloped versus scalloped bracing. The bodies of both instruments are about an inch shorter than their standard-size counterparts.

LS-TA.

FS-TA.

CSF-TA

A parlor guitar is even smaller than a concert-size guitar. Considerably smaller, in fact — the fingerboard of the CSF-TA is 23 5/8″ long, as opposed to just over 25″ on all other TransAcoustic models, and the instrument’s total length is 37″, at least two inches shorter than any other TransAcoustic. As you’d probably expect, the sound produced by a parlor guitar is more intimate than that of its larger brethren. If you’ve got big hands, the CSF-TA may not be for you, but if you prefer your guitars quiet, cute and easily embraceable, there’s no better choice. Like the FS-TA, the CSF-TA has a solid spruce top and mahogany back and sides.

CG-TA

I generally encourage beginning guitarists to start out on a classical instrument, for two reasons: First, the nylon strings of a classical guitar are easier on the fingers than steel strings in the early stages (i.e., before you develop calluses), and second, the wider neck of a classical makes for an easier transition to a narrower neck characteristic of a steel-string guitar if and when you want to move on. Not that there’s any actual need to make the change; some players never want to stop playing classicals once they’ve started. Their deep, dark tone and roomier fingerboard make them ideal for classical repertoire, of course, as well as for Spanish flamenco, Brazilian bossa nova and American folk music. The CG-TA incorporates TA technology into a classical guitar. It has a spruce top, ovangkol back and sides, and a neck that’s only about 3/8″ thicker than steel-string TransAcoustic models.

No matter which of these instruments you choose, you’re bound to enjoy the array of tones they place at your disposal — not to mention the surprised reactions those tones may elicit from listeners. If you find that members of your audience start making furtive, puzzled glances around the room as you begin playing, my advice is to just give them a big smile … and keep playing. Chances are you’ll soon find your smile returned many times over!

Check out these related blog articles:

How Yamaha TransAcoustic Guitar Technology Works

Discover Yamaha TransAcoustic Guitars

MJ Ultra and the FG-TA TransAcoustic Guitar

“Breaking Amish” With My Yamaha FG-TA

Her Name Is Ruby

A Musical Message of Healing

Slide Rules

Nylon TA on TV

How to Record TransAcoustic Guitar Effects

Click here for more information about Yamaha TransAcoustic guitars.

Delay, Part 2

Written by Mike Levine on July 1, 2020. Posted in Recording. 1 Comment on Delay, Part 2

In Part 1 of this two-part series, we covered basic delay parameters and talked about different delay types. Here, we’ll present step-by-step setups for some common delay applications. Each includes a screenshot from Steinberg Cubase and/or various Cubase plug-ins showing a setting that you can use as a starting point. (Similar settings can be applied to delay plug-ins in other DAWs.)

Thickening

If you have a vocal or instrument track that sounds thin, you can use a delay to thicken it.

1. Insert a delay plug-in directly on the track.

2. If the plug-in offers EQ or filter controls, make sure they are turned off. The idea is to make the delayed signal sound as similar to the source as possible.

3. Set the delay time somewhere between 30ms and 50ms.

4. Leave the feedback at its lowest setting.

5. Set the mix control between 20% and 30% wet, and experiment from there. The interplay between the delay time and mix settings is the key to creating this effect.

Panned Doubling

This configuration allows you to create a short delay that’s panned to the opposite side from the original signal. You’ll find this especially useful on backing vocals or rhythm guitar, particularly when you can’t record an actual double-track — something that’s usually preferable due to the slight variations in timing and/or tuning.

1. Create an aux track (an FX Track in Cubase) and insert a mono delay plug-in on it.

2. Pan the plug-in’s output opposite that of the source track. If you’re applying this to a track that’s panned to the center, move it a bit towards one side and pan the delay opposite.

3. Set the delay time somewhere between about 40 and 50ms.

4. Leave the feedback at its lowest setting.

5. If you’re not hearing the double as a distinct sound, try inserting a pitch shift or chorus plug-in after the delay in the aux track to add a subtle change to the delayed track’s pitch. This helps differentiate it from the original and adds to the illusion of it being a separate part. You can also experiment with EQ settings to further change the sound of the double.

Screenshot. — *Panned doubling using the monodelay plug-in.*

Slapback Delay

As we mentioned in Part 1, slapback (sometimes called “slap”) delays were a big part of the vocals on rockabilly recordings made back in the ’50s. (They were also a big favorite of Beatle John Lennon.) These delays are long enough that you can hear a discrete, albeit very short echo. Depending on where you set the wet/dry control, they can help give body to a sound without being overly noticeable.

1. Insert a delay directly on your track. If it’s a mono track, use a mono delay. If it’s a stereo, use a stereo delay.

2. Set the delay time in the 50ms to 140ms neighborhood.

3. Use little or no feedback.

4. If you’re using a stereo delay, use its filters or EQ controls to differentiate the sonics of the two sides, and set the delay time for the left side slightly different from the right to enhance the stereo effect. Make one side about 4 or 5 milliseconds slower or faster than the other. If you’re using the slap on a lead vocal and the delay has pan controls, try setting the left side to around 3 o’clock and the right side at 9 o’clock to keep the vocal sounding relatively centered.

Screenshot of controls. — *Stereo slap delay using the stereodelay plug-in.*

Long Delay

Here’s another setup that lets you add space to a vocal or lead instrument. This technique works especially well on songs recorded to a click because you can turn on the sync option for the delay time and set it to a rhythmic value. If you didn’t record to a click, you can still apply this effect, but you’ll have to use your ears when setting the delay time. Google “Delay Time Calculator” to find online calculators that let you figure out approximate delay times for different rhythmic values, based on your starting tempo.

1. Put a delay (either mono or stereo) on an aux track with the wet/dry set at 100%.

2. Set the feedback so you get a few repeats, and experiment with long delay times, such as a quarter-note or even a half-note. If you want to make the effect more syncopated, try using dotted or triplet settings.

3. Use the plug-in’s filters to roll off both high end and low end so that the delay is less “hi-fi” than the original signal.

4. Keep the send reasonably low, so you’re getting subtle repeats that are mostly audible at the ends of vocal or instrumental lines.

Opposite-Panned “Ghost” Delay

If you have a soloing instrument such as lead guitar that’s panned to one side (either fully or partially), it can be cool to add a “ghost” delay that’s panned opposite and only faintly audible. It gives the track a subtle spaciousness that makes it sound fuller without seeming as if there’s an actual delay.

1. Set up a mono delay on an aux track.

2. Pan the aux track’s output to be opposite that of the source track. For example, if the source is at 3 o’clock, pan the delay to 9 o’clock.

3. Set the delay time relatively short, such as a sixteenth note.

4. Start with the aux channel’s volume off, and slowly bring it up during playback until you hear the delay only slightly.

5. If you want an obvious delay effect, turn the aux channel (or the send from the source channel) up higher.

Check out our other Recording Basics postings.

Click here for more information about Steinberg Cubase.

Pop/Rock Chord Voicings, Part 1

Written by Jerry Kovarsky on June 29, 2020. Posted in Keyboard How-to. 2 Comments on Pop/Rock Chord Voicings, Part 1

The application of harmonic concepts, as well as your choice of chord voicings (the way you arrange the notes across your two hands), can vary significantly depending upon the genre of music you’re playing. Pop and rock styles are a good place to start, as they tend to use simpler approaches.

The Basics

In this style of music, the root of the chord is generally played by the left hand — either as a single note or as an octave — accompanied by the right hand playing basic triads.

Using this approach, we can take a common chord progression and explore how to arrange the notes in the right hand. If we only played the chords in root position (i.e., with the root note always at the bottom), we would get this:

This works, but it sounds somewhat “disconnected” since the right hand chords are not close to one another. But one of the cool things about harmony is that chords can be rearranged so the order of the notes varies, yet they will still sound much the same. These different arrangements of the notes are called inversions, as shown below:

Using inversions, we can find the closest way to move each note of the current chord to get to the second one. This concept is called voice leading. Let’s go back to our chord progression again and see how all these variations can work to make the right hand chord voicings move more smoothly.

There is no strict rule that says you must only use the closest voicing. When playing a repeating chord progression, I like to add variety by sometimes moving to a different inversion and starting the progression again a bit higher or lower on the keyboard. (A jump is fine, as long as you settle back down into good voice leading for a little while.) Here are a few variations that show how you might make some different choices:

The second bar has a slight jump up from the F to the E to make for a smooth transition to the first voicing for the A minor chord. The next variation moves downward from the F to the E, which works well to lead into the root position A minor in the third variation (bars 5 – 6). The fourth variation (bars 7 – 8) jumps up to the C root position to help climb back up the keyboard a bit and lead into the fifth variation, which also jumps up to the C (as opposed to the first two examples), leading nicely into the last variation.

Knowing your chords and their inversions gives you lots of freedom in how you voice your right hand parts. You’ll make these decisions largely based on two factors: One, what register of the keyboard you want to play in to support a singer or instrumentalist; and two, what sounds good against the given melody line or solo being played.

Got Rhythm?

The notes are only part of the solution: you’ll also want to play with rhythm and develop a feel that matches the “groove,” or pulse of the song. (This is a deep subject that I’m only going to touch on lightly here.) Simple patterns are always a good way to go, and you can either play with both hands together to set the groove, or create some back-and-forth between the hands. If you’re playing in a band, it’s usually better to play simpler, and you also need to be careful that your left hand doesn’t get in the way of the bass player (maybe play single notes instead of octaves). If you’re accompanying a singer or playing solo, you have much more freedom.

This first pattern keeps the hands mostly together and uses a simple rhythm. The left hand adds a “push” (an upbeat) into the bar that follows. This push is supported by the right hand in bars 3 and 4.

This next pattern gets a little busier, and divides up the hands more. Bar 3 especially has some nice syncopation in it: imagine you are hearing the rhythm from a drummer as you practice it.

Another approach is to play steadily repeated notes. In this example, the right hand holds down the pulse while the left hand adds strong accents.

Rhythm example with steadily repeated notes.

Creating Movement with Passing Chords

A cool way to move between chord voicings is to use a passing chord to go between two inversions of the same chord, or just to add a little more rhythmic action while on a single chord root tone. This concept is different from the one described in our two-part Functional Harmony series; since these chords all come from the scale tone chords, they can be used without affecting the bass player or other harmonic elements that might be going on.

Here are the scale tone triads for the key of C major, including their two inversion positions:

Drawing from these chords, we can create movement like this:

When played against an unchanging bass note, these examples help to move the sound around. As a bonus, they also create some melodic figures without actually reharmonizing the passage. Of course, more interesting rhythms need to be used!

You can also apply this concept when moving between two different chords when you want to stay in the key center — again, without sounding like you’re reharmonizing the song. As before, it’s not necessary to change your bass notes, although that can be done if desired.

A Bigger Sound

Rock pianists will often play bigger chord voicings to stand up to the sound of drums, bass and guitars. This is done simply by adding an octave tone either above the lowest note of the voicing, or an octave below the top note of the voicing.

Here are a few of the previous examples revisited, with the added octave to make the right hand chords sound bigger:

Click here for Part 2.

All audio played on a Yamaha P-515.

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about Yamaha keyboard instruments.

Built-in shelving with vintage audio devices.

The History of Yamaha AV Receivers

Written by Phil Shea on June 25, 2020. Posted in History. 2 Comments on The History of Yamaha AV Receivers

The AV (audio visual) receiver is central to any home theater experience. Unlike its cousin, the 2-channel stereo receiver — which has seen steady but mostly incremental upgrades over the years — the AVR has had a number of revolutionary jumps in technology and usability in its relatively short 30-year existence.

Let’s take a look at the evolution of this crucial piece of home theater gear.

Early Days

In the mid-1980s, broadcast television began implementing standards to enhance their programming with stereo sound. If you were an early adopter, you could buy yourself a new CRT (cathode-ray tube) TV with stereo decoding capabilities that was best enjoyed when connected to your home audio system for sound reinforcement. At the time, the opening scenes of Miami Vice were a truly cutting-edge experience. Laser discs and Hi-Fi VCRs were available for the audio-video hobbyist, but stereo TV broadcasts were the catalyst for the growth and adoption of home theater by the general public.

Enter Surround Sound

Because Dolby^® Surround was compatible with these stereo TV broadcasts, it didn’t take long for surround sound hardware to begin showing up in Hi-Fi stores (and, eventually, living rooms) around the country. The first surround sound decoders of the late 1980s and 1990 were mostly integrated amplifiers, albeit without the extensive capabilities of today’s AV receivers.

In 1991 Yamaha began shipping RX-V850 and RX-V1050 receivers. These were built around a digital surround decoder integrated circuit (the YSS203) developed by Yamaha. Other Dolby Pro Logic^® decoders of the era were using analog circuitry with mediocre separation and “steering” (real-time signal routing) between the left, center, right and surround channels. The YSS203 provided digitally controlled steering for improved surround sound realism.

Back then, the two rear speakers were mono and there was no subwoofer track, so by today’s nomenclature these systems were 4.0. (Stereo rear channels and the .1, or LFE [low-frequency effects] dedicated track arrived on the scene much later with Dolby Digital^®.) In addition, the Dolby Pro Logic bandwidth specification for the rear channel was only 100 Hz to 12 kHz, so receivers of the era typically only needed 20 or 30 watts of power for the rear speakers.

The Dolby Pro Logic Enhanced surround mode (first introduced in the Yamaha RX-V850) provided enveloping DSP processing for directional sound placement, making your living room sound more like a movie theater. This was the early predecessor to today’s CINEMA DSP™ and Surround:AI™ — two groundbreaking Yamaha technologies.

CINEMA DSP

In 1993, the RX-V870 became the first Yamaha receiver to utilize CINEMA DSP, which added a newly refined soundfield process to Dolby Pro Logic Enhanced mode. The RX-V870’s 70-mm Mode produced a much larger surround presentation within the home, aiming to replicate the experience of a premium movie theater.

At the time, typical movie theaters used 35-mm film to project video onto the screen; larger 70-mm film stock and projectors, which provided a better viewing experience, were only used in premium theaters. These premium theaters also tended to have upgraded sound systems, in part because 70-mm film stock used a magnetic track on the side of the film, which produced much better audio than the two optical tracks used by 35-mm film.

Used in conjunction with Dolby Pro Logic, CINEMA DSP 70-mm Mode provided enhanced surround sound envelopment in consumer home theaters. The RX-V870 also included a greatly upgraded video switching system with the addition of five S-Video inputs to complement the five standard composite video inputs, which only supported 480i resolution.

Dolby Digital

Dolby Digital was a technological breakthrough that gave movie mixing engineers the freedom to send helicopter sounds all around the room instead of just front to back. The RX-V992, introduced in 1997, was the first Yamaha receiver with built-in Dolby Digital decoding. It offered surround sound with 5.1 channels of discrete programming, as well as full-range 20 Hz – 20 kHz frequency response for each main channel and a full 80 watts of power to all five main channels, including the rear speakers.

YPAO™

AV receiver calibration used to be a manual process in which you used the receiver’s remote control to cycle pink noise to one channel at a time, adjusting the volume and delay of each speaker accordingly. Essentially, this was simply a wild guess of what sounded best.

By the 1990s, the number of discrete channels offered by AV receivers grew from 4.0 to 7.1, and automated room calibration became critical. The timing, balance and equalization of so many speakers in a small room required some serious signal processing. Enter Yamaha Parametric room Acoustic Optimizer (YPAO for short), first introduced in 2003 and now a staple of all current Yamaha AV receivers. With this technological breakthrough, you can be sure you are getting the maximum performance out of your system. Just plug in the microphone and let YPAO do the rest!

HDMI^®

When it was first being developed in the early 2000s, HDMI (High-Definition Multimedia Interface) was intended to be the digital replacement for analog video standards, but it soon grew to become much more. For example, digital HD video switching was added with the introduction of HDMI version 1.1. Since most of the video sources at the time were still analog (composite, S-Video and component video), video up-conversion to HDMI was added to the signal flow. The Yamaha RX-V2600 AV receiver (which debuted in 2005) could up-convert analog 480i signals all the way up to 1080i or 720p. Although not up to today’s video standards, it was a good forerunner to the kind of advanced upsampling available in current AV receivers.

The Shift to Separate Components

The RX-Z11, introduced in 2007, was the last of the renowned Z-series Yamaha AV receivers. At over 74 lbs., everything about this receiver said BIG! This was also one of the last Yamaha receivers to be THX^®-certified.

The market conditions after 2008 pulled the rug out from under über high-end AV receivers, with a shift to separate components such as the Yamaha CX-5000 preamplifier and MX-5000 amplifier introduced in 2013. AV receivers at that time focused on the everyday performance needs of the home theater enthusiast: more channels, multi-room capability, video switching and processing and, of course, state-of-the-art surround sound capabilities.

AVENTAGE

By 2010, the stage was set for a new era of AVRs. Incremental improvements to receivers, while effective up until this point, were beginning to create engineering challenges. After all, you can only add so many room additions to a home before it comes time to buy a new plot of land and start from scratch. Yamaha devoted two years to developing a line of receivers by rethinking, well, everything. From chassis design to circuit layout, grounding techniques and electronic component selection, the entire design and engineering process was reset. Thus was born the AVENTAGE line of receivers, delivered on the promise of a fresh start with unlimited potential.

Dolby Atmos^® , DTS:X™ and MusicCast

In 2015 there were even more surround sound breakthroughs. Dolby Atmos 3D surround sound — the same technology used in movie theaters — became available for home use, as did DTS:X. Object-based sound placement technologies like these, in combination with in-ceiling speakers, offered complete directional envelopment in your home theater.

In addition, Yamaha MusicCast multi-room technology brought the world of streaming music and whole-home audio to AV receivers. Selecting music and sharing content with other MusicCast devices in the home, all under the control of a simple free app, was a listening breakthrough; all your audio content could be played in any room of the home … even out on the patio or in your backyard! Later firmware updates gave MusicCast products voice control via Alexa and Google Assistant™ .

The latest Yamaha AV receivers can not only decode up to 9.1 channels of Dolby Atmos and DTS:X object-based surround sound, they can now enhance the home theater experience with Surround:AI. This proprietary Yamaha technology utilizes onboard artificial intelligence to analyze all the decoded channels five times per second and applies the optimal CINEMA DSP processing to every channel. With Surround:AI, you’re no longer confined to the small listening area of your home theater. It’s as if your speakers and room boundaries disappear, transporting you from a listener to a participant in the surround sound experience.

Things have come a long way since the first AV receivers were introduced 30 years ago. New technologies in surround sound, video formats, room calibration systems, streaming services and multi-room capability have enabled the quantum leap in capability and performance that make today’s audio-video receiver the centerpiece of home entertainment. And as new technologies emerge, rest assured that the AV receiver will continue to provide you with the most exciting home audio and video experience available.

Check out these related blog articles:

The History Of Hi-Fi

What’s a Receiver? Part 2: AV

Top Five AV Receiver Features

Click here for more information about Yamaha AV receivers.

Jake Gosling

Written by Yamaha Corporation of America on June 24, 2020. Posted in Pro Audio Artists.

Jake Gosling is a producer/songwriter who has worked with Ed Sheeran, Lady Gaga, Paloma Faith, Shawn Mendes, the Libertines and many other well-known artists. In this video, he reveals how he learned and developed his craft, and discusses the vital role that Steinberg Cubase plays in his work. He also talks about his approach to production and songwriting, and provides valuable advice for up-and-coming artists about how to get themselves heard in today’s music business.

“Experimenting … is part of my process,” Gosling explains, “but I very much come to it with an analog point of view, so my production is more about capturing the moment.” Why is Cubase his DAW of choice? “It helps with my workflow,” he says. “It’s fast, it’s cohesive, and there’s a sound to it [that’s] almost transparent. It’s certainly helped me with the music I’ve made, and still [does], to this day.”

Check out these related articles.

Click here to learn more about Steinberg Cubase.

Compact drum set in studio with SILENT Bass™.

Compact Drums: Big Sounds in Small Footprints

Written by Paul Winterhalter on June 23, 2020. Posted in Drums.

Compact products have been a fad for quite some time now. From fashion-forward kids making fanny packs cool again to sleek carry-on suitcases, it seems like everywhere you look, small is in vogue. But what about compact musical instruments?

As a drummer in my high school’s marching band, this concept was only a dream. I was always envious of the flute players who could carry their instruments in their backpack. Having to lug my drums from place to place became such a hassle that it detracted from the art form.

Fitting a complete drum set into one bag is seemingly impossible. But compact drums (sometimes called traveling or gigging drums) are a reality today. They can be used in a wide variety of applications, from practice to teaching, from playing on small club stages to busking on the streets of your city (assuming you have the proper license, of course!).

It’s important to find the instrument that will not only hold up to your playing, but also matches your lifestyle. If you’re a drummer who lives in a tiny apartment or a drum teacher looking to make the most of the limited space you have available in your studio, you need a drum set with a small footprint. (Note: If you practice or teach where sound is an issue, consider using silent heads and cymbals and pairing them with the Yamaha EAD10 acoustic electronic drum module. This can help minimize sound, while still allowing you to play and maintain the feel of acoustic drums.)

There are plenty of compact options when it comes to finding a drum set that can be used to practice when on the road or in a tight space. While pancake drums, pad sets and some entry-level electronic kits are great for keeping your chops tight, they might not give you the sound you are looking for when gigging. There are a variety of cocktail and mini kits that provide more of a punch while still maintaining a small footprint; these can be great for playing club gigs as well as for recording.

Yet when designing a compact drum set, portability and small size is not the only goal. Making compact drums sound good takes knowledge and experience.

Travel Timpani

When it comes to compact instruments, the key is having a build and design that is focused on sonics. Yamaha has been making drum and percussion products for decades, and was one of the first manufacturers to offer portable “travel” timpani. The company’s TP-3300 Series travel timpani are designed for performances in small spaces like houses of worship or recording studios, yet they deliver a big sound.

Stage Custom Hip

In early 2020, Yamaha released the Stage Custom Hip drum set. An extension of the company’s Stage Custom Birch set — complete with the same exact six-ply birch wood — this innovative product offers a small footprint that makes it ideal for teaching, rehearsal and recording, as well as performance in tight spaces.

The dimensions of the Stage Custom Hip 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 for even greater versatility. This optional snare across the bottom head allows drummers to bring different styles of playing to life.

Birch wood produces a lively attack with warm, clear overtones that “speak” openly at both high and low registers, allowing the player to create everything from a funky, tight-sounding presence to an open live jazz feel. And because the Stage Custom Hip utilizes the same tech and spec as the Stage Custom Birch, you can freely mix and match components between the two so you can plug and play different elements from either to create the setup you desire.

The entire Stage Custom Hip drum set can be packed up within a single over-sized bass drum bag with ease, though I recommend giving each drum its own bag for extra cushioning. Pair the Stage Custom Hip with Yamaha HW-3 Crosstown hardware (which includes a snare stand, two cymbal stands and a hi-hat stand, all in one bag), and you have a match made in heaven.

Beyond its advantages when it comes to travel, the footprint of the Stage Custom Hip set is perfect for any small club venue or studio layout that doesn’t have much room for drums. The entire set, including cymbals, can fit comfortably within the confines of about 3′ x 5′.

The Stage Custom Hip is available in three different finishes (Matte Surf Green, Natural Wood, and Raven Black with Two-Tone Bass Hoops) and utilizes hardware with the tom-ball receiver in the top of the kick drum. This allows the tom-tom to be adjusted to any angle so the drum set can be configured in many different ways, while still enabling the wood shells to sustain their natural vibration for maximum projection.

Stage Custom Hip in raven black finish. — *Stage Custom Hip in Raven Black finish (cymbals and hardware not included).*

The Video

Ready to hear and see the Stage Custom Hip in action? Check out this video:

Click here for more information about the Yamaha Stage Custom Hip drum set.

Her Name is Ruby

Written by Shelly Peiken on June 22, 2020. Posted in Acoustic Guitars. 2 Comments on Her Name is Ruby

All the musical instruments in my life have had names. I believe they deserve them. After all, they have souls. We don’t relate to any two guitars the same way. Each casts its own particular spell on us and each brings a unique experience.

Although I’ve had substantial success as a songwriter, I’m really only an adequate musician. In fact, I’m considerably more accomplished on the ivories than the strings. But because I feel more intimately connected to a crowd with a guitar in my hands than I do sitting on a piano bench, I’m always on the lookout for a model that can further my potential or augment my limited abilities.

That’s why I was so excited when, earlier this year, a friend suggested I check out the Yamaha TransAcoustic guitar. With reverb and chorus effects built right into the body — no effects pedal or external gizmos needed — he felt this instrument might offer me that certain “zhoosh” I’m always looking for.

And so, come NAMM^®-time, I headed straight over to the Yamaha booth, hopped on a stool and cradled a beautiful red FS-TA model in my arms. With an eager sense of anticipation, I turned the knob for the chorus effect and gave her a whirl. Nice! My sound was thicker — as if someone else were strumming along with me. Then I tried out the reverb. What I heard was ambiance expanded to church-like proportions. Finally, I blended the two effects together. It was like moisturizer on dry skin. I was radiating. My trajectory as a performer was definitely on the rise.

Shelly Peiken holding red FS-TA guitar at NAMM. — *Here I am at NAMM, trying out a TA guitar for the first time.*

Sold! The guitar arrived in early spring, and I named her Ruby. (What else? ☺)

Shelly Peiken holding red FS-TA guitar. — *Ruby arrives!*

We debuted our collaboration at a friend’s after-dinner jam where my hopes were confirmed: my presence, it seemed to me, was a little larger than real life. With that, I felt confident she’d be the perfect companion for some upcoming gigs. But alas, something unforeseen happened: all gigs for the foreseeable future (not just for me, but for everybody) were canceled.

Everyone was taking it online. Livestreaming meant there’d be no sound person — just me and my acoustic going direct into a laptop. With her built-in effects, Ruby was going to be absolutely perfect for that.

I played her at a livestream Zoom concert from my living room. I shared her story with the viewers on a She Rocks Spotlight Series, and I featured her at a virtual global birthday party for my clever tech-savvy girlfriend Kristin.

Shelly Peiken playing red FS-TA guitar during Zoom livestream. — *Ruby and I livestreaming.*

The dual effects opened up a world of possibilities. For example, they allowed a slowed-down version of “What A Girl Wants” to be less pop — more laid back and bluesy. Same girl, different dress. And “Bitch” vibrated with power.

I’ve also spent a lot of my at-home time composing (mostly by myself, since in-person collaboration hasn’t been possible), and thankfully, I find that I have a new muse. In the glow of Ruby’s performance-enhancing pick-me-ups, my writing feels more fluid. Dependably prolific. Even when I’m alone in a room, I inspire myself! I’m still the same songwriter I’ve always been, but I believe I’m better. And believing is an under-rated creative aphrodisiac.

Let’s face it. The more vibe-y our sound, the more confident we are. And getting a boost in confidence can make us feel like we’re standing in the spotlight rather than just blending into the background.

We’re only human. No matter what our level, when our sound is elevated, we’re elevated. When we feel better, we get better. We play better. We write better. It’s not all in our heads. Sometimes it’s in our guitar.

Welcome to my world, Ruby! I look forward to a lasting friendship — one that continues well into the years ahead.

No need for any of Ruby’s effects on this beachside version of “Slow Down the World” — a song I wrote about 18 years ago with my long-time collaborator Guy Roche — and one that seems more relevant now than ever before.

Click here for more information about Yamaha TransAcoustic guitars.

Group of young friends performing on stage.

Live Recording, Part 2

Written by Steve La Cerra on June 19, 2020. Posted in Live Sound. 1 Comment on Live Recording, Part 2

In Part 1 of this two-part series, we looked at ways to make live stereo recordings, which is a relatively easy way of documenting a rehearsal or performance. Unfortunately, stereo recordings don’t give you the option of changing the mix or fixing mistakes that may have been made by the musicians. In this article, we’ll see how multitrack recording can solve these issues and provide you with more professional results.

Get On Track

In a multitrack recording, each instrument or group of instruments is recorded on its own track. You can independently control the volume level, pan position and EQ of each track, as well as selectively add effects. Just as importantly, individual tracks can be edited to fix mistakes or replaced altogether to capture a better performance, plus new tracks can be added to an existing recording — a process called overdubbing.

In order to make a live multitrack recording, you’ll need a recording device that not only offers multiple tracks but multiple inputs as well. (It’s technically possible to make multitrack recordings using one input, but that would require capturing only one instrument at a time and doing tons of overdubbing — something that’s certainly not practical in live performance, or even rehearsal, for that matter.) Some portable or table-top multitrack recorders provide up to 16 inputs, but you’ll get more control over the editing and mixing process if you use a computer running DAW (Digital Audio Workstation) software such as Steinberg Cubase AI, along with a connected audio interface —a device that serves as the bridge between your mixer and computer.

The most versatile multitrack recordings are the ones where each instrument is recorded to a separate track. Many professional studio recordings even go so far as to record each microphone for the drum kit onto a separate track. That kind of setup requires a mixer with a lot of outputs, and an interface with a lot of inputs — but plenty of great recordings have been made on just four or eight tracks (many of The Beatles’ records, for example), and most audio interfaces (such as the Steinberg UR44C, which comes bundled with Cubase AI) offer at least four inputs.

Group Therapy

A wide range of analog and digital mixers feature extra audio outputs that can be used to make multitrack recordings while simultaneously feeding a PA system. The Yamaha MG20XU, for example, has four group outputs as well as four aux sends.

Four Group outputs and four Aux outputs on the Yamaha MG20XU. — *The Yamaha MG20XU has four group outputs and four aux sends.*

By assigning specific instruments (or logical collections of mic signals, such as all drum mics) to each of these outputs, you can simultaneously record four or eight instruments (i.e., stereo drums, stereo keyboard, bass, guitar, lead vocal, backing vocal) onto separate tracks.

Diagram of group outputs from a mixer feeding the inputs of an audio interface. — *Group outputs from a mixer can feed the inputs of an audio interface.*

Direct Me to Your DAW

Digital mixers that have built-in USB have a distinct advantage when it comes to live recording. Yamaha TF Series mixers, for example, provide multichannel USB capabilities, and when connected to your computer, they function as 34-in/34-out USB audio interfaces … meaning you won’t have to buy external interfaces. Each input channel on a TF1 mixer has a “Direct Output” which routes that channel to a computer via USB. These outputs are exclusive for each channel, so only the signal connected to that channel is sent to a track in the DAW. Each TF1 Direct Out can be switched on or off, and can be set “Pre DG” (before Digital Gain) so that the recording is made without any EQ, dynamics or effects, providing much more control in the mixdown process. Steinberg Nuendo Live software is included with TF mixers to make multitrack recording quick and easy.

Diagram showing a USB cable connecting a Yamaha TF1 mixer to a laptop computer. — *A single USB cable can route up to 34 separate signals from the Yamaha TF1 into a computer.*

You’ll be able to go back and fix mistakes because DAW software allows recording on any or all tracks in the session — so if someone plays a wrong note at the start of the second chorus, you can fix that note while leaving the other instruments untouched.

Preparation Tips

As you prepare to make a live multitrack recording, keep these four caveats in mind:

1. Make sure that only the channels you want recorded to a track are routed to the group or aux send dedicated to that track. This prevents other instruments from “leaking” onto the track.

2. If you use a post-fader aux send or a group to route signal to an input on the interface, moving a channel fader during the show will affect the level of the recorded signal, and that can cause problems in the mixing process. When possible, use a pre-fader aux send instead.

3. Bear in mind that using an aux send to route a signal to an interface input leaves one less send available for stage monitors or effects. If the mixer has six or eight aux sends, this is less of a problem.

4. Try to keep channel processing to a minimum. EQ or compression added to a channel will be included on the recording, which may limit your options to modify the sound when mixing.

Tips for Improved Computer Performance

– When recording a large number of tracks, try to use a hard drive with a speed of 7200 RPM (or faster) or use a Solid State Drive (SSD).

– Make sure the hard drive is large enough to record the entire show. Each track will require about 500 MB for an hour of recording, so if you plan to record 16 tracks for a two-hour show, you’ll need a hard drive with at least 16 GB of storage.

– Turn off wireless networking and Bluetooth^® before you start recording.

One last piece of advice: Give yourself plenty of time to set up before recording a show. Doing a quick test recording during sound check can take a lot of stress out of the process, leaving you to concentrate on your all-important live mixing chores.

Check out our other Tools of the Trade postings.

Click here for more information about Yamaha MG Series mixers.

Click here for more information about Yamaha TF Series mixers.

Click here for more information about the Steinberg UR44C interface.

Click here for more information about Steinberg Cubase AI.

Click here for more information about Steinberg Nuendo Live.

Young man playing Yamaha Electric Violin (YEV).

SILENT™ and Electric String Instruments, Explained

Written by Dale Ramirez on June 17, 2020. Posted in Electric Strings. 2 Comments on SILENT™ and Electric String Instruments, Explained

History

Yamaha first introduced the SV-100 SILENT Violin™ to America in 1997. Since then, an entire line of SILENT and electric string instruments have become a staple of orchestra classrooms, rehearsal rooms, performance venues and everything in-between. The SV-100 was initially developed in response to the needs of string musicians in Tokyo, Hamamatsu and other large Japanese cities, where a quiet practice violin was desirable so that students and performers could rehearse and play in the tightly arranged living spaces commonly found there.

The SV-100 was a hit among Japanese violinists, but many American string players, while still appreciating the silent feature, opted to plug the instrument into amplifiers to see how loud they could make it! This demand for amplification led to the creation of the first Yamaha electric violin — the EV-204 (as well as a five-string version, the EV-205) — and soon a whole new class of instruments was born.

Over the coming years, Yamaha would introduce many new models of SILENT and electric strings. Although they might seem similar, there are actually quite a few differences between the two. Today’s versions of these instruments offer advanced technology to allow musicians to choose the best stringed instrument for their playing needs. Let’s take a look at the current lineup.

Violins

The YEV line of electric violins is designed for those who need to amplify their sound. The YEV-104/105 (four and five string versions, respectively) brings an elegant form factor to the performing musician, with electronics suited for amplified practice.

Yamaha YEV104 Electric Violin. — *Yamaha YEV-104 Electric Violin.*

The YSV104 returns to the original SILENT Violin concept and offers straightforward electronics optimized for silent practice.

String players who plan on performing live, as well as wanting the ability to practice silently, should consider the SV-200.

Yamaha SV-200 Electric Violin. — *Yamaha SV-200 SILENT Violin.*

The top-of-the-line SV-250/255 (again, four and five string versions, respectively) is designed for the professional touring and recording musician. It offers robust electronics for a clear, strong signal both onstage and in the studio.

Yamaha SV250 SILENT Violin. — *Yamaha SV-250 SILENT Violin.*

Cellos

Yamaha offers three SILENT Cello™ options. The SVC-50 is designed for silent practice through headphones and has a collapsible frame.

Yamaha SVC50 SILENT Cello. — *Yamaha SVC-50 SILENT Cello.*

Cello players who are itching for the edgy electronic sounds of contemporary ensembles should check out the SVC300C, which also has a collapsible frame for easy travel and storage. The SVC300F has a full frame and a resonant, acoustic sound. Both cellos have customizable sounds, headphones and amplifier capability, and an onboard tuner.

Yamaha SVC300C SILENT Cello.

Yamaha SVC300F SILENT Cello.

Bass

The newest addition to the SILENT Bass™ family is actually not silent at all! Despite its name, the SLB300 SILENT Bass has some of the most advanced technology in string instruments today, with features such as the ability to choose a virtual microphone and Studio Response Technology that provides the sound and response you’d expect from a real, full-size acoustic bass.

Click here for more information about Yamaha SILENT Strings.

Click here for more information about Yamaha Electric Strings.

Focus Like A Laser

Written by Rich Tozzoli on June 15, 2020. Posted in Creativity.

Think about shining a flashlight at night. You can light up an area and have a pretty good idea of what you’re seeing … sort of. Compare that to shining a laser instead. While you may not see as much of the surrounding environment, it’s highly focused and, if powerful enough, can literally cut through steel. Each has their need and purpose, but the laser is much more piercing and accurate.

This is an analogy I’ve often used in my professional life. When I first began my career in music after getting a business degree at college, I taught myself the art of audio engineering. That led to developing the skill of mixing, which in turn led to surround sound production. All the while, I continued to study guitar, simply because I loved to play, and began writing original music too. While I enjoyed it all, I can see now (with the benefit of hindsight) that I was a bit unfocused as to what I really wanted to do, as well as what might be viable in terms of making a living. It was almost like I was shining a flashlight as I walked along my career path, trying out various things, looking here, looking there.

It took some time, but eventually all these skill sets dovetailed to enable me to become a successful television composer. It was as if I took the broad beams of that flashlight and finally focused them on one area.

A little internet research reveals that the light from a flashlight cannot travel a long distance, because the light is unfocused and diverges as the traveled distance increases. Laser light, however, can travel a long distance, even to the moon and back. The fact that a laser can hit the moon is testament to power of being focused with a coherent goal. (Physicists, in fact, refer to the photons emitted by a laser as forming “coherent” light.)

Another good analogy is that of shooting an arrow at a target. If you pull a bow back just a little and use several arrows, when you release them, they will fly all over the place. Maybe one or two might find the mark … if you get lucky. But if you pull the bow back with intent and use one single arrow carefully aimed, you have a much better chance of scoring a bullseye.

When I work in my home studio, I have only one monitor screen at my mixing desk. This is a conscious choice I made years ago because it helps me stay focused. While some find it useful to have multiple screens, I personally find all the additional colors and light to be distracting. Having a single screen allows me to better concentrate on the big picture, which is delivering great-sounding tracks. A side benefit of the single screen approach is that the speakers have less surface to reflect off, which helps direct the audio into the “sweet spot” where I sit.

There are many other ways to create a focused work environment as you write, play and mix music. For one thing, how about shutting your phone off? Sure, there are times where you need it handy to communicate while working, but let’s be honest, most of the time it’s not necessary — it’s just a force of habit. This is actually one of my pet peeves and something that I make clear ahead of time when I’m asked to do a session at an outside facility. If you are working with me and want my time, don’t waste that time by talking or texting on the phone. I’ve found far too many people checking social media during sessions, and I’m not afraid to politely insist that they shut it off (OK, maybe not always so politely) — not just because it bugs me, but because I know that it’s a powerful sensory distraction that can detract from the end result.

Since we all have more time on our hands these days, why not use this overall “laser-like” approach to look at your own professional and/or musical objectives? What skills can you combine by synthesizing them together into a singular focused effort? It may take a little thought and considerable effort, but the end result could be well worth it. Stay focused and shoot for the moon!

Check out Rich’s other postings.

Bring Administrators Plans, Not Problems

Written by Dr. Dave Gerhart on June 13, 2020. Posted in Advocacy.

Over the past two months, it feels like I have watched more webinars than I have in the last two years. I am sure that is the case for many of you.

There have been many educational and informative webinars that are sharing advocacy resources. These resources are so important for all educators, especially music educators. After watching these webinars, two main points kept coming to the forefront.

Music educators need to open a line of dialogue with administrators and school board members.
Do not wait for administrators to bring you their plan for next year. Start your own plans now!

As advocates of music education, we must talk with our administrators. Yes, they are constantly bombarded with problems and questions, but don’t let that deter you. How do you open the door to these conversations? How can you be solution-oriented? If we offer plans and back them up with current information and up-to-date data, the easier it will be for our administrators and school board members to advocate and support our music programs.

During the “CDC Guidelines for Music Educators” webinar presented on May 27 by Amro Music, Barry Trobaugh, the director of bands at Munford High School in Tennessee, emphasized that “the decisions for your future are being made right now.” While you must be understanding about the “horrible” positions your administrators are in, you also need to be in daily contact with your principal.

“If nothing else, talk about the weather. Tell them how much you miss them,” Trobaugh said. There will come a time when you will have a conversation about your program, and you can talk about “your problems, but you also need to have a resolve,” he said.

Where Do I Start?

“One good conversation can shift the direction of change forever.” — Linda Lambert, author and professor emeritus, California State University, East Bay

The first thing to do is to have a conversation with your principal, superintendent or other administrators. Keep the dialogue open and positive. Ask questions and come up with solutions to teach music next school year. As stated earlier, you must bring plans to your administrators.

A good place to start is the Center for Disease Control (CDC) document “Interim Guidance for Administrators of US K-12 Schools and Child Care Programs to Plan, Prepare, and Respond to Coronavirus Disease 2019” and the “College Band Directors National Association (CBDNA) Covid-19 Response Committee Report.” As you read these documents, start brainstorming solutions.

How can you setup your classroom to teach next school year?
Can you use technology to teach theory and/or music history?
How about purchasing recorders and/or pianicas for all of your elementary students so they don’t have to share instruments?
Can you teach your students about composition or arranging in small groups?
Is it possible to setup a virtual ensemble?
Can you or your students conduct guest artist interviews via video conferencing software?
How about putting together a bucket drumming ensemble?
Can you teach your students about entrepreneurship? Could they build a musical website? How about some instructional YouTube video?
See the resource list below for more ideas and examples.

What Do I Do Next?

“Be Proactive. Be Prepared. Be Vigilant.” — Cordelia Istel, Director of Organizing, Arts for LA

The next step is to open up communications and advocate to your school board. Your school board is made up of individuals who represent the public. They do not work for the school district. They represent the needs and interests of the public, and they are tasked with making the school environment better for students. How can you start to create a dialogue with your school board? Your school board members may not specialize in the arts, so they may not be aware that music and arts are part of a “well-rounded education” as outlined in the Every Student Succeeds Act). In the “Arts for LA/California Alliance for Arts Education“ webinar, they outlined the following steps:

Download the Advocacy Dashboard and Rapid Response Plan. (These documents from Arts for LA will help you determine who is making the decisions, when the decisions are being made and how you can influence these decisions.) Do your research and get members of your community to help advocate for the arts.
Go to your school board’s website and find out the date for the next meeting. Put this information into the Advocacy Dashboard and Rapid Response Plan documents.
Download the school board meeting agenda, which is usually available 72 hours prior to the meeting. Are there any agenda items related to the arts or music?
Create an action plan. Adapt the formula on the Rapid Response Plan, to create your action plan — “Goal → Target → Strategy → Tactics.”
1. “In order to [GOAL], we will influence [TARGET], by [STRATEGY] using [TACTICS].”
Attend the meeting. To speak at the school board meeting, you can either:
1. Make comments during the public comments portion of the board meeting.
2. Contact the board and ask to be added to the agenda.

According to Summer McBride, the president of the board of education for Culver City, CA, adding an item to the agenda is more effective. “When the public comments on items [that are] not on the agenda, board members are not allowed to respond,” said McBride. Once an item is added to the agenda, there can be a dialogue with the board.

McBride also pointed out that all school boards govern these five areas: facilities, budget, curriculum, personnel and student discipline. Curriculum and budget are the areas where you can influence the board to ensure that the arts are part of the conversation.

Why We Do the Thing We Do

“Arts education supports the social and emotional well-being of students, whether through distance learning or in person.” – From Arts Education is Essential, a unified statement put out by the National Association for Music Education (NAfME) on May 27 and endorsed by national arts organizations and music industry corporations across the United States

Music educators are often asked to justify their music programs. There are many research studies and surveys that support the importance of including music and the arts into a well-rounded education. Arts for LA has a simple way to justify arts education. It is the 5-4-3 method, which is students with an arts education are:

5 times more likely to stay in school
4 times more likely to be recognized for academic achievement
3 times more likely to get a bachelor’s degree (from Public Comments Talking Points)

We must not forget that social and emotional learning (SEL) is critical as we re-engage with our students. SEL will help us restore relationships and create a foundation for academic learning. In the NAfME webinar “Advocating for Music Education Utilizing Social Emotional Learning,” Dr. Scott Edgar stated that our music programs help foster “school connectedness, resiliency, self-awareness, diversity, high standards and cultural necessity.” SEL is more important than ever and will help us advocate for our programs.

Now is the Time to Form the Team!

“Alone we can do so little; together we can do so much.” – Helen Keller

Building a group of like-minded individuals will help you put your plan into action. Why not set up a meeting with the other arts and music teachers in your district or surrounding communities? Come together (virtually or in person while being mindful of social distancing, of course) and start brainstorming for the next year school year. Maybe one of the other teachers has a connection that will help your cause. You won’t know until you start networking and talking.

Use social media to get ideas from music educators across the country. Engage in positive conversations about solutions. We are all in this together, and we need to support our fellow arts educators. Ask questions and see what others are doing. Something that works in New Jersey may work in your district. There are numerous Facebook groups where you can post your ideas and get a lot of great feedback, including:

Expand your network to include community-based arts organizations, city council members who believe in the arts, and your state’s arts-specific organizations. A list of state associations can be found on the NAfME website. Research how these arts organizations are advocating for the arts and how you can partner with them to help support your program. Follow them on social media and keep up to date on what is happening in your state.

Take Action

“Advocacy is not something that you do … it is something that you are.” — Bob Morrison, founder of Quadrant Arts Education Research

Advocating for your program is more important than ever. With inevitable budget cuts and the uncertainty surrounding next year’s guidelines for the classroom, you must remain positive. Your students need you. You see your students more than any other faculty member on campus. You are a constant in their lives. No matter what comes your way, approach it with an “I can make it work!” attitude

I hope this article will ignite you to make connections, start conversations and build an advocacy toolkit to support you, your students and your program.

Resources

Books
- “Music Education and Social Emotional Learning: The Heart of Teaching Music“ by Scott N. Edgar
Reopening Resources
- Music Education Consultants’ Roundup of Reopening Recommendations
- Arts Ed NJ’s “September Ready” Guidance
Social Media
- Yamaha Music Educator Community
- Music Educators Creating Online Learning
Tools
- Amro Music’s Google Drive Documents: COVID-19 Music Educator Resources
- Amro Music’s Considerations for a Safe Return to the Instrumental Music Classroom (PDF)
- Arts for LA: Local Arts Advocacy Toolkit (also available in Spanish)
- CreateCA’s Declaration of the Rights of All Students to Equity in Arts Learning
- CBDNA Covid-19 Response Committee Report
- An Initial Guide to Leveraging The Power Of Social And Emotional Learning (PDF) from Collaborative for Academic, Social, and Emotional Learning (CASEL)
- Interim Guidance for Administrators of US K-12 Schools and Child Care Programs to Plan, Prepare, and Respond to Coronavirus Disease 2019 (PDF) from the CDC
- NAfME: A rts Education is Essential unified statement
- NAMM Advocacy Summit Resources
Webinars
- Amro Music “After Hours” webinar series
- Amro Music: “CDC Guidelines for Music Educators” webinar and presentation slides
- “Arts for LA/California Alliance for Arts Education“ webinar
- NAfME: “Advocating for Music Education Utilizing Social Emotional Learning“ webinar
Websites

Acknowledgments

There have been several great webinars over the past couple of months. I want to acknowledge three that influenced the materials outlined in this article.

The “Arts for LA/California Alliance for Arts Education” webinar was the catalyst for this blog post. After seeing their Local Arts Advocacy Toolkit, I immediately saw the value of this information for music educators across the United States. A Spanish language version of the toolkit, Recursos Locales de Abagacia, is also available.
Amro Music (based in Memphis, TN) has produced a series of “After Hours” videos hosted by Nick Averwater, Amro’s band department manager, who interviews music educators and experts from across the United States. Topics include advocating, CDC guidelines for music educators and more. Amro has also created a great Google Doc folder with resources. Be sure to check out its “CDC Guidelines for Music Educators” webinar and presentation slides.
In the NAfME “Advocating for Music Education Utilizing Social Emotional Learning” webinar, Dr. Scott Edgar and Bob Morrison provide insight into how SEL can be used to advocate for your program. Morrison introduced a new website called SEL ARTS, which offers tools to foster connections between the standards, SEL and advocacy. If you haven’t read Edgar’s book, “Music Education and Social Emotional Learning: The Heart of Teaching Music,” add it to your summer reading list.

Yamaha is an active advocate for music education. We want to empower you as music educators to strengthen your programs in any way we can. Please register for the Yamaha Educator newsletter to read up on advocacy, professional development, instruments, resources, partnerships in education. Join the Yamaha Music Educator Community on Facebook. Email us at educators@yamaha.com.

What to Do When Your Wi-Fi Goes Down

Written by Ted Goslin on June 11, 2020. Posted in Audio How-to.

We all need the internet. Whether for work, school or connecting with friends on social media, getting online is a critical part of modern living. That includes your wireless audio devices as well. But what do you do when your internet goes down?

First, don’t panic. If you’re using Wi-Fi for internet access and connected devices, there are a number of easy troubleshooting options you can try to (hopefully) get everything quickly back online. Here are some ways to restore your wireless communications to working order.

Why Wi-Fi?

The key to fixing the problem is a basic knowledge of Wi-Fi and internet. Here’s what you need to know:

– Wi-Fi stands for “wireless fidelity” — a protocol that allows for the interlinking of digital devices via radio signal (i.e., without wiring). And while these devices need to be linked to one another, they may or may not be connected to the internet.

– To get online you’ll need an ISP (Internet Service Provider), who typically provides you with a modem, a router or a combination of both. (More about these devices below.) The speed of your service will depend on the package you select, but the FCC recommends between 12 to 25 Mbps (Megabits per second) for homes with three users or devices online at once with moderate use (basic functions and one high-demand application in use simultaneously).

– A modem is the unit that connects your home to the internet via a cable or optical connection that carries the signal from your ISP. That signal needs to be transmitted either through an ethernet cable (hardwired CAT-5 cable) or through Wi-Fi, in which case you’ll need …

– A wireless router, connected to the modem.

– You can also create something called a mesh network, which lets you cover a larger home with multiple access points that are linked together. This tends to work well with wireless multi-room audio devices.

– The loss of internet could be due to a loss of service from the ISP or it could be due to an issue with your modem, router, mesh network (if you have one installed) or, in rare instances, the device(s) you’re using. To pinpoint the problem, you’ll have to troubleshoot one component at a time.

One by One

1. The first thing you should do is determine if there’s a signal coming from the ISP. This can be spotted by perusing the LEDs on the modem. Different modems use different names to identify presence of a signal, but typically you might find it labeled as “Online” or “Internet.” If this light is off, your ISP is likely the problem. At this point, you should visit their website to see if any service outages are listed in your local area (these can occur due to weather issues or other reasons). If no outage in your area is listed, you’ll need to contact your ISP and let them know you’re not getting a signal.

2. If you’ve determined that there is no outage and that your ISP is providing service, the next thing to try is to cycle the power on the modem. This involves switching off the power, then unplugging the power cord from the back of the unit. Confirm that the lights of the modem are off and wait three to five minutes until plugging the power cord back in and flipping the power switch to the ON position. Now you’ll need to keep an eye on the LEDs on the front of the modem. Most modems use different-colored LEDs to indicate various states. (Your modem’s manual will tell you what each light means.) Be patient. Depending on your modem and internet service, it can take several minutes for the power-up sequence to complete.

3. If your modem indicates you are connected to the internet, you can rule it out as the source of the issue for now. Start by connecting your modem directly to a computer via an ethernet cable. (Most computers have an ethernet port; in the unlikely event yours doesn’t, you’ll need to purchase a USB to ethernet adapter for this step.) This should get your computer online. Now run a speed test (do a search to find one that’s optimized to work in your geographic area). This will tell you what connection speed you’re getting from the ISP. If you’re getting an internet connection with good speed, hardwire your router to your PC instead of the modem (again, using an ethernet cable) and run a speed test again. Still no internet? Cycle the power on the router just as you did for the modem, then wait for it to reboot. Check to see if you’re getting internet now.

4. If not, you may need to hit the reset button on the router as a last resort. This is usually a small, pin-sized button on the back of the router; you’ll probably need a paper clip or pen tip to push it. Before you do so, however, be sure to read the instructions in the router’s owner manual carefully, as resetting the router will likely restore its factory settings, which could remove your saved network name and password. This mainly applies to smart devices you have connected to the router via Wi-Fi, including voice control devices like Google Home™, streaming devices like an Apple TV^® and wireless audio products like those with Yamaha MusicCast (which includes MusicCast-enabled products such as speakers, sound bars and AV receivers). If you used the same name and password that came with the router, then some of your devices should reconnect automatically once you reset the router, but you’ll want to test all connections regardless. Add passwords to devices as needed.

Should you discover your Mbps is running below the speed you are paying for, you’ll need to contact your ISP for instructions on what to do next. You may be asked to return your modem to the nearest office (or send it in by mail) and replace it with a new one, then follow the instructions provided with it to re-establish your network at home. Some ISPs will send a tech to your home to swap out modems, but you should check your service contract to see if this will incur an extra charge.

NOTE: These are meant merely as guidelines, and Yamaha cannot be held responsible for any damages that may occur as a result of resetting or powering your internet equipment on or off. We recommend that you read the owners’ manuals of those devices carefully before proceeding!

Back Online

After you’ve got everything working, you should run a speed test to make sure your network is working correctly. If you find that your Mbps is running below the speed you are paying for, you’ll need to contact your ISP for instructions on what to do next. You may be asked to return your modem and replace it with a new one, then follow the provided instructions to re-establish your network at home.

To add MusicCast devices back onto your Wi-Fi network, you’ll need to follow the instructions in the MusicCast Controller app by pressing the Settings icon in the top right-hand corner (as shown in the illustration on the right), then connecting one device at a time. Once each device has been added back onto your network, it should be visible in the app.

For more on how to best enjoy streaming music or movies through connected devices, check out these related blog posts:

The Smart Home Begins with Good Wi-Fi

MusicCast Wireless Surround Sound for Your 5.1 Home Theater

Five MusicCast App Features You May Not Know

How to Use Actions on Google with Yamaha MusicCast

How to Get the Best Audio When Listening to Livestreams

How to Stream Music from Your Computer

Want to learn more about Yamaha MusicCast? Visit our MusicCast FAQ section here.

Man playing guitar with vintage-style photo filter.

Slide Rules

Written by Robbie Calvo on June 10, 2020. Posted in Acoustic Guitars. 1 Comment on Slide Rules

Even in the peaceful daily moments, my mind is working overtime.

The other day, I started to wonder how many notes I play per song at a typical gig, so I did the math. A four-minute song at 100 bpm (beats per minute) contains approximately 100 measures of music.

Let’s say each measure contains one chord. That means my left hand forms a new chord shape a hundred times per song. If I’m fingerpicking eighth notes in my right hand, that’s 800 notes per song. An average gig consists of 30 songs, so that’s approximately 24,000 notes and some 3,000 chords.

At a musician’s typical pay, that works out to … hmmm. Don’t get me started!

Playing guitar is intense. We take a piece of wood strung with high-tension wires (heavy gauge string tension is around 40 pounds) and use one hand to strum, fingerpick, tap, rake and palm-mute in order to execute precise rhythms, while the other hand forms elaborate chord shapes, scales, arpeggios and double-stops … and we do all this thousands of times per song.

As if that isn’t enough, we’re called upon to improvise single notes over harmonic structures to create melodies. Sometimes we’re awesome and other times … well, other times we’re human.

One technique I know a lot of guitar players struggle with is slide guitar. In my opinion, there are two main reasons why. First, the slide needs to be placed directly over the fret-wire in order to achieve perfect intonation (not directly behind it, as we’re used to). Second, both hands need to employ muting techniques in order to reduce unwanted overtones when moving the slide.

For many, this combination can be frustrating, but if you follow the steps listed below and watch the video I’ve filmed especially for you, you’ll be well on your way to sounding like a slide master. Oh, and one more tip: You’ll find that playing a guitar with heavier strings and a slightly higher action (i.e., one where the strings are not very close to the fretboard) will help you achieve better slide tone.

Fretting Technique

Put a slide on the little finger of the hand you use for fretting — for right-handed guitarists, this will be your left hand — and place all four fingers flat across the strings, perpendicular to the frets, resting lightly on the strings to mute them. (Although some well-known slide players put the slide on their ring finger, I’m advocating placing it on your little finger so you can still form chords with your first three fingers.)

Now move your whole hand as a single unit until the center of the slide is directly over the fret of choice. Lightly muting the strings behind the slide this way prevents unwanted rogue notes from being produced when in motion.

Picking Technique

Place the thumb of your strumming/picking hand — for right-handed guitarists, this will be your right hand — on the fourth string (D) and allow it to mute not just the D string, but the A and E strings too. Then rest your index finger on the G-string, your middle finger on the B-string, and your ring finger on the top E. At this point, all six strings will be muted.

Now fingerpick the six strings, un-muting one string at a time in order to hear just that note. Adhere to this method, and your slide playing will forever be clean and cacophony-free!

Finding the Right Notes

That’s the technical side. Now we need to find an easy way to hit all of the right notes.

If you know your chord-tone arpeggios and scales, you can play licks in standard tuning. However, one of the best ways to locate chord tones for slide playing is to tune your guitar to an “open” chord (something often referred to as open tuning). This will give you six chord tones over every fret.

To tune a guitar to “Open G,” for example, detune the high and low E strings a whole-tone down to D, then detune the A string a whole-tone down to G. Playing all six strings open (i.e., unfretted) will now result in a G Major chord; the notes produced, from low to high, are D – G – D – G – B – D. Placing the slide directly over the fret-wire at the 12th fret will give you the same tones (and the same G Major chord) an octave higher.

Since open tuning results in a chord over each fret, you can play other chords (and each of their individual chord tones) by simply moving the slide. In Open G, moving the slide to the fifth fret produces a C Major chord, while moving it to the seventh fret produces a D Major chord. I’ve found that sliding into chords from a whole step below can often sound really good.

If you know your harmony and theory, you’ll also know that Major chords contain three of the tones found in the relative Minor chord. For example, G, B and D on the top three strings are the Minor third, fifth and Minor seventh of an Emi7 chord. So, we actually have Minor chords covered too!

The Video

The Yamaha CSF-TA TransAcoustic guitar I’m playing in this video is tuned to Open G, and all the reverb and chorus effects you hear are being produced by the guitar itself (more on that shortly), though I do add some drive and delay from my Line 6 POD^® Go effects processor.

After the performance, I go over all the techniques discussed here so you can see and hear how applying my method pulls it all together for super-clean and precise slide playing, even at higher gain settings.

The Guitar

The Yamaha CSF-TA TransAcoustic is an acoustic guitar with built-in reverb and chorus effects that are available even when the guitar isn’t plugged in. Its small “parlor size” (a body size that’s popular among blues and folk players) makes it the perfect instrument to take to the park, beach or gig and still enjoy ambient inspiration.

TransAcoustic guitar resting on dark leather couch.

Close-up shot of the sound hole of the TransAcoustic guitar resting on dark leather couch.

The guitar features a solid Sitka spruce top, mahogany back and sides, rosewood fingerboard and bridge, plus a stunning abalone inlay around the sound hole. It even comes with a hard gig bag, perfect for those last-minute getaways and overhead storage.

The Wrap-Up

It’s no surprise that guitar players constantly strive for better tone, technique and the ultimate instrument. I think we are just wired that way — the challenge of bending an inanimate vibrational counterpart to our will is what motivates us.

We may never achieve perfection as a musician, but we can take positive steps towards that goal with hard work, passion and an active mind for learning. Keep pushing yourself forward!

Photographs courtesy of the author.

For more information, see our two-part series “How to Play Slide Guitar.”

Check out Robbie’s other postings.

Click here for more information about the Yamaha CSF-TA TransAcoustic guitar.

How to Clean Piano Keys

Written by Yamaha Corporation of America on June 9, 2020. Posted in Piano How-to. 2 Comments on How to Clean Piano Keys

Ever wonder about the best way to properly clean the keys of your piano without damaging them? Here’s how.

First and foremost, avoid cleaners (both liquid and saturated wipe-type cleaners) that contain harsh ingredients such as alcohol (isopropyl), chlorine, ethanol, benzene, peroxide or salts. These ingredients contribute to discoloration and cracking.

Instead, gather together three clean microfiber cloths and some dishwashing liquid and follow these easy steps:

1. Dampen one of the microfiber cloths with lukewarm water and a small amount of dishwashing liquid, then wring it out enough so that water does not drip on the keys. Use the cloth to gently wipe down several keys at a time in a “toward-the-player” motion (i.e., from the part of the keys farthest from you to the part closest to you).

2. Take the second microfiber cloth and dampen it with lukewarm water only, then wring it out enough so that water does not drip on the keys. Use it to wipe down the keys again in the same “toward-the-player” motion.

3. Using the third microfiber cloth (but keeping it completely dry), wipe down the keys one more time in that same “toward-the-player” motion until all the keys are dry.

Cleaning your hands before playing is recommended and will ensure a high level of playability through the life of your piano. If you use hand sanitizer that contains any of the ingredients listed in the first paragraph, make sure your hands are completely dry before touching the keyboard.

One last tip: Keeping the key cover closed at all times when the piano is not in use will help keep the keys free of dust and dirt … meaning that you’ll have to clean them less!

Please note that these recommendations do not guarantee disinfection of the keys, and many currently popular disinfectants may damage key surfaces over time. Check out our guide to disinfecting musical instruments.

Click here for more information about Yamaha pianos.

Writing for TV and Film

Written by Shelly Peiken on June 8, 2020. Posted in Creativity. 1 Comment on Writing for TV and Film

If you’re a songwriter or composer, at some point you may be asked to write for a TV show or a film. On the surface, they might seem like two sides to the same coin, but actually the processes are quite different.

Writing on assignment uses a different set of brain muscles than those we use for creating music boundary-free. I enjoy both challenges but I’m all too aware that the former calls for switching gears and listening to instructions and guidelines, rather than free-falling into creative nirvana.

Here’s how it typically goes: A music supervisor (a person who combines music and visual media) gives the composer a “brief.” This important document describes the scene for which your music will partner and also tells you a bit about the characters involved and what their motivations are.

Sometimes the scene will have been filmed already. If footage is available to you, be sure to watch it! This is like gold. Being able to actually see the moving picture come to life is always a more tangible reference than a description of it.

Fortunately for me, footage was available when I was asked to compose an opening song for the 1999 film Music From The Heart. The character on camera (played by Meryl Streep) had recently been left by her husband. She was flipping through the pages of a photo album (remember those?), missing him terribly and trying to move on. I felt her. My pen went into auto-pilot and scribbled down a title: “Turn the Page.”

Aaliyah recorded the finished piece (co-written with Guy Roche) and when I saw it put to picture I felt satisfied I had done my job — that the song captured the spirit of the emotional essence and enhanced the scene.

But footage often isn’t an option, in which case the brief usually includes bullet points or relevant keywords the music supervisor or director wants to hear in the finished song, along with “reference” material — examples of songs that could work in the scene … if the filmmaker wished to use an existing copyright.

I take this list seriously. Each song may have been referenced for its own reason. One might be lyrically on the money. Another more musically fitting.

I’ll playlist these referenced songs and consider them for some time before I actually sit down to write. This helps me connect with tone and steer my unconscious creative flow.

Then I’ll go to the piano and actually play one of those songs to establish the mood. Loosen me up, so to speak. At which point I’ll undoubtedly hear a voice in my head that says:

How on earth will I be able to come up with something better? It seems like this song was made for the scene. Plus, it’s a proven hit. Loved by millions already.

It’s OK. I let that voice have at it and then I proceed anyway! From scratch. (Such a demeaning yet necessary place to start.)

Next, I begin implementing my ideas with the chord progression of one of the referenced songs. This at least gets me in the “neighborhood” of the vibe. Now I’m in transition.

Ideally, my song will morph into its own original creation, but the references give me a template, a place from which to jump off. To me, whatever gets you going — whatever inspires — is fair game.

It’s worth pointing out that not all assignments call for a song that’s directly derived from the on-screen narrative. Sometimes a music supervisor or director is looking for something more vague — a composition with a musical texture that’s evocative of the spirit of the scene, but not at all lyrically congruous. Knowing in advance which approach they’re looking for will save you a lot of trouble.

As I get close to finishing the song, I’ve found that it’s wise to recheck the brief and ensure that I’ve covered as best I can all the elements that were suggested be incorporated. That said, just because I can check off the keywords doesn’t necessarily mean I’ve done my job. It’s not enough to hope that the song I’ve written makes the director cry. It has to make me cry too. Or give me chills, or make me laugh out loud. Aside from the elements, the song must still be effective!

I haven’t written to a brief in a long time, but it just so happens that I was tapped to do so recently, and it just so happened that I had some time on my hands. So I sat at my piano and revisited the exact process described in this posting. I heard those same voices in my head (they never go away!) — the ones that ask if I can beat the proven hit. I let them have at it, and then I proceeded.

And once again, even though I believed I captured the character of the referenced songs, checked off 90% of the keywords and felt genuinely uplifted by the final result (as was the goal), when I played back the demo one last time just before emailing it to the music supervisor, there was still that last thought right after I pressed send:

“I hope they like it!”

Check out Shelly’s other postings.

Yamaha and 50+ Organizations Unite to Support Arts Education

Written by Yamaha Staff on June 5, 2020. Posted in Advocacy.

Yamaha Corporation of America joined more than 50 other organizations to endorse the National Association for Music Education’s “Arts Education Is Essential” unified statement.

NAfME and all the endorsing organizations recognize the necessity for students to have access to arts education, which includes music, dance, theater, visual arts and media arts.

While teaching in the post-COVID-19 world may look different, Yamaha and the other organizations remain committed to supporting arts education, arts educators, community arts providers and, most importantly, arts students.

The arts were identified as part of a “well-rounded education” well before this pandemic, but as we read stories and watch videos from around the world about the healing and unifying power of music and the arts during these tough times, this designation is all the more meaningful.

The three driving principles of “Arts Education Is Essential” are:

“Arts education supports the social and emotional well-being of students, whether through distance learning or in person.” Not only do the arts emphasize team-building and self-reflection, it fosters collaboration, creativity, critical thinking and communication.
“Arts education nurtures the creation of a welcoming school environment where students can express themselves in a safe and positive way.” Through arts participation and partnerships among students, teachers and parents, an inclusive school and community are formed.
“Arts education is part of a well-rounded education for all students as understood and supported by federal and state policymakers.” Within the Every Student Succeeds Act (ESSA), music and the arts were repeatedly cited to be a part of a balanced education and federal funds are available to support arts education.

Read NAfME’s “Arts Education Is Essential” statement and the list of endorsing organizations here.

10 Tips to Start a Middle School Drumline

Written by Troy C. Wollwage on June 4, 2020. Posted in Percussion.

Middle school band is often where students begin their musical journey. It is a time when the three basic elements of music — rhythm, melody and harmony — begin to take shape and make sense to students.

Many middle schools, or junior high schools, have a beginning and advanced concert bands, as well as a jazz band. Some middle school music programs may also include orchestras with string instruments. Very few middle schools, however, have a drumline.

Incorporating a drumline into any middle school program presents a few challenges, such as time to rehearse, an appropriate rehearsal space, a qualified percussion teacher or having the appropriate equipment. Whether you are thinking about developing a new drumline program or continuing the program you inherited, a middle school drumline can be a fun and exciting musical outlet for your students. Whatever the present drumline situation may be, keep these 10 things in mind.

1. Determine Performance Expectations

Decide the types of performances you want for this drumline. Will the drumline perform primarily at parades, standstill exhibitions, an indoor percussion show like Winter Guard International (WGI) or a combination of these events? This decision is important because you must consider the length of marching activity required and equipment transportation needs.

A 12-to-14-year-old student, who is new to the activity may not be able to carry a drum for a 2-mile parade. You must consider heat, humidity and the weight of the drums.

You want equipment that is easy to carry, play and maintain. The weight of any drum should not tire out the students. Check the weights of your drums to ensure proper fit at each rehearsal. This will help students as they grow and practice in the activity.

2. Stay Away from Hand-Me-Downs

Old drums from the high school are often passed down to the middle school after several years of use. While this may appear to save money, these drums are designed for high school students, not middle school students. Drumline equipment for high schools are heavier, larger and designed to meet the needs of competitive performance environments. None of these are important for a middle school drumline.

It’s best to pass on the hand-me-downs. Your students will pay the price as they march down the street with drums that are too heavy for their smaller frames. A bad experience like this may lead to them leaving the program.

3. Choose Appropriate Music

Music that is too complicated for beginners in middle school will be difficult to memorize for performances where students must march and play at the same time. Whether or not you have a drumline instructor, utilize music that fits the needs of the students. Remember, this is not Drum Corps International (DCI) or a college drumline. Sound expectations must be kept in check. Music that is simple yet challenging, will give middle schoolers confidence and make the marching experience fun.

4. Drumheads Are Important

Make sure to ask what type and brand of drumhead is preinstalled on each drum — and get it in writing from the music dealer. This is important because low-cost, generic drumheads may not be usable and could lead to an expensive and unbudgeted purchase to get the correct drumheads a month or two after your drumline purchase.

For snare drums, choose a Mylar top batter drumhead and a clear Ambassador^® on the bottom or snare side. For multi-toms, select a pinstripe head. For bass drums, get a white Ambassador head with either internal or external muffling.

5. Keep a Supply of Sticks on Hand

Much like mouthpieces and reeds, sticks will get lost and forgotten by your students — usually right before a performance. Always have a healthy supply of extra sticks. Provide a list of acceptable stick options to both parents and students. Ensure your local music deal can get them in a timely manner.

Find sticks that are easy to hold, not too heavy and match appropriately. Sticks and mallets that are too heavy or wrong for a specific drum may cause damage to the drumhead and will tire out the arms of junior high school students.

6. Wear Earplugs

Ear protection at every level is important but is essential for students in the drumline because of the loud sounds they create as an ensemble. Ensure that all students always have proper ear protection for rehearsals and performances. Educate everyone — including parents — on the facts about ear protection and why it is needed. Ask your local music dealer about ear protection and have extra earplugs available for all situations because junior high students may forget to bring their earplugs. Set an example by wearing earplugs yourself.

7. Make Sure Carriers and Stands are Appropriately Sized

To make the drumline experience a rewarding one for students, you must ensure that they are comfortable marching down the street or standing in place for rehearsal. Review the different options for carriers and stands with each drum. You want hardware that are easy to adjust for students of all shapes and sizes. Check the fit of carriers on each student at every rehearsal. Don’t assume that each student understands the proper way a drum should sit on his or her body. Proper fit is key to comfort and having fun on drumline.

8. Ask Peers for Advice

Ask you high school marching band directors, percussion friends and local dealers for recommendations as to the brands they prefer. Was the company sales representative available when needed? Were the drums easy to carry? Where the carriers flexible enough to fit students of all sizes? Were replacement parts easily available? What is the manufacturers’ product warranties? The advice you get from friends and associates about the products they purchased can go a long way to ensuring your experience is a happy one.

9. Protect Your Investment

To keep your drumline equipment in tip-top shape all year, purchase accessories like covers to protect the drums from the damage of heat and moisture, as well as hard cases to protect the drums during travel and storage during the off season. Other accessories to consider include rim savers to keep bass drum hoops free from the damage of rim clicks, stick bags for snare drums and multi-toms, and tom guards to protect the bottom edges of multi-toms. An ounce of prevention goes a long way toward keeping any drumline in good working order.

10. Know Drum Sizes and Quantity

Several factors allow a drum to produce volume, but the most important ones to consider are the shell material and shell depth. When a wood shell is made properly, there are no gaps in the construction. (Some brands fill in the plies with wood putty.) The wood shell must vibrate freely to produce a full sound. A shorter shell depth is lighter, but it produces less volume.

Drums differ in size for a reason. A standard wood shell snare drum for middle school is 13 or 14 inches in diameter and 11 inches deep.

Multi-toms come in various depths and sizes, but for a middle school drumline, a small trio or small quad setup where the largest drum is 13 inches in diameter is the most appropriate option.

Bass drums are important to keep the drumline’s beat but keep the sizes close together for optimal tonal response. A middle school drumline does not require a bass drum larger than 26 inches because projecting over a large brass sound is just not needed at this level.

As with any major purchase, the key is to research your options and ask a lot of questions. That’s the best way to ensure that your students are equipped with quality instruments that will last.

Get more information about Yamaha marching drums here.

Using the Yamaha MLC-200 Lab Controller in the Classroom

Written by Lori Frazer on June 4, 2020. Posted in Educator.

Students work well in groups, particularly if the more advanced students are mentoring the others. But teaching music students in large groups can be challenging for the instructor, for a variety of reasons. For one thing, many schools have students at varying skill levels together in one class. In addition, students playing their instruments while you are trying to instruct the class can be frustrating for everyone involved … and because the student does not hear the lesson and directions, they may later be asking questions that can slow the entire class down.

Enter the lab controller — a communication system widely used in group piano and keyboard classroom settings, from K-12 all the way up to college-level. With these systems, the instructor is able to communicate with students through a headset that has an attached microphone. Students hear the instruction, as well as demonstrations from the teacher’s instrument and the sound of their own instruments, through their headsets, which also have attached microphones. This allows students to communicate with the instructor, as well as with each other — and with no outside noise to disturb either the class members or the instructor, and no noise escaping the classroom either. And because there are many different configurations the instructor can set for a wide range of activities, the dynamic of the group class becomes much more exciting, fun and interesting.

In this article, we’ll focus on the functionality of the Yamaha MLC-200 — the first ever all-digital lab controller.

What’s Included

Yamaha Music Lab components. — *Yamaha MLC-200.*

The MLC-200 utilizes the revolutionary professional digital audio platform called Dante^® (short for “Digital Audio Networked Through Ethernet”) for unparalleled flexibility and sound quality. Communication to and from students (using their included wired headphones) is crystal clear, and a set of wireless headphones is provided for the instructor so that he or she can move throughout the classroom without being tethered to their teaching instrument. Also provided are all the necessary cables to connect each instrument to a central hub.

ML Touch

The MLC-200 is controlled from the teacher’s iPad^® (not included) running a free Yamaha app called ML Touch. You can download it from the Apple^® App Store for iPad ahead of time in order to experiment with most of the features without being connected to an actual lab system, or you can check out the User’s Guide here.

ML Touch is exceptionally easy to use — just set up your class layout, and you’re ready to go:

By touching LAYOUT in the upper right corner, you can move the icons around the display until your iPad looks just like your classroom. There are templates for various setups, from two to six rows, or you can completely customize the layout to match your classroom’s exact configuration.

Personalize class layout in ML Touch app.

The “Hamburger” menu in the upper left corner allows you to insert the name of each student to appear in their instrument icon. You can even take their photo and use it to accompany their name!

Adding name of each student to roster in ML Touch app.

From the home page of the ML Touch app, touching CONNECT ALL highlights all student icons in green and allow you to communicate with the entire class. Each student can then hear their instrument as well as your instrument and microphone.

DISCONNECT ALL does the opposite, turning all instruments off at once. MUTE STUDENTS is particularly helpful: it instantly silences all student instruments, allowing you to instruct and demonstrate from your instrument, without students being distracted by the sound of their own instruments.

The GROUPING command in the main screen provides many helpful functions for teaching. For example, touching 2 PEOPLE in the lower left corner places students into groups of two. Four-person and eight-person groups can also be selected.

Grouping is especially helpful for duet and ensemble playing. By selecting the color-coded letters in the lower right corner, you can completely customize up to 12 different groups: Simply touch a letter and then touch the student icons you wish to be in that group. Even if students are sitting across the room from each other, they can still work together. While working in groups, students hear their instruments, as well as the instruments and microphones of the other students they are grouped with. Groups can also be saved for later use.

Saving groups for later use in ML Touch app.

The home screen also offers a command called BROADCAST. This allows you to share the performances of an individual student, group of students, or just your instrument, so that students won’t have to constantly be unplugging their headphones to perform out loud for each other — a feature that will save lots of wear and tear on equipment!

The MLC-200 allows you to connect auxiliary devices such as a computer, music player, tablet or smartphone. The audio from these connected devices can be distributed to student headphones by selecting the AUX device you want them to hear.

Connecting auxiliary device in ML Touch app.

Attendance can also be taken through the ML Touch app, either manually or via an Auto mode, where each student’s call light illuminates in turn at their instrument. Once they turn the light off, it will mark them as present in the app. You can later edit these records, as well as export them.

MLA-200 Interface

The MLC-200 system provides each student with a high-quality, durable MLA-200 interface for the connection of their instrument. From this box, the student can adjust the volume level of their instrument, as well as the teacher instrument, or that of duo or group partners. It also allows them to turn their microphone on and off, as well as call the teacher if help is needed.

There is also a USB port on the MLA-200 that allows even greater functionality when it is used in a classroom equipped with select Yamaha CVP Clavinovas. From the instructor’s iPad, student Clavinovas can be reset back to piano sound, MIDI files can be sent to a student’s instrument, and guide lights can be sent out to the student instruments to assist with hand position during playback and keyboard drills.

Lighted Key Mode training in ML Touch app.

Yamaha keyboards, digital pianos and Clavinovas that are compatible with the free Yamaha Smart Pianist app will also have some added features when using the USB ports on their MLA-200 interfaces. Features will vary by instrument model.

Videos

Here’s a video that provides an overview of the main MLC-200 features:

Also available for the budget-conscious classroom is the Yamaha LC4 analog lab controller, offering many of the same features as the MLC-200. With the use of an optional Wi-Fikit, the LC4 can also be controlled by a free iPad app. Like ML Touch, this app can be run in an offline mode, so you can experiment with its features while not connected to an actual lab.

Here’s a video that shows the features of the LC4:

Both the MLC-200 and the LC4 offer instructors tremendous flexibility and can greatly enhance the group learning experience. And as a bonus, the use of systems like these allow other classrooms to be situated close by, with no sound interference coming from either direction. If you haven’t incorporated a lab controller into your teaching routine before, you may find yourself wondering how you ever got along without one!

Click here for more information about the Yamaha MLC-200.

Click here for more information about the Yamaha LC4.

Click here for more information about Dante.

Quick Start Guide to Dorico

Written by Dr. Dave Gerhart on June 3, 2020. Posted in Teaching Tips. 2 Comments on Quick Start Guide to Dorico

Most music educators, choir directors, composers or music students have likely used a music notation program for a variety of reasons including:

Having a clean representation of musical ideas to share with others
Getting immediate feedback from the playback function
Writing for more than one voice and hearing them played together
Creating worksheets
Transposing parts for ensembles
Re-writing a part to make it accessible to a variety of levels of students

In the last couple of years, Dorico has established itself as an incredible resource and tool for educators. If you are new to music notation software, or Dorico specifically, this article will help you get started and guide you through your first project and building worksheets.

Getting Started

First, download the trial software. Dorico comes in three versions: Dorico Pro 3.5, Dorico Elements 3.5 and Dorico SE 3.5. (Here’s a comparison chart.) I recommend that you download so you can try all of the software’s available features during your 30-day trial.

You can learn the ins and outs of Dorico by watching videos and downloading PDFs on “Getting Started with Note Input” and “Creating a Worksheet.”

Watch Training Videos

Once you have installed Dorico, head to YouTube and watch these introductory videos of the software.

Dorico has an entire Getting Started with Dorico playlist that includes the following videos:

Overview
Installing and activating
Finding your way around
Starting your first project
Adding a second instrument
Editing and arranging
Sharing your project
Guitar & percussion
Advanced techniques
Upgrading from SE to Elements

Please note: Even though these videos are for Dorico SE 3,they introduce the basics of the software and are applicable for all versions of Dorico.

For more in-depth videos, check out these Modes Playlists that contain up to 10 videos about each mode.

BONUS DOCUMENT: Educate Yourself – For even more training videos.

Get Started with Note Input

If you are new to Dorico and want to try a directed project to learn common key commands, download the Getting Started with Note Input article. This article will teach you how create a four-bar piece of music for four string instruments and lead vocal including using voices (two simultaneous rhythms per staff), articulations, dynamics, chords and lyrics.

Create a Worksheet Handout

As an educator, you will need to make worksheets or handouts. Download the Creating a worksheet zip file that will show you what you need to do, starting either with the included time-saving Dorico project template or completely from scratch. Just unzip the file to access the PDF and the Dorico project template.

Additional Resources

Dorico Quick Reference Card
Popovers in Dorico
Import Notation Files into Dorico
Marching percussion template for Tapspace Virtual Drumline
Documentation at Steinberg.help including the popovers and tokens PDF files
Dorico YouTube channel
Dorico Facebook Community
Yamaha Music Educators Community

Delay, Part 1

Written by Mike Levine on June 3, 2020. Posted in Recording. 1 Comment on Delay, Part 1

Delay is one of the most popular effects out there, but what is it, exactly, and how can it best be utilized to enhance your home recordings?

At its most basic, a delay is a copy of the incoming signal that is repeated after a user-specified duration. In practice, it’s actually incredibly versatile, and can be used for everything from subtle doubling to long echoes reminiscent of those that occur naturally in large spaces, and much more.

In Part 1 of this two-part series, we’ll take a look at the parameters you’re most likely to encounter (in both hardware delay processors and their plug-in cousins) and some of the different types of delays you’ll run across. In Part 2, we’ll give you tips for specific ways you can use delay in your home recordings.

What Time is It?

Although there are some delay processors with complicated controls — particularly those of the “multi-tap” variety, which we’ll be discussing in the next installment — the fundamental parameters common to virtually all delays are relatively straightforward.

The first and most important of these is delay time. This governs the duration between the original and delayed sounds, along with the timing of each successive repeat (sometimes referred to as “taps” or “echoes”). Note that, unless you have extreme feedback settings (see the “Time and Time Again” section below), the volume of each repeat will be softer than the one before it.

The distance between the original and delayed notes at various time settings. — *The distance between the source signal and delays at various time settings.*

Delay time is generally expressed in one of two ways: in milliseconds, or as a rhythmic value related to the song’s tempo — something that generally requires that you turn on a sync function, which automatically synchronizes the delay time to the BPM setting of the song.

Assuming you recorded your song to a click track or metronome, the latter is much easier to use, because you know it will be in time with the music. There are normally options for even-beat delays (i.e., quarter-note, eighth-note, etc.) as well as dotted or triplet ones, which add syncopation to the delay.

The delay time is critical because it dictates the type of effect you’re going to hear. Delay times up to 50 milliseconds (ms) create doubling, which act like a thickener for the sound. Set it between 50ms and about 150ms and you’ll get slapback delays, which your ears perceive as a separate echo, but only barely (the delay on rockabilly vocals — think Elvis — is the classic slapback sound). Over about 150ms, the ear perceives the echoes as being noticeably separate from the original sounds; these fall under the very loose category of “long delays.”

Time and Time (and Time) Again

The feedback parameter controls whether the effect will stop after one tap or repeat multiple times. The higher you set the feedback value, the more echoes you get. With long delay times (for example, sync settings of a quarter-note or half-note), the higher the feedback setting, the more intricate the pattern you can create.

*The higher the feedback setting, the more repeats the delay produces.*

A word of warning: If you turn feedback up too high, it can produce an oscillating, squealing sound. Quickly mute your monitors and back off the control if that happens.

Many delay processors provide stereo outputs, in which case you can use the feedback control to create “ping-pong” stereo delays in which the taps alternate between left and right. In the appropriate musical context, such delays can be quite effective, but you should use them judiciously.

All Mixed Up

When inserting a delay directly on a track, the mix control is crucial, because it governs the ratio of original (dry) sound to delayed (wet) sound. It’s a creative decision as to how high to turn it up, but usually you’ll want to keep it below about 30%.

With an insert delay, the mix knob controls the dry-to-wet ratio. — *The mix knob (circled) controls the dry-to-wet ratio.*

However, if you’re routing signal to a delay from an aux send, you’ll want to set the delay’s mix control to 100%, same as you would with a reverb. In that case, the aux send feeding the delay determines the amount of wet signal. (Click here for more information about the difference between inserts and aux sends/returns.)

If you’re sending signal to a delay from an aux send, set the delay mix to 100% as shown in the red circle on the image. — *If you’re sending signal to a delay from an aux send, set the delay mix to 100%.*

Altering the Sound of the Delay

Most delay processors (both hardware and plug-in) offer various options for changing the tone of the taps. For example, the monodelay plug-in included with Steinberg Cubase provides both low and high filters, which allow you to roll off low or high frequencies from the delayed signal.

Cutting out lows will get rid of muddy low-end signal that you probably don’t need. You might want to cut high frequencies to make a digital delay sound a little more like an analog or tape delay, where the taps are noticeably lower fidelity than the source. Plug-ins that emulate vintage hardware delay processors usually produce altered-sounding taps that are authentic to the original units.

Some delays also come with built-in effects (such as saturation or distortion) to alter the sound of the taps. The modmachine plug-in included with Steinberg Cubase Pro offers extensive modulation as well as filtering options for advanced sound-shaping.

Screenshot of the Cubase Pro ModMachine plug-in. — *The Cubase Pro modmachine plug-in.*

If you want to add effects to the delayed sound and your processor doesn’t provide such options, you can simply insert separate plug-ins or effects devices after the delay. If you’re feeding the delay via an aux send, note that the send’s output will be 100% wet, so any additional processing that you use will only impact the delayed signal, not the source sound.

Click here for Part 2.

Check out our other Recording Basics postings.

Click here for more information about Steinberg Cubase.

The Difference Between a Writer and an Author

Written by Howard Massey on June 1, 2020. Posted in Creativity.

“What do you do?”

It’s a question we all get asked from time to time, and a pat answer is usually what’s expected. “I’m a bank teller,” for example, or, “I’m Senior VP of Finance, Acquisitions and Asset Leveraging for MegaGlobal CorpCorp.”

But for most musicians, things are not so clear-cut. A truly honest answer might be something along the lines of, “I play trumpet when a gig comes up, which isn’t all that often, so most of the time I flip burgers or work as an office temp or do pretty much anything I can to make a buck.”

“I’m an editor” is the answer I tend to give these days, but, like so many of us in today’s multi-tasking global-economy world, I’m also a lot of other things. I still consider myself a musician, for one thing. And a writer. Actually, an author. No, a writer/author.

What the heck is the difference?

Most people think that authors are writers who have written books, but in these days of self-publishing, almost anyone can write a book. (And it seems as if almost everyone does!) So there must be a better way to differentiate between the two.

Photograph of Colette by Henri Manuel. — *Colette, circa 1910.*

I think French novelist and performer Sidonie-Gabrielle Colette (better known simply as Colette) nailed it nearly a century ago when she said, “Sit down and put down everything that comes into your head and then you’re a writer. But an author is one who can judge his own stuff’s worth, without pity, and destroy most of it.”

I have written hundreds of articles and authored more than a dozen published (not self-published) books over the course of my career, and if I’ve learned anything, it’s this: Writing is easy. Rewriting is hard. When I was working on my first novel, Roadie, I sought feedback from a group of peers and found myself doing as many as a dozen revisions of some of the chapters. It was a task that required a lot of time and effort, but it was worth it, since each revision represented an improvement over the previous version.

When it comes to writing music, the same holds true. With the benefit of hindsight, I can see that the earliest songs I wrote were mere outpourings of teenage angst coupled with the wonder of exploring chord changes and the way those chords could enhance (or be enhanced by) melody and harmony. I rarely if ever revisited or rewrote any of those early songs … and, almost without exception, they were truly terrible. As I matured as a songwriter, I’d spend more time tinkering and reworking things, substituting more sophisticated chords, adding variety to melodies and counterpoint so that they evolved from simple to fairly complex. While the results were still not gems, my songs were definitely getting more polished, inching closer to the work of established songwriters. A few even passed muster by others (such as producers and artists), yielding a cover here, a modest hit there, accompanied by a welcome trickle of royalties.

So the willingness to tear down what you’ve built — to not be overly precious about your creations — can clearly pay dividends, both artistically and commercially. Yet there is something to be said for immediacy. One little ditty I tossed off in a matter of minutes ended up being used as the theme song for a popular quiz show in England (still in syndication, amazingly enough). And while you could make the case that it had been percolating in my subconscious for months beforehand, the penultimate chapter in Roadie popped into my head one morning as I awoke, pretty much completely written, word for word — all I had to do was race downstairs to my computer and begin typing, and it was done in less than an hour. Even more amazingly, that particular chapter ended up needing the least amount of revision of any in the book.

Every now and then, serendipity rears its beautiful head and some lucky person is blessed with an effortless masterpiece. (Paul McCartney is said to have woken up one morning with the entire melody of “Yesterday” in his head.) But more often, great work is the result of great effort … and the willingness by its creator to destroy some or all of it. Like the sculptor removing all the parts of a block of granite that don’t belong, you may find that your best efforts come from the willingness to chip away at what you’ve created. That’s what will truly make you an author of great words, or great music.

Photograph by Henri Manuel.

Check out Howard’s other postings.

Funding Resource Roundup

Written by Heather Mansell on May 29, 2020. Posted in Funding. 2 Comments on Funding Resource Roundup

UPDATED 6/27/2022

Schools are still recovering from the pandemic as educators make plans for the future of their music programs.

Music and the arts are an essential part of a well-rounded education as defined by the Every Student Succeeds Act (ESSA), and music teachers must be proactive, especially when it comes to getting grant funds for your program.

You know better than anyone what your program needs. After you have prioritized your needs, gather the necessary data and put together a compelling story – this will be the framework for all of your grant and funding applications.

Remember, you are not alone. Music educators are a close-knit group willing to help each other — reach out to them as well as to your administrators for advice. Even if your district has a specialist who handles grants, it’s good to research the many grants that are out there because you don’t want to miss an opportunity to get funding for your program.

Here are some essential resources to check out to get started:

Title IV-A Funds

Currently, the largest source of grants for music programs is Title IV-A funds, which are part of ESSA. These funds are available annually for program expansions. To learn more about Title IV-A, read our blog post, Access Title IV Funds and Build a Stronger Music Program.

Other blog posts about ESSA and Title IV-A funds:

New COVID Relief Bill

The new coronavirus relief bill that was signed into law in December 2020 extends or modifies many of the provisions from the CARES Act that passed in March. Also included in the new relief package is additional funding for K-12 education — read about it in the Update to CARES Act Funding for Your Program and Key Takeaways from FAQs on ESSER and GEER Funds blog posts.

Additional Resources

Below are other resources that we have gathered to help you. We know that navigating the legalese and juggling application forms and deadlines can be overwhelming, but the effort is worth it!

Follow the Example of Other Educators:
- Create a win-win situation for your students, district and community by understanding the funding landscape as outlined in Finding (and Funding) a Way for Music.
- In the blog post, Grant Writing: A 3-Step Game Plan, learn how the Sioux City Community School District in Iowa used data and story-telling to successfully get funding.
- Seek advice from your school service music store about Elementary and Secondary School Emergency Relief (ESSER) funds. Read How School Service Music Stores Can Help Music Teachers Access ESSER Funds.
- See what steps a music educator in Washington state takes to seek financial support for his music program in Finding Funding.
- It’s always good for your music program to have a sound and realistic budget. Read our tips in Budget for Success.

Search for Grants:
- Duke University Research Funding — Duke’s Office of Research Support’s online database of funding opportunities.
- Grant Gopher — “your underground connection” to grants for schools, nonprofits and municipalities, you can sign up for a Lite (free) or Pro (fee required) account.
- Foundation Directory Online — get funding using the Foundation Center’s database and fundraising expertise. Sign up for an Essential or Professional account (fee required for both).
- Grants.gov — search for available federal grants. Also has resources to learn about grants.
- Grants4Teachers — a free grant database; just select your educational institution and the subject/category.
- GrantsAlert.com — find current funding opportunities for your school, district or community. Also has resources for grant writers.
- NOZA Search — a searchable database of foundation grants (you can search for free) and individual/corporate giving (monthly or annual fee required).

Corporate and Private Foundations and Federal Agencies that Offer Grants, Donations and Support:
- ASCAP Foundation — provides a variety of outreach programs, scholarships and talent development to support schools, students, teachers and music creators.
- DonorsChoose.org — fulfills “classroom project” requests by partnering educators with donors. Individuals, companies and corporations can search which projects to support.
- Give a Note Foundation — offers year-round grants called Music Teacher Notes designed to support music programs.
- GuideStar — learn about the nonprofit organizations that are offering grants.
- Instrumentl — find, track and manage your grants in one place. Home to 11,000+ active grant opportunities and in-depth funder profiles.
- Kids in Need Foundation — through its SupplyATeacher program, provides classroom supplies.
- Kinder Morgan Foundation — this energy company donates more than $1 million each year to youth programs in science, math and music in cities and towns where Kinder Morgan operates.
- The Mockingbird Foundation — provides competitive, emergency-related and tour-related grants for music education for children.
- Mr. Holland’s Opus Foundation — donates musical instruments to underfunded programs, giving disadvantaged youth access to the benefits of music education.
- MTNA (Music Teachers National Association) Foundation Fund — offers grants for program development, community engagement and teacher enrichment. Also available are collegiate enrichment grants and collegiate travel stipends to MTNA events.
- National Endowment for the Arts — supports arts learning, celebrates America’s rich cultural heritage and promotes equal access to the arts through grants.
- National Endowment for the Humanities — promotes teaching and learning in schools and colleges, strengthens the base of the humanities, and preserves and provides access to cultural and educational resources through grants.
- NEA (National Education Association) Foundation — founded by educators for educators, the NEA offers funding and resources to public school educators, schools and districts.
- Save the Music Foundation — donates instruments, music technology and other equipment. Also supports teachers and advocates for music education at the local, state and national levels.

If you have questions about grant funding, please email us at educators@yamaha.com.

Yamaha is an active advocate for music education, and we want to empower music educators to strengthen their programs in any way we can. Please register for the Yamaha Educator newsletter to read up on advocacy, professional development, information about instruments, resources, partnerships in education and more. Join the Yamaha Music Educator Community on Facebook or email us at educators@yamaha.com.

Top photo by rawpixel.com/Shutterstock.com

Tips for the Beginning Bassist

Written by Michael Gelfand on May 29, 2020. Posted in Bass.

You have to learn to crawl before you can walk (or run). That old saying applies perfectly to learning how to play bass. Looking back, I can see how the choices I made as a beginner — and those my parents helped me with — led me to where I am today as a bassist.

It was the 1980s. I had a mullet and a misplaced love for acid-washed jeans. Right there, someone should have planned an intervention that would’ve spared me some agony. My saving grace? A tired old bass, an equally moth-eaten amp and endless enthusiasm for practicing.

Despite the lack of style and quality gear, I figured out a way to make it all work, and proceeded to wear out cassette tapes and LPs until I could nail even fairly complex basslines note for note. Coupled with a voracious appetite for live music and college radio stations, I built up my chops, found and emulated my musical heroes, and eventually arrived at my own quirky style.

But if I had known then what I know now, it could’ve come together more readily … and that’s what this article is all about. In addition to steering you clear of the fashion mistakes I made way back when, I’m going to share some pointers to put you on the fast track to bass glory.

1. It Starts with the Right Bass

My first bass was terrible — a splintery hunk of plywood with barbed wire for strings and frets that would cut you for looking at them the wrong way. Luckily for you, many of today’s entry-level basses are light years better than my old albatross was, and with a little research, you’ll see there’s no reason to own a bass that hurts you when you play it, or one that costs too much.

Yamaha RBX170.

Yamaha TRBX174.

Take the Yamaha RBX170 and TRBX174 basses, for instance. Both deliver the goods right out of the box, with lots of swagger, gobs of tone, solid construction and an affordable price. They’re easy to play too, thanks to their low string height, comfortable neck profiles and ergonomic balance. These are the key attributes that keep aspiring players inspired, rather than deterred, by their instrument.

If you already own a beginner’s bass that doesn’t speak to you when you pick it up, you might consider upgrading to an intermediate instrument like the Yamaha BB234 (or its 5-string cousin, the BB235.) It’s a true workhorse, with classic looks, durability, sweet sounds and the kind of playability that serious musicians expect and deserve.

2. You’ll Need a Real Amplifier Too

Today’s amps and speaker cabinets are light enough to wheel around with one hand and small enough to sit next to you in the back seat of a taxi … but powerful enough to blow the doors off of any room. Bigger isn’t necessarily better, so ignore refrigerator-size rigs and look carefully for a combo (amplifier and speaker combined in a single footprint) or an amp that marries the tone-shaping capability and power you need with a high-quality 2 x 10″, 1 x 12″ or 1 x 15″ cabinet. One good option in the latter configuration is the Ampeg^™Rocket Bass RB-115. It’s got that classic beefy Ampeg sound in a portable, easy-to-transport package.

A small bass amplifier. — *Ampeg Rocket Bass RB-115.*

By the way, when it comes to amplifiers, know this: Your parents or roommates won’t be disappointed if said bass rig comes with a headphone output jack.

3. Find a Good Teacher and Commit to Taking Lessons

There’s no better way to get started than under the wing of someone who knows more than you do and has the patience to guide you through the struggles you’ll encounter. The right teacher will be able to assess your strengths and weakness, show you proper techniques for playing, provide you with encouragement, and challenge you regularly with observations, insights, theory and practical exercises that feed your passion and push you to grow and achieve new heights.

4. Learn How to Read Music

See above. A good teacher can help here, as can online lessons. True, there’s no law that says you can’t play the bass if you don’t know how to read music, and in fact, there’s something commendable about taking a non-traditional path toward achieving your goals. But ideally you want to be able to balance raw genius with knowledge and ability, and illiteracy of any kind will hold you back.

Don’t wait to get started, either. It may feel like slow going at first, but once you get it down you’ll have access to a language that only other musicians can speak. Make sight reading a priority early on to speed up your growth and open up doors — both musical opportunities and creative insights — that might otherwise remain shut.

5. Purchase a Tuner

If your bass isn’t in tune, chances are you’ll get lots of sour looks from bandmates and audience alike. Fortunately, it’s easy to do, even if you don’t have a particularly good ear: Simply buy a clip-on tuner such as the Yamaha GCT1. These small, inexpensive devices attach to your bass’ headstock and provide on-the-go tuning capability whether you’re on stage, in the rehearsal room or practicing on your own.

Yamaha GCT1 clip-on tuner. — *Yamaha GCT1.*

6. Make Sure Your Bass Is Set Up Correctly

A proper bass setup includes striking the preferred balance between string height, saddle height and neck bow to make your bass play comfortably and ensure that it’s correctly intonated (i.e., so it plays notes in tune over the entire length of the fretboard). Most music stores have a luthier who can do this for you (if not, they can probably refer you to one), but if you’re handy you can consider doing it yourself. (A word to the wise: If you’re going to go the DIY route, make your first attempt on an inexpensive instrument.)

7. Practice, Practice, Practice

There is no substitute for regular, consistent practice, both alone and with others. Play until your fingers feel like they’ll fall off, and do it again the next day and the next until callouses start building up on your fingertips and your stamina increases. You can only get better by running through finger exercises and scales, as well as practicing grooves and patterns to a metronome in order to help you internalize your sense of time and accuracy.

Challenge yourself by playing along with recordings of bassists whose playing you admire, and push yourself hard to figure out complex lines in odd meters. Learn how to play the same pattern in different locations up and down the neck. And when you feel ready, take every opportunity you can to play with other people, particularly if they’re better than you are.

Check out Michael’s other blog posts.

Click here for more information about Yamaha basses.

Tips for Sharing Your Drum Performances Online

Written by Steve La Cerra on May 28, 2020. Posted in Electronic Drums.

Being stuck at home doesn’t mean you have to stop drumming. There are a number of ways to collaborate through file sharing when you can’t perform with others in person. After all, plenty of great recordings have been made where the musicians never played together in the same room!

Here are seven tips for making high-quality recordings of your drum performances at home and sharing them online with your friends, family and fellow musicians.

1. Make Sure Your Drums are Ready to Record

Recording your drums is like putting them under a microscope because microphones will pick up all sorts of sounds that you may not otherwise notice. The rule of thumb here is simple: If your drums don’t sound good in the room, they won’t sound good when recorded.

Here are some things you can do to get your drum set ready for recording:

– Check the heads to see if they need replacement.

– Always tune your drums before you record. If you’re a hard-hitting player, you may even need to retune between takes — particularly the snare drum.

– Have materials on hand for dampening your drums and removing ringing. Popular choices include O-rings, Moongel^® pads, felt strips, moleskin, tea towels (a tradition started by The Beatles) and good old reliable gaffer tape. (Be sure to use the low-residue variety.)

– Beware of squeaky foot pedals! Have some WD-40^® or lubricating oil at the ready.

– Use cymbal stands with plastic tube caps (like those found on Yamaha CS-750, CS-755, CS-850, CS-865 and CS-965 models) to prevent metal-on-metal contact from creating rattling noises which can ruin a recording.

*Yamaha CS-865/CS-965 cymbal stand plastic tube cap.*

2. Find an Isolated Space for Your Performance

Try to record in a space that’s relatively quiet and isolated from outside noise, such as a basement or garage. Since drums are loud, you won’t have to worry much about low-level sounds like water dripping from a faucet, but you don’t want a perfect take ruined because the dog next door starts barking while your last cymbal crash fades.

Ideally, you’ll also want to choose a space that’s had some acoustic treatment, so it isn’t overly reverberant. (For more information, check out our blog post “How to Practice Drums Without Disturbing the Neighbors.”)

3. Use External Microphones Instead of Your Phone

Many smartphones can record video with good results, but the built-in microphones may not be able to handle the high sound levels generated by drums, resulting in distorted recordings. An inexpensive external microphone attached to your phone can go a long way toward improving audio quality.

In an ideal recording situation, each drum would have its own microphone and the mics would be recorded onto separate tracks in a DAW (Digital Audio Workstation), but there are other ways to make great recordings of your drums. For example, the Yamaha EAD10 acoustic electronic drum module has high-quality stereo microphones built in (see #6 below). You can also get great recordings of your drums using just four mics: a pair of overheads positioned a couple of feet above your cymbals, plus one on the kick drum and one on the snare. Audio interfaces like the Steinberg UR44C (which comes bundled with Cubase AI recording software) provide separate inputs for up to four microphones and allow direct connection to your computer without the need for expensive extras such as mic preamps.

When placing a microphone on a snare drum, tom or bass drum, don’t be afraid to move the mic close to the drum. Microphones designed for this kind of use are equipped to handle high sound levels, so you won’t have to worry about damaging them or distorting the signal. Close placement also ensures that you’ll get less “leakage” (unwanted sound from other parts of the drum set) in each microphone — just make sure the mic is out of the “line of fire” of your drum sticks.

Microphone placed near drum head. — *Close-miking reduces leakage.*

4. Choose the Best File Format

Smartphones typically store video and stereo audio in MOV, M4V or MP4 file formats, all of which compress data to make the file size manageable. While that makes the files easy to share and upload to social media, it also means that the sound quality is not as good as it would be if you recorded full-bandwidth uncompressed files (at a 44.1 kHz sample rate or higher, with 16- or 24-bit resolution) into DAW software such as Steinberg Cubase.

5. Take Advantage of Electronic Drums

Electronic drums are a great tool for making high-quality recordings without the hassle or expense of a lot of external gear … plus they provide lots of sounds for you to choose from. Yamaha DTX6 Series electronic drums offer hundreds of sounds that can be organized into 10 kits, and the included DTX-PRO module can connect to your computer via USB, allowing you to route audio directly into DAW software and create professional-sounding drum tracks.

Rear panel of drum trigger module with USB connections circled in red. — *The USB connections on the rear panel of the DTX-PRO enable direct connection to a computer.*

6. Supplement Your Acoustic Drum Set with an Electronic Drum Module

Even if you’re a diehard acoustic drum set player, you can still incorporate electronic sounds with the use of the Yamaha EAD10 acoustic electronic drum module mentioned in Tip #3. This revolutionary device includes a sensor unit that’s designed to be mounted onto your bass drum hoop. In addition to stereo microphones, the sensor also contains a trigger that can be used to play kick drum sounds stored in the EAD10 module, and the triggered sound can also be mixed with the microphones, so you don’t have to worry about using a separate kick drum microphone.

The EAD10 allows you to get clear, distortion-free stereo recordings of your drums without the hassle and expense of placing a lot of microphones and cables around your drum set. And, since setup is a breeze, you can be ready to record a scratch track or practice session in minutes. The EAD10 also provides the ability to add a variety of effects such as reverb, delay, and compression, plus you have the option of hearing the effects while you’re playing, which can help you come up with new, creative parts that you might not have otherwise played.

Recordings made with the EAD10 can be stored onto a USB thumb drive as high-quality (44.1 kHz/16-bit) uncompressed WAV files. When you’re finished recording, you can move the thumb drive to your computer and upload or email files to your friends. (Here’s a video that explores the EAD10 in detail and shows you all it can do. You can also find video examples of drummers using the EAD10 here and here.)

Another really cool feature of the EAD10 is that it functions as a 2-in/2-out USB audio interface for your computer, enabling you to record directly into most DAW software without any additional gear. This means you can easily overdub to tracks downloaded from your friends, create new tracks, and work on songs together. The files generated by most DAWs are usually too big to email, but you can exchange files using a cloud-based file server, some of which are free as long as the files remain below a certain size.

7. Record and Share

Looking for the easiest way to collaborate online? Check out the free Yamaha Rec’n’Share app, which runs on iOS and Android™ devices. Used in conjunction with the Yamaha EAD10 or DTX6 Series electronic drums, Rec’n’Share enables you to record both audio and video of your drum performance. When you’re finished recording the track, you can edit the beginning and end of the file to remove any extraneous audio, then email it, upload it to a file sharing app, or post your performance directly to social media.

Screenshot of the Yamaha Rec’n’Share app on tablet. — *The Yamaha Rec’n’Share app.*

Remember, keep practicing to keep up your chops … and happy sharing!

Photograph courtesy of the author.

Check out these related blog postings:

How to Practice Drums Without Disturbing the Neighbors

The Benefits of Recording Drum Practice and Performance

Electronic Drums 101

Click here for more information about Yamaha DTX6 Series electronic drums.

Click here for more information about the Yamaha EAD10 acoustic electronic drum module.

Click here for more information about the Yamaha Rec’n’Share app.

Mastering engineer in studio sitting in front of mixing console.

How Not to Over-Process During Mastering

Written by Pete Lyman on May 27, 2020. Posted in Recording.

My whole philosophy as a mastering engineer first and foremost is to do the least amount of processing possible to get the best result. When I know someone is about to deliver files to me for mastering, I suggest they first use whatever tools they have in their arsenal to get their mix sounding great … but without crossing the line into over-processing.

Better Safe Than Sorry

If a client is unsure of the processing that they want to apply, I tell them to print a backup without it — that way, we have options. But if they’re certain the processing is adding something to the mix, I tell them to go ahead and use it. For instance, if you’re applying a dB or two of mix bus compression and you’re making changes based upon how the song is sounding going through that compressor, don’t take that compressor off. Send it to me that way, because without that compression, I’m not going to be able to hear the mix as you hear it.

Nonetheless, I always advise clients to be careful that they are not painting themselves into a corner. Mix bus EQ and compression is usually fine, but I’m always a little leery of mix bus digital brickwall limiting, because it can place restrictions on what can be done at the mastering stage. For instance, if you’re mixing into a brickwall limiter and there are low frequency issues, that might cause the limiter to pump in an unpleasant way. Even though I might be able to EQ some of those frequency issues out in mastering, it’s really hard to fix limiter pumping; in fact, it’s usually impossible. That said, there are a lot of great engineers that mix into limiters, and if you know what you’re doing, it can be very effective.

Start Slow

For newer engineers that are experimenting with mastering at home with Steinberg WaveLab, the best way to do it is to pull up the MasterRig … but don’t activate all of the functions. Try instead by starting with just the EQ and the Limiter. Most of your mastering could potentially be done with those two modules alone. There’s no need to get fancy with a bunch of multiband compression right off the bat, for example. In fact, I would argue that multiband compression should only be used to fix any serious problems that you can’t fix with EQ. Even then, you might only need to compress one or two bands. Note also that if you pull up a preset, it may be useful for some things, but it may not apply to your specific track.

The best approach is to start with EQ and get the track sounding the way you want it. From there, start working on the overall level. As you are doing so, you may find yourself adjusting the EQ a little — things sometimes change slightly when you start making the track louder.

After that, try some limiting for loudness. Keep it simple, and try to get the result you want with just those two tools. If you’re not sure about what you’re doing, you may be doing damage, so think about every move you make, and ask yourself: Is this helping the track, or hurting it? Don’t pull out the saturation and tape emulators quite yet. Those are a bit more advanced, and frankly most mastering engineers aren’t using them, at least not on a daily basis.

Don’t Get Over-Loud

It’s also important to not make things too loud. Obviously, over the last 20 years, tracks have continued to get louder and louder as people push the envelope of what they can achieve in the digital realm. My take on this is different than people who get outraged about loudness, over-limiting and over-compression. While it’s not my first choice to set something on stun, I believe my job as a mastering engineer is to give the client what they ask for. So if someone specifically requests a really loud master, then I am going to figure out the most elegant and cleanest way to deliver that to them.

Where a lot of inexperienced people fail at this is that they assume loudness is achieved by using just one brickwall limiter and slamming their mix into it. They don’t understand that, with that kind of approach, they are not going to be able to get the clean result that I or other mastering engineers might, because it’s really all about gain staging. The key is to pick up a little bit of loudness here and there through different parts of your chain. This principle works whether you’re using a completely in-the-box software mastering chain or an analog hardware chain, or a combination of the two. It’s best to pick up a couple of dB at a time using different plug-ins or different devices to get the cleanest sound, as opposed to achieving 10 dB of gain reduction on a single limiter. It’s not as easy as a lot of people think … not if you want the result to be comparable to a commercially mastered track.

Frankly, I’m of the opinion that track loudness is simply not important. I have mastered many records that have won Grammys that aren’t loud at all. Loudness seems to be driven by artist insecurity and A&R label-based insecurity. Consumers are not getting mad that a track or a record isn’t loud. It’s not an issue to them. Everyone knows there’s a volume knob. Turn it up and let’s start making better-sounding records!

Photograph courtesy of the author.

Check out Pete’s other blogs.

Click here for more information about Steinberg WaveLab.

Male portrait with hands touching his temples with audio equalizer on the background.

How to Develop Critical Listening Skills

Written by Mike Levine on May 26, 2020. Posted in Audio How-to. 2 Comments on How to Develop Critical Listening Skills

You might think that there isn’t much difference between hearing and listening, but that’s not the case. Although both involve the auditory system, they’re mostly different processes. Just ask legendary recording engineer, producer, inventor and educator George Massenburg.

“Hearing is the act of perceiving sound by the ear,” he wrote in a 2019 paper entitled “Critical Listening and Critical Evaluation.” “Listening is a conscious mental process, as much about the brain as the ear.”

In this article, we’ll take a closer look at the meaning of critical listening and describe some steps you can take to develop that invaluable skill.

Critical Information

Other than covering our ears or moving to a different location, we don’t have control over what we hear. If a sound is within the range of our auditory system, we will hear it. Listening, on the other hand, is something we do for a reason.

The reason can be quite simple — for example, listening for a whistle to blow to know if a train is coming. Or it can be a lot more complex, such as wanting to concentrate on what a lecturer is saying in order to better understand the subject being explained.

When it comes to music, listening can be a visceral and straightforward process, or it can be far more complex, depending on the situation. If you’re dancing at a club, you’re probably not consciously analyzing specific aspects of the music; you’re just reacting to the beat and the groove.

But if you’re sitting down to savor a favorite album or song being played on a high-quality audio system, the ability to listen critically — to perceive and analyze the musical and sonic constituents — can make for a more rewarding experience. It gives you a more comprehensive and informed basis for understanding the music you love, from both an artistic and technical standpoint.

“For evaluating music, there are at least two basic ways to listen,” says Massenburg. “[As] an engineer and as a producer.” Although he’s referring to the listening skills required by audio professionals, the same basic concept and the same degree of focus applies if you’re a music lover listening for pure enjoyment … and while you’re at it, you should also learn to listen like an arranger.

Listen Like a Producer

The “producer” side Massenburg cites requires knowledge of the genre in order to evaluate the artistic aspects of the songwriting (both music and lyrics), as well as the arrangement and the quality of the performance. Music lovers, like producers, need to become an aficionado of the style(s) they want to listen to critically. In addition to consuming a wide range of music by artists in the genre, it’s helpful to read interviews, listen to podcasts and watch videos.

Once you’ve immersed yourself like that, you’ll be better able to evaluate the artistic aspects of a song or album from a contemporary standpoint, as well as helping you understand its roots and historical context.

Listen Like an Arranger

A big part of listening critically is being able to pick out the sound of individual instruments so you can understand what they are doing and the role they’re playing in the overall arrangement. Some people are born with this ability, but if you’re not one of those lucky individuals, there’s ample evidence that it’s a skill that can be developed over time: It’s simply a matter of playing a song repeatedly as you concentrate on one instrument at a time.

The more you do this, the better you’ll get at it, and you’ll find that you get a better sense of how the instruments all interlock with each other to create an ensemble sound. You’ll also start noticing similarities in the instrument parts between different songs of similar types. Those similarities are what help define a genre.

For example, in reggae music, the rhythm guitar parts almost always consist of short, staccato chords played on the upbeats. In EDM (Electronic Dance Music), the bass drum is almost always playing a “four-on-the-floor” pattern. That means it’s hitting on every quarter note (1, 2, 3, 4), creating a pulse in the low frequencies.

Listen Like an Engineer

The “engineer” side of critical listening entails being able to analyze a recording from a technical standpoint. This includes negative aspects like an awareness of distortion or processing artifacts such as over-compression or poor application of EQ, as well as positive aspects such as a good balance of tonalities or powerful dynamics. The good news is that you don’t need musical or studio experience to be able to do this: over time, you can learn to evaluate the technical aspects of what you’re listening to.

A good place to start is by studying panning — the way that the mix engineer or producer places the instruments in the stereo spectrum to create a virtual soundstage. This is one of the main tools used by professional mixing engineers to help give each element its own space — something that’s critical to keep a recording from sounding cluttered or muddy.

In pop music, the bass drum, snare drum, bass (whether upright or electric) and lead vocal are usually panned in the center, while the rest of the drum set, as well as most other instruments, are usually spread out to various points to the left and right. The illustration below shows a typical software mixing console a recording engineer might use, showing pan settings (L/C/R, short for “Left” / “Center” / “Right”) at the top for each instrument or vocal part.

Illustration showing a typical software mixing console a recording engineer might use, with pan settings at the top for each instrument or vocal part.

Mixing engineers can also make specific instruments or vocals seem like they’re further forward or further back. One way to bring an element forward is to make it louder. Another is to make it “drier” by putting less reverb on it.

Listen to a favorite song with the placement of the parts in mind. Which elements feel more forward? Where are the background vocals panned? Are the rhythm guitars fully left and right? The keyboards? Apply these kinds of criteria as you listen repeatedly, and you’ll soon begin to appreciate the styles and skills of various mixing engineers and producers.

The Highs and Lows

Another important aspect of critical listening is being able to discern the different frequencies (pitch ranges) in a recording. The illustration below shows a software frequency analyzer — a tool used to display the relative strengths of the different frequency areas, from the lows (bass, bass drum) to the mids (vocals, guitars, keyboards) to the highs (cymbals, shakers, breathiness).

Illustration showing a software frequency analyzer — a tool used to display the relative strengths of the different frequency areas.

This is a great tool for understanding frequency areas, but the goal here is to use your ears, not your eyes, to discern these regions. Try listening to a favorite piece of music without the benefit of this kind of aid, and ask yourself the following questions: Does the overall recording have a lot of clarity (i.e., is it easy to pick out individual instruments) or is it muddy (i.e., hard to discern individual components)? Does it sound overly sizzly, boxy, or boomy? (This would indicate a poor tonal balance, and a surplus of high, midrange or low frequencies, respectively.)

Not Just for Effect

Another facet to listen for is effects. Is there a lot of reverb on the vocals? Is there delay (echo)? It’s important to be able to differentiate between the two. (Reverb is a kind of diffuse “cloud” that follows a signal, while delays/echoes are distinguishable as being separate from the source.) Maybe there’s some subtle distortion? Does the voice sound natural or heavily processed? Is the overall recording dynamic (i.e., can you easily differentiate between the loudest sections and the softest ones) or is it static (i.e., everything sounds like it’s pretty much at the same volume)? Dynamic recordings tend to be much more interesting to the human ear than static ones, which often result from the over-application of compression and/or limiting.

Change is Good

One of the hallmarks of well-crafted music is that it changes — sometimes quite dramatically — from start to finish. When you’re analyzing the arrangement and performance on a recording, one of the fascinating things to listen for is how it changes over time.

For example, in both classical and pop music, you’ll notice that the arrangement usually builds subtly from section to section. Instruments will get added, or the intensity will vary, and the composition or song will typically reach its peak (both in level and complexity) at or near its conclusion. Well-arranged songs also have variations not only in instrumentation but dynamics, with the volume level constantly shifting to hold the listener’s interest.

Get Critical

Being a critical listener allows you to delve beyond the gut-level reaction you have when you first hear a song. (Not that there’s anything wrong with that; in fact, music is typically written to elicit an immediate response from the listener.)

But with the ability to listen critically, you can appreciate music intellectually as well. You’ll start to see how all the various aspects — writing, performance, arrangement, production and the technical aspects of the recording — come together as a whole to put a smile on your face. There’s a reason, after all, why your favorite music is your favorite music … and now you’ll be able to know what that reason is!

Check out these related blog posts:

Dialing in the Perfect Two-Channel Experience

What is an Integrated Amplifier?

Here’s What You Need to Know About Vinyl

How to Clean Vinyl Records

Functional Harmony, Part 2

Written by Jerry Kovarsky on May 25, 2020. Posted in Keyboard How-to. 3 Comments on Functional Harmony, Part 2

In Part 1 of this two-part series, we described how to add passing chords based on Dominant seventh chord resolutions. In this installment, we’ll dig a little deeper into this concept by creating longer sequences of those chords.

Taking the Long Road

Let’s assume you want to add some more color to a chord progression, and finish up with the I chord (the root chord of the key you’re playing in). In the key of C, for example, you can set up that final chord by first playing the V7 chord, which is a fifth higher (7 half-steps) from C — in this case, a G7 chord.

To set up the G7 chord, you again go up a fifth and use a D7th chord. Following this same logic, you would use an A7 to set up the D7, an E7 to set up the A7, and finally a B7 to set up the E7. If we analyze these chords based on the key of C, we get:

You may find it easiest to understand how these chords function in relationship to each other if you read backwards from the C (the root tone) in the third bar:

– The G7 is the V of the C.
– The D7 is the V of that V chord (the G7), called a Secondary Dominant.
– The A7 is the V of the D, which is the second step of the C scale (although not usually a Dominant seventh chord).
– The E7 is the V of the A, which is the sixth step of the scale.
– The B7 is the V of the E, which is the third step of the scale.

The second half of the illustration above shows the same chords, this time displaying the scale tone number of each chord’s root tone, disregarding how those scale tone chords would occur in the key (i.e., major, minor, etc.).

This progression of functional chords is based on consecutive intervals of a fifth. In music theory, this is called the circle of fifths. Here’s the full cycle, including all key signatures and relative minor relationships:

The circle of fifths allows you to easily create a longer series of chords to help connect any two chords. But you won’t always want all your chords to be Dominant sevenths. And, as we’ll soon see, they don’t have to be.

The ii – V – I Progression

As we’ve shown, when you use the circle of fifths to set up your root tone chord in the key of C, you end up with a progression that goes from D to G to C — in other words, scale tone steps ii, V and then I. If you look at the scale tone chord qualities of a major key, you’ll see that the ii chord is a minor seventh, while in a minor key the ii chord is a minor seventh with a flatted fifth, also called a half-diminished chord, indicated by the red arrows in this illustration:

You can use these qualities to give your progressions a little more variety. As the following illustration shows, the two chords preceding any chord in this cycle can be a ii – V – I progression of some sort:

Let’s examine some of the possibilities this offers. For example, here’s a common chord progression with a ii – V – I movement applied:

In the second version, I’m using a ii – V in the second bar to set up the coming Fmaj7, and in the fourth bar, I use the proper ii – V to set up the return to the Am7 at the top of the progression.

Exactly how you choose to apply these harmonic devices has to take into account the melody notes of the song. In the following example, the melody notes allow the use of the progression outlined above:

But the melody of this next example presents some issues:

In the second bar, the sustained E in the melody doesn’t sound great against a Gm7 chord, so I chose to go right to the C7, which acts as a V7 to the coming Fmaj7 chord. To add a little more interest, I chose not to use the root in the bass of the chord, using the G note as a passing tone to bring me down to the coming Fmaj7 nicely. Then I got a little more advanced, and on the last beat I used a tri-tone substitution of the C7 chord to add a little more movement on the way down to the Fmaj7th. (At this point, you might want to refer to this blog post to review the concept of tri-tone substitutions.) In the fourth bar, the G# note didn’t sound good against the B half-diminished chord, so I went right to the E7, and then brought back the ii – V for the last two beats of the bar.

The Wrap-Up

An understanding of Dominant chord resolutions, the circle of fifths, and ii – V – I chord progressions will allow you to add variety and sophistication to your playing. Once you have a firm grasp of these concepts, the next step is to decide on voicings — that is, the assignment of the notes between your two hands — to sound your best. This will largely be based on the style of music you are playing, as we’ll be exploring in future columns. Stay tuned!

All audio played on a Yamaha P-515.

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about Yamaha keyboard instruments.

Person using MusicCast app on smartphone.

Explore the New Features of the MusicCast App

Written by Joy Frye on May 22, 2020. Posted in TV & Movies.

Yamaha MusicCast wireless multi-room audio technology offers a large selection of home audio components, from AV receivers and streaming amplifiers to sound bars and speakers, as well as a free MusicCast Controller app that allows you to control all your equipment from your smart device.

Now there’s a new release of MusicCast Controller (version 4.10) that’s even more powerful and user friendly. Let’s look at some of the improvements it offers.

Alexa Scenes

A scene is a set of actions you want Alexa to take in response to a voice command spoken to an Alexa device. For instance, when you say, “Alexa, I’m home” to your Amazon Echo, you might want the smart lightbulb in your lamp to turn on and adjust to a certain brightness.

The latest version of MusicCast Controller allows you to integrate the app with your other smart home devices through the use of these scenes. First, you need the Alexa app downloaded on your phone or tablet. Next, make sure you have Alexa set up in MusicCast Controller, as well as the MusicCast Smart Home skill set up in your Alexa app:

MusicCast App.

Alexa App.

A convenient feature offered by MusicCast Controller is something called Room Presets. These save a room’s link information, input and volume in a preset that can be instantly recalled with the tap of a button. For instance, say you have the input of a Yamaha RX-V685 AV receiver in the living room set to HDMI^® 1 for watching TV, and that the receiver is wirelessly linked to a Yamaha MusicCast 20 speaker with the volume set to an appropriate level. You might then save those settings as a room preset called “Late Night TV.”

When at least one room preset is created, you’ll see an Alexa button displayed beneath your room presets, as shown below. Tap the button to register a scene with Alexa. This will involve logging into Yamaha Connect — something you’ve already done when you first set up Alexa in the MusicCast Controller app. (Download our setup manual for complete instructions).

Screenshots showing how to set up Alexa in the MusicCast Controller app.

Once your preset is registered as a scene with Alexa, you can combine it with other scenes or events into a routine. First, check that your scenes are available in the Alexa app by tapping Devices, then Scenes:

Screenshots showing how you can combine scene with other scenes or events into a routine.

You can create Routines in the Alexa app that combine scenes from other smart home devices which can be triggered by voice command or events, such as time of day.

Screenshots showing how to create routines in the Alexa app.

For instance, you can create a Routine that you invoke by saying, “Alexa, turn on late night TV.” Alexa would then set your TV to the correct input and your speakers to the right volume.

AV Controller Functions

AV Controller is a free app that allows you to control legacy Yamaha AV receivers from your smart device. The most commonly used features of that app have now been integrated into MusicCast Controller to allow remote control of the latest model Yamaha AV receivers.

Note: Not all the features listed below are available for every MusicCast device. Most models require a firmware update, and some older models do not support certain features. Availability is noted after each feature.

The following sound settings have been added:

– Party Mode (all MusicCast models)

– Remote Control screen (all MusicCast models)

– YPAO™ Volume (2018 MusicCast models and newer)

– DTS^® Dialogue control (2018 MusicCast models and newer)

– Video preset (2018 MusicCast models and newer)

– Screen on/off for background video (2018 MusicCast models and newer)

– Helpful descriptions of the sound settings have also been added for all MusicCast models, as shown here:

Old sound settings.

New descriptions.

As noted above, Party Mode is now available for all MusicCast AV receivers (AVRs), with an On/off switch displayed in the Sound Settings screen. There are, however, two limitations in Party Mode, as follows:

– AVR Zone 2/3/4 can’t be selected in the Rooms screen. (The input name is shown as “Party Mode.”)

– AVR Zone 2/3/4 can’t link master/clients.

Scene functions have also been added.

Streaming Service Enhancements

Yamaha has also made a number of streaming service-related updates, as follows:

– An “HR” indicator has been added to high-res content in Qobuz. This feature is available for 2020 MusicCast models out of the box; 2018 or newer MusicCast models require a firmware update.

– A 15-second skip function has been added to Spotify^® podcast playback. This feature is available for 2020 MusicCast models out of the box.

– The ability to jump to the Spotify app by tapping the album art.

Qobuz high-res indicator.

Spotify podcast skip.

A Better User Experience

Finally, there are several additions that make MusicCast Controller easier to use:

– The volume is now displayed in percentages so that it’s consistent across all MusicCast devices:

Screenshot showing volume as a percentage in the MusicCast app.

– Your smart device’s volume button now works for linked rooms too, not just individual rooms / devices.

– You can see updated tips for using the app by tapping the Settings icon, then TIPS:

Screenshot showing the "Tips" button in the MusicCast App.

Have fun exploring MusicCast Controller’s new functionality! We’ll keep you apprised here on the blog about future updates that will include even more time-saving features and additional smart home integration.

Check out these related blog articles:

Five MusicCast App Features You May Not Know

How to Use Alexa with MusicCast

How to Stream Amazon Music from Your Smartphone or Sound Bar

The Perfect Pairing: Yamaha MusicCast and Home Automation

Doing a Firmware Update on Your AV Receiver

Click here for more information about Yamaha MusicCast.

Click here for more information about the Yamaha MusicCast Controller app.

Read other articles in our AV Technology Spotlight series.

How to Silently Practice Your String Instrument at Home

Written by Dale Ramirez on May 21, 2020. Posted in Electric Strings.

Practicing at home is taking on new meaning during these times. Regularly practicing violin always required diligence and dedication to your instrument. Now string players find themselves mostly at home, creating music for their family and neighbors and maybe the occasional livestream. But as you prepare for your big living room concert or Instagram debut, you may want to practice in complete privacy. Or maybe you want to pull out your violin for the first time in a long time and are thinking of ways to decrease your volume … at least until you get your intonation up to standard (we’ve all been there!).

Whatever reason you have for playing at a reduced dynamic level, there are solutions to make sure you can keep practicing even when you are in close quarters with family members or next-door neighbors.

Bear in mind that acoustic string instruments — that is, wooden instruments without electric components — cannot be made fully silent. That said, you can affix a practice mute (a piece of rubber or metal) under the bridge of the instrument to significantly reduce the vibration of the strings, and hence the overall volume. This is a good option for those okay with a little bit of sound emanating from the instrument.

For those looking for greater reduction in volume, there are instruments made expressly for that purpose, such as electric strings. However, even these instruments may lack the capability of true silent practice unless they allow you to plug in a set of headphones. Many electric string instruments are specifically designed to be used with amplifiers, meaning that if you want to play silently, you have to get a little creative.

Yamaha SILENT™ Series violins such as the YSV104 and SV250/SV255 are an even better option, since they allow you to directly connect headphones as well as an external audio source for completely silent play-along practice. The YSV104 also provides adjustable settings that allow you to switch the sound in your headphones between a realistic room ambience ideally suited to practice and the deep, rich reverb of a concert hall. (Click here for more information about the differences between SILENT and electric strings.)

Yamaha YSV104.

Yamaha SV250.

All kinds of music is being performed on SILENT and electric string instruments these days, so play what you like and what you want out in the world. We want to hear you!

Ready to learn more? Here’s a video that shows you how to set up an electric violin:

Click here for more information about Yamaha SILENT strings.

Express Yourself

Written by Dr. Daniel J. Levitin on May 20, 2020. Posted in Brand. 2 Comments on Express Yourself

I’ve been playing piano since I was four. One of the pieces I struggle with still is the Chopin Prelude in E Minor — which is fascinating, because I’ve been able to put my fingers in all the right places for 50 years. It’s being able to play it with true expression that has been a lifelong challenge.

The author and his Yamaha C6 grand piano.

Which Instrument?

A typical orchestra has more than a dozen different instruments, and sometimes many more if you count special use instruments such as piano, celeste, xylophone, saxophone and bass clarinet. In fact, there are seventeen different clarinets alone, and over a hundred different percussion instruments. How do people decide what to play?

The decision depends in part on what your goals are. If your aim is to play in a heavy metal band, bassoon is not the obvious choice (but not unheard of — conductor Edwin Outwater just performed a concert with the San Francisco Symphony and Metallica). The decision also likely depends on how old you are. For a young child — say under age 10 — I recommend that parents take a different approach than individuals north of 50 who are picking up a musical instrument for the first time. Yes, you can learn an instrument at any age and you can become pretty good at it, but the older you are, your choice of which instrument to play becomes more crucial to success.

The Age Factor

At a young age, one instrument isn’t necessarily more difficult to play than another, although physical factors can be relevant. A child with chubby fingers, for example, will find more success on the cello than the violin. The best way to help children choose an instrument is to let them hear as many different instruments as they can and see which ones excite them most. Artur Rubinstein, one of the great pianists of all time, knew from the age of six that he wanted to play the piano. His father had other ideas — he bought young Artur a violin, which the precocious child promptly smashed. Rewarding a tantrum is not usually a good idea, but most children who are drawn to music are very specific about the kind of sound that resonates with them. And this is an important decision, since becoming a great musician requires a minimum of 10,000 hours of practice. (There is no documented case of a master musician who achieved that in fewer hours.) If you don’t like the sound you’re making for all those hours, it can be hard to motivate yourself to practice.

Everything’s different for older adults because learning takes on a qualitatively different aspect. A child may be content to practice scales for an hour or more a day, and be resigned to the fact that it can take years to coax a pleasing tone out of some instruments, such as the violin or the oboe. Other instruments, like guitar or electric bass, require that the player develop callouses so that it isn’t physically painful to practice.

The Keyboard Advantage

For older adults, the instrument I recommend is the piano (or any similar keyboard, such as organ or synthesizer). The reason is that getting a good tone out of a keyboard is not at all difficult: anyone can sit down at a piano and play a C-sharp as well as a Rubinstein, an Alicia de Larrocha or an Elton John. Putting the notes together is the challenge, but it’s a challenge you can start addressing right away.

The other advantage of the piano is that it’s easy to visualize scales and chords — they’re all there in front of you, laid out linearly. On brass instruments, the fingering combinations, along with lip pressure, determine the notes in a way that can be difficult to visualize. And although clarinet notes are laid out somewhat linearly, the different octaves require different fingerings. Similarly, some people find stringed instruments such as violins and guitars hard to learn because each string is tuned differently — like having four (or six) pianos stacked on top of each other.

Of course, not everyone can afford an acoustic piano and others don’t have the space for one. Modern digital keyboards that can sound like other instruments are a fantastic innovation. Yamaha patented FM synthesis decades ago (based on an idea by my music teacher John Chowning) and popularized it with the release of the iconic DX7. Today’s keyboard instruments allow you to play realistic sounds of any number of instruments at the touch of a button.

From a technical standpoint, the Chopin Prelude I mentioned at the beginning of this article is fiendishly simple — even a novice can learn to put their hands on all the right keys in just a few weeks of practice. But getting the piece to sound musical is something else altogether. The subtlest variations in tempo and finger pressure, not to mention pedaling, make this a rich and hugely rewarding undertaking. And a great deal of the reward, as with the first movement of Beethoven’s Moonlight Sonata, is that I don’t have to learn complicated fingerings, and I don’t have to worry about whether the instrument is producing a pleasing tone. Instead, I can devote all of my attention to emotional expression, getting lost in the beauty of two of the greatest works of art ever created, putting my fingers in the same configurations as Chopin and Beethoven, imagining for a moment that I am them. What better gift can be bestowed upon any musician?

Photograph courtesy of the author.

Click here for more information about Yamaha pianos.

Silhouette of man sitting in lotus position watching the sunset.

Zen and the Art of Making Music

Written by Rich Tozzoli on May 18, 2020. Posted in Creativity.

“In the beginner’s mind there are many possibilities, but in the expert’s mind there are few.”
— author Shunryu Suzuki, from his book Zen Mind, Beginner’s Mind

This profound thought has helped me get through more than a few challenges in the course of my life. It often reminds me that it’s OK to recognize that not knowing something, or having naiveté about a topic, is perfectly fine and in certain situations can actually be helpful to the end result.

Soto Zen Monk and teacher Shunryu Suzuki standing outside some windows. — *Shunryu Suzuki.*

During this time of staying at home, I’ve decided to make the best of the situation by not only catching up on long overdue reading, but to push the limits of my professional craft. One of the books I’ve been reading is Zen Mind, Beginner’s Mind, which is a compilation of relevant talks given by Soto Zen Monk and teacher Shunryu Suzuki (1904-1971). One of the primary topics he explores is the practice of always trying to keep a beginner’s mind. While that can be taken many ways, I’ve come to recognize that I can benefit by rethinking certain elements of my music with that mindset.

Here’s how I recently put it into practice: I accepted the fact that in order to become more proficient at my guitar playing and composing (which is how I make my living), I needed to address my weaknesses. For me, that would be things like bluegrass picking, slide guitar technique and string orchestration. I decided to put focused intense effort into each aspect, and to identify qualified online teachers to help me in the quest.

I’ve been playing guitar most of my life, but bluegrass is technical, intricate and frankly, difficult. At first, I found it remarkably frustrating to learn some of the genre’s precision picking techniques that were foreign to me. To overcome this, I had to accept that it’s OK to start with a beginner’s mind. That acceptance made it easier for me to get a grasp on the basics. Next, I put time into relentlessly playing the same few licks over and over. By locking this into muscle memory, I was able to develop a modified technique that worked for me and let me move on to something slightly more complicated. Now, just a few weeks into the process, I’m able to knock out enough fast bluegrass licks to actually write a few TV cues in the genre … and sound competent at it.

The same applies to slide guitar technique. At first, I found it incredibly annoying that the slide would always bang on the frets and all the strings would buzz at once. But by adopting a beginner’s mindset, I discovered a few simple approaches that led me to understand how to mute the strings and play with my fingers, which delivers a richer tone. I also learned to set up one of my guitars with the action a bit higher, which largely eliminates the bangs and buzzes. As with bluegrass picking, taking a step backwards and starting at the beginning has allowed me to progress quite quickly.

My approach to learning string orchestration is a little different: I’ve been doing live online classes with my teacher while we both sit at keyboards in our respective rooms. We study a piece of classical music and break it down to the basic principles, then discuss how to build our own composition using what we’ve learned. With that knowledge, I found that I was able to create a cue for a tension-filled television show by using a motif based on the first few notes in Beethoven’s Symphony No. 5.

When it comes to mixing music, I also allow myself to have a beginner’s mind. For example, when applying EQ and/or compression, I don’t worry about what order they are in or how many plug-ins I use, no matter what some say is the “correct” approach. To me, if it sounds right, it is right. If I need to use five EQs in a row and four compressors to get the sound I’m after, so be it. The same applies to my use of reverbs: On occasion, I’ve been known to apply a reverb to a reverb! Sometimes the simple act of trying something new works, and sometimes it doesn’t. The only way you will know is to try.

For some, the word naiveté has come to mean ignorance or simple-mindedness, yet the Latin root means natural, or self-taught. And here’s what I’ve learned: By taking a step backwards and starting from ground zero, I’ve been able to build a solid foundation on my weaknesses, which then allows me to keep constructing a stronger and stronger structure on top of that foundation. Try to approach your next musical endeavor with an open mind and a beginner’s mindset. You never know where it might take you!

Photograph of Shunryu Suzuki courtesy of the San Francisco Zen Center.

Check out Rich’s other postings.

Live Recording, Part 1

Written by Steve La Cerra on May 15, 2020. Posted in Live Sound.

There’s nothing more exciting than listening to a live performance, especially when it’s your band. But how do you go about making a recording of a show or rehearsal that accurately represents what the musicians are playing? In this posting we’ll cover live stereo recording; in Part 2, we’ll show you how to do live multitrack recordings.

The Basics

Live recording can be as easy as using a smartphone or a handheld stereo recorder. However, with such a simple rig, the quality of the audio will be highly dependent upon the room acoustics and the location and quality of the microphone(s) being used. The mics built into most handheld stereo recorders can handle the high sound levels typical of a gig or rehearsal, but the microphones built into phones aren’t usually up to the task (no surprise, since they were designed to handle the low levels required by phone calls), so you may need to add an external mic or two to avoid distortion and capture a wider frequency range.

Another problem with recordings made with handheld devices is that there’s no way to “remix” them, so the balance between the instruments and vocals heard in the room at the time of the performance is what you’ll get on the recording too. As a result, these kinds of recordings can sometimes contain a lot of room ambience and background noise, which make it difficult to hear the music. The bottom line is that recordings made with a phone or handheld recorder are probably best used for reference purposes only, and not for distribution to your fans.

Recording directly from the outputs of your mixer can significantly improve the audio quality while avoiding some of the issues described above. Because it’s coming from mics onstage, the signal from the mixer will have minimal room ambience and crowd noise, and (as long as you maintain correct gain structure and don’t overload the audio path in the mixer) these “board” recordings will be distortion-free.

Creating Board Mixes

One way of recording the outputs from a mixer is using the mixer’s USB port. Yamaha MGXU Series mixers all provide a 2-in/2-out USB interface that can be used to record and play back stereo files. Connecting this port to a laptop running DAW (Digital Audio Workstation) software such as Steinberg Cubase AI (a free download that’s also included with MGXU Series mixers) enables you to record the digital stereo output from the mixer straight into a computer. Using an appropriate cable, this USB port can also be connected to an iPhone^® or iPad^® running the free Yamaha Rec’n’Share app.

Audio mixer connected to a laptop running Steinberg Cubase AI software — *The USB output from a mixer can be used to route digital audio to a laptop.*

Yamaha MGP24X and MGP32X mixers incorporate a USB Type A port that accepts a USB storage device such as a thumb drive, enabling you to record directly to (or play files back from) the storage device without the need for a computer.

If your mixer doesn’t have USB capabilities, you can create an analog board mix as long as it has an extra set of stereo outputs (that is, in addition to the main stereo outputs feeding your PA system); all you have to do is connect those outputs to the inputs of a handheld recorder or computer audio interface.

As convenient as board mixes are, there are some disadvantages too. The main one is that the audience may be hearing something different than what you are recording. That’s because they are listening to a combination of sound coming from the stage and the sound coming from the PA system. The smaller the room (i.e., in a club setting), the more the stage sound contributes to this blend, and so the fidelity and accuracy of board recordings made in such venues may be compromised.

Complicating this is the fact that some instruments don’t need to be very loud in the PA system due to their stage volume. For example, if the bass player’s stage amp is really loud, there may not be a need for a lot of bass in the PA. This may work fine for the audience, but when you play back a recording taken directly from the mixer, there will be a lack of bass. Ditto for massive onstage guitar stacks. That’s one of the reasons why many board recordings feature overly loud vocals and anemic bass or guitars.

Enter The Matrix

One way to solve these problems is by using a mixer that has a built-in matrix. A matrix is kind of like a mixer inside a mixer. It allows you to internally combine different mix buses (a bus is an audio path that combines multiple signals) and send them to another destination. As an example, the two matrices provided by the Yamaha MGP24X and MGP32X can be used to combine the main stereo L/R mix with signals sent to Groups 1, 2, 3 or 4. (See our Tools of the Trade posting about grouping for more information.)

These matrices are mono, so you’ll need two in order to create stereo. This is accomplished by routing the main stereo L bus into matrix 1, and the main stereo R bus into matrix 2. The USB recorder built into the MGP24/32X gives you a choice of recording either the output from the two matrices or the main L/R stereo mix. These recordings can be saved as either MP3 or WAV file formats.

Two built-in matrices on the Yamaha MGP24X and MGP32X mixers. — *Yamaha MGP24X and MGP32X mixers provide two matrices.*

It’s not actually as complicated as it sounds. Let’s take a look, for example, at that band with the loud bass player described above. If you assign the bass channel to Group 1, and route that group into matrices 1 and 2 along with the main L/R stereo mix (Left to matrix 1, Right to matrix 2), you’ll hear too much bass in the recording (though the mix the audience hears in the room will sound just fine). But if you don’t assign Group 1 into the main L/R stereo mix (which keeps the group, and therefore the extra bass) out of the PA system, you can make the bass as loud as you want in the recording by altering the Group 1 level … without affecting the house mix.

The MGP24/32X provides four groups, so you can do the same for other sounds that may not need to be as loud in the house mix — electric guitars, for example. You can also use a group to add audience microphones to the recording, while keeping them out of the PA system.

*The “ST” button assigns a group to the main stereo L/R mix.*

It may take some experimentation to determine which instruments should be routed to a matrix using a group, along with the appropriate level of those groups into the matrices. But once you have it sorted, you’ll have an easy way to make high-quality stereo recordings of your performances and rehearsals.

Click here for Part 2.

Check out our other Tools of the Trade postings.

Click here for more information about Yamaha MGXU Series mixers.

Click here for more information about Yamaha MGP Series mixers.

Phrase to Amaze

Written by Robbie Calvo on May 13, 2020. Posted in Guitars How-to.

The first five years of my guitar playing life were spent studying rhythm guitar, not lead. For some reason, I had no desire to learn scales, arpeggios and melodies.

Focusing my attention strictly on harmonic structures and stylistic rhythmic variations early in my development gave me a solid musical foundation for creating cool chord progressions and a strong sense of the “groove and pocket” for layering multiple guitar parts.

I think of “groove” as the underlying rhythmic feel of a song, and “pocket” as the placement of the parts within the groove. When there are multiple instruments in a mix, finding your own pocket is essential to maintaining clarity in an arrangement.

Understanding how guitar parts lock together to create layers and harmonic interest is fascinating to me, and that may be why I hear melody and lead guitar parts as rhythms that also need to sit in pockets of their own. It’s not just a matter of playing notes over the top of an arrangement or backing track, it’s the purposeful positioning of those notes to interact with the other instrumentation and composition.

What is Phrasing?

The rhythmic delivery of your melodic message is called “phrasing.” This is one of the key elements to creating a personal identity on any instrument. After all, what would a series of musical pitches be without rhythm? A cluster of unorganized sound.

So let’s consider musical phrases to be an organized sequence of notes, arranged as pitch and rhythm. How we personally arrange those elements will have a huge impact on how our music is perceived by an audience.

I’m always looking for new ways to develop my melodic palette, and over the years, I’ve formulated several approaches to expand my musical vocabulary without deconstructing my stock phrases.

Rhythmic Displacement

One of the simplest ways to get more mileage out of your ideas is to place phrases in new locations within a bar (measure) of music — something called rhythmic displacement (sometimes referred to as melodic displacement). But before I get ahead of myself, let’s first establish a description of a measure of music that shows the downbeats as numbers and the plus sign “+” as the upbeat (the “and”). A simple bar of four beats would therefore look like this:

1 + 2 + 3 + 4 +

As you can see, each beat has been divided into two equal parts — the downbeat (number) and the upbeat (plus sign). We can choose to start our phrases on any one of those divisions, provided we control our hands and don’t let muscle memory control us. Playing with this kind of control and intention is going to be a challenge for many guitar players, but with concentrated effort, it can change your phrasing ability forever.

For example, starting a musical phrase on the downbeat of “one” will sound immediate, while starting it on the downbeat of “three” will leave more space at the beginning of the bar, allowing the music to breathe and sound more laid back. As you move phrases further into the bar, you’ll also notice that the end of your phrases may resolve to a new location in the next measure … which can have the unintended — but often good — consequence of landing on a new chord for melodic variation.

I’ve worked with a lot of guitar students who tend to start every phrase on downbeats only. I think this is more of an unconscious thing than a deliberate approach, but it can become an obstacle in creating interesting phrases. Personally, I like to place the start of my phrases on upbeats — at all different points within each bar. I think this sounds hipper and less predictable to the listener.

The Video

In this video, you’ll hear me play two eight-bar solos. In each solo, I place my phrases on the upbeat (the “and”) of each of the four downbeats. In other words, the first phrase is started on the upbeat of one, the second phrase on the upbeat of two, etc. Count along as you listen to the solos to give yourself a solid reference of this phrasing approach. To further demonstrate this, I then play four separate solos, with all the licks of the first solo starting on the upbeat of one, all the licks of the second solo starting on the upbeat of two, etc.

I’ve also placed the backing track at the end of the video so you can try out all these phrasing ideas for yourself, using the G Blues (G Minor Pentatonic) scale. In addition to choosing where you start your phrases, you’ll want to end and resolve your phrases to the tones of the Gmi7 chord: G, B♭, D and F.

The Guitar

Yamaha Revstar 502TFM guitar with subtle flame maple top and finished with a hand-rubbed Vintage Japanese Denim.

The P90 single-coil pickups in the Yamaha Revstar 502TFM I’m playing in this video are perfect for this track. I used the neck pickup exclusively during all the solos for a smooth and creamy tone, and the jumbo frets on the 13-inch radius rosewood fretboard made string bending a breeze. The guitar is great visually, too! Its subtle flame maple top is finished with a hand-rubbed Vintage Japanese Denim, effectively eliminating glare from the camera lighting.

Note that I’m running the Revstar through a Line 6 Helix^® guitar processor in stereo, direct to the recording software via an audio interface — no amplifier is used.

The Wrap-Up

We can all learn scale shapes and the resulting chord tones and apply them to a guitar fretboard to create melodic lines and licks … but that’s only half of the musical equation.

Organizing those pitches into compelling rhythmic phrases and then placing them creatively in each bar will give you ultimate command of your instrument and the ability to express yourself fully as an improviser. Don’t just play it, phrase it!

Photograph courtesy of the author.

Check out Robbie’s other postings.

Click here for more information about Yamaha Revstar guitars.

Click here for more information about the Line 6 Helix guitar processor.

Musician playing saxophone during online concert at home isolated and quarantined.

Top 10 Tips for Livestreaming Your Music

Written by Mike Levine on May 12, 2020. Posted in Live Sound.

More than ever before, musicians are livestreaming from their homes. To make yours stand out from the crowd, you need more than a good performance — you need to optimize your technology and maximize your production values.

Here are ten tips that will help you create a livestreaming event you’ll be proud of.

1. Choose the Right Platform

All the leading social media platforms (Instagram, Facebook^®, YouTube™, Twitter/Periscope and Twitch) offer livestreaming options. Your choice will likely come down to where you have the most followers, or what’s fashionable within your genre of music.

But there are other factors to consider. For example, YouTube only allows you to stream from a mobile device if you have a channel with a thousand or more followers. (There’s no minimum follower requirement if you stream from a computer, however.) YouTube also requires a 24-hour waiting period after you verify your account (a relatively quick process involving inputting your phone number) before you can start to stream.

*Initiating a YouTube stream in YouTube Studio.*

Instagram Live is easy to start streaming on, but your content only stays up for 24 hours. If you want your performance to be available in perpetuity, you need to record it and re-upload it to Instagram or YouTube.

Check out these links for more specifics on the streaming policies of the various main social media platforms: YouTube, Instagram Live, Facebook Live and Twitch.

2. Maximize Your Audio Quality

Livestreaming, at its most basic, entails standing in front of your smartphone and using its built-in camera and mic to capture your performance. It’s easy and quick, but doesn’t offer the best results, particularly on the audio side.

That’s because the built-in mics on phones are generally mono and don’t provide very good fidelity — not surprising, given that they were designed primarily for making phone calls. What’s more, you have to position yourself in such a way that your voice and instrument are correctly mixed. That usually requires you to get your mouth relatively close to the mic, which means moving your face close to the camera. That doesn’t often produce a flattering shot due to the optical distortion you get with extreme closeups.

White Yamaha AG03 mixer. — *Yamaha AG03 mixer.*

Whether you’re streaming from your phone or from your computer, you can connect higher quality audio devices such as USB microphones or external mixers. The latter allows the usage of professional quality external microphones (positioned exactly where you want) and also enables you to bring in multiple sources. They also allow you to create a stereo mix before the audio is sent to the encoder software in your computer. (See Tip #8 below.)

A good starting point would be one of the compact Yamaha AG Series mixers, which are optimized for basic livestreaming and podcasts, with features such as built-in effects and USB/iPad^® connectivity. If you need more inputs and additional flexibility, check out the Yamaha MG Series or MGP Series line of mixers, which come in a variety of sizes and offer USB outputs that make them well-suited for livestreaming applications.

*The Yamaha MG10XU mixer offers plenty of channels and a USB output.*

If you’re a solo act, you should consider using a vocal mic like the one you use onstage, plus a second mic (or a DI connection) for your instrument. If more than one person is performing, multiple input sources are imperative for getting a good blend of sound.

If you’re using your phone for a camera, you can connect USB mixers to it with the use of an inexpensive and readily available adapter cable. For iOS devices, you’ll need the Apple^® Lightning-to-USB Camera Adapter; for Android™, an OTG cable.

3. Create an Appealing Visual Background

You want to make your visuals as appealing as possible, so finding the best spot in your house or apartment for your performance is critical. You’ll probably want the background to be as simple as possible — a cluttered room will be a distraction for your viewers.

Light-colored curtains make for a good background; if you don’t have any, you can always hang some fabric on the wall behind you. Or consider buying a “green screen” — a cloth backdrop in a particular shade of green compatible with the chroma key function in your broadcasting software. That’s a great way to go, since it allows you to use any kinds of images as backgrounds, giving you a lot of visual options.

4. Check Your Lighting

You’ll also need decent lighting. Unless you’re planning to stream your show during daylight hours (and assuming you have a space with good natural light), you’ll have to use artificial lighting of some type.

You may be able to get away with the existing lighting in your home, but you should think about purchasing a lighting setup designed for video since professional lighting will help eliminate facial shadows and other visual anomalies. Products and prices vary quite a bit, but you should be able to get something that does a credible job in the $200 – $300 range.

5. Use a Tripod or Stand

Whether you’re using your phone’s camera or a dedicated video camera, you’ll need a stand or tripod. Obviously, you can’t hold a camera and perform at the same time, and even if you have somebody in your house who can operate it for you, you want the visual image to be steady, not shaky, as would occur if the camera is handheld. A steady camera will provide a much more professional look and help you keep your viewers longer.

6. Consider Multiple Cameras

If you’re ambitious and have some money to spend, you might consider using more than one camera for your livestream. To do so, you’ll need to purchase either a hardware switcher or a software switcher and video capture card, which will require a minimum investment of $300 to $500. You’ll also need someone to operate the switcher during your performance. But the result is a much more captivating image, since the viewer won’t have to be subjected to the same camera angle from start to finish.

7. Maximize Your Internet Connection

Having a stable internet connection makes a huge difference when it comes to livestreaming. If your Wi-Fi is uneven in your house, it may dictate where you perform, which may not always be the best spot visually or acoustically. But if you perform where the signal is weak or unstable, your stream will be subject to dropouts and freezes, which could ruin things for your viewers.

Generally, you’ll get the best results if you set up in the same room as your router (or Wi-Fi extender, if you have one). If possible, connect your computer to the router/extender with an Ethernet cable (as opposed to wirelessly) for the most consistent — and likely fastest — service.

8. Pick the Right Encoding Software

To combine your audio and video sources for streaming, you’ll need to install broadcaster software on your computer. Fortunately, you don’t have to spend any money to do so. Two of the top freeware applications are OBS Studio (OBS stands for “Open Broadcaster Software”) and Streamlabs. Other software packages offering more extensive feature sets are also available.

Screenshot of OBS encoder software. — *OBS Studio is freeware encoder software.*

These apps allow you to configure your video and audio inputs and will stream your content directly to YouTube, Facebook, Periscope (Twitter’s live streaming service) and Twitch, among others. (Only one at a time, however. If you want to stream to multiple sources you’ll have to pay for a subscription to a multi-streaming platform such as CASTR, Restream or Switchboard.)

9. Play Original Music

Legally, you don’t have the right to play a cover song online unless you’ve arranged for a license through a licensing agent such as The Harry Fox Agency^®. If you play an unlicensed cover, your stream (or the recording of it that you post) could be taken down by Facebook, YouTube or whichever platform you’re streaming to. Don’t take that chance: Stick to original material.

Facebook’s tips on posting and copyright for livestream content. — *Facebook’s tips on posting and copyright.*

10. Test Test Test!

Before you stream to the world, you want to test your setup extensively. Check how your background looks, how the lighting is working, whether your audio is coming through with sufficient fidelity, and how your internet connection is holding up.

Do several dry runs in advance of any public performance. If you’ve decided to use YouTube, you can do a test stream that’s recorded but that only you can access. For other platforms, you might consider setting up a separate account that you use exclusively for tests and don’t publicize.

In addition, most OBS software packages offer a handy recording option. Simply use the same settings as you’re planning on using for your livestream, then record a rehearsal onto your local drive to preview how it will look and sound.

Above all, remember Murphy’s Law: Whatever can go wrong, will go wrong. The only way to cope is to be copiously prepared. Happy streaming!

Click here for more information about Yamaha mixers.

Headphones, guitar, notebook, electronic tablet and pen on wooden background.

Lyric or Vibe?

Written by Shelly Peiken on May 11, 2020. Posted in Creativity.

“What comes first? Melody or lyrics?” This is a question I get asked a lot.

My answer: When I sit down to write by myself, lyrics — or at least a title or a concept — come first. Then I marry it/them to a melody and a chord progression. That’s just me. Everyone has their process. There’s no right or wrong. But to me, words are the seed that initiates a new song.

So much so that I’m absolutely perplexed when someone asks me to critique their song and doesn’t include the lyrics with the MP3 they send me. As if lyrics were incidental. Gravy. Icing on the cake.

Back in the day, if you showed up to play a song for Clive Davis without supplying a hard copy lyric sheet, you’d be escorted out of his office. And that would be a shame after it took so long to get in.

Why have lyrics become so secondary nowadays? I have my theories.

For one thing, with current mainstream pop music being so electronic and beat-driven, it’s the backing track (the musical bed) that has become the star of the show, with the lyrics serving as the supporting cast. One has to wonder if all the triggering of sounds and beats — now such an integral part of the modern songwriting process — is the reason why vibe has leapfrogged all else in the hierarchy of song ingredients. Furthermore, because technology has replaced some of the more human-made musical choices, perhaps we’re simply more cavalier when it comes to other ingredients. Like the WORDS!

Don’t get me wrong. Vibe is essential. But vibe is result of the treatment used (i.e., the production) to usher lyrics and melody into the world — the clothing they’re dressed in, so to speak. The same song can be dressed in many different outfits. But a song has only one lyric. I want to know what they are, especially if you want my opinion of your song.

Yet I’ve recently discovered that when I listen to music (as opposed to creating it), it’s the vibe that initially draws me in. That’s right. It’s vibe that gets my attention. Not the lyrics. At least at first.

I realize this may sound a little hypocritical, but in my defense, it’s occurred to me that perhaps songwriters relate to music differently depending on whether we’re a music “user” — i.e., in a car getting fed random curated playlists — or we’re involved in the creative writing (or critiquing) process. Personally, I look to vibe to service my mood — to take me deeper into the one I’m in (will it enhance my hot tub experience / Sunday night cooking / two-mile run?), or rescue me from it (lift me up or calm me down).

These different behaviors make sense because I didn’t become a songwriter with the intention of enhancing mood. Rather, it was my therapy. I wanted to better understand myself. I wanted to connect with others via a universal concept with a unique point of view. It was, admittedly, all about the words.

That said, if a song’s vibe pulls me in, I’ll pay more attention to the lyric second or third time around — but should I find no substance, I move on. Thank you, next!

Because lyrics matter.

What matters most to you? What comes first when you’re writing? When you’re listening?

Whatever your response, if you’re asking someone to critique your song, please remember to include the lyrics!

Check out Shelly’s other postings.

Bring Music Into Your Home This Mother’s Day

Written by Shana Kirk on May 8, 2020. Posted in Digital Pianos.

There’s no such thing as a “typical” 21st-century mom. Some mothers engage children through clever crafts, while others explore nature or lead family yoga. Some inspire greatness through sleek professional achievements; others through detailed activity schedules or perfectly executed birthday parties. Most roll a few of these qualities into one unique force. But no matter what their style might be, moms everywhere do all they can to help their children build fulfilling lives. For many, an essential part of that fulfillment is a musical experience.

There are countless ways to include these kinds of experiences into the daily family routine. For example, plenty of children take piano lessons, either online or with a piano teacher. The time-honored practice of working toward a spring recital by learning minuets and sonatinas is a special rite of passage in many families. These families form lifelong bonds with the upright and grand pianos in their living rooms.

Beyond this traditional experience, however, today’s moms also recognize that children’s lives can be enriched in other ways. A tiny energetic explorer might not be ready for the discipline of piano lessons, but might be absolutely captivated by the fun sounds and lighted keys of a starter keyboard like the Yamaha EZ-220. And who knows when that exploration is going to turn into inspiration?

Yamaha EZ-220 keyboard. — *Yamaha EZ-220.*

Once that moment hits, the budding pop star might learn some quick chords and create dazzling backing tracks for a YouTube channel using the Groove Sampler feature in a Yamaha PSR-EW425. Or that inspiration might take an inward direction, when a burgeoning composer finds delight in exploring the richly authentic sounds of a Yamaha PSR-EW320 — an instrument with an extended touch-sensitive keyboard that allows your child to easily play duets with you. Maybe she even presses the record button and exports their musings to MP3, creating a soundscape for the mindful meditation program at school.

An electronic keyboard musical instrument. — *Yamaha PSR-EW320.*

Meanwhile, there’s a Yamaha Genos workstation supplying the beats to help a middle schooler find just the right mood for the lyrics he wrote, while a budding Broadway star uses that same instrument to plug in a microphone and creates a dazzling audition recording with authentic backing tracks and vocal harmony.

A large electronic keyboard instrument. — *Yamaha Genos digital arranger workstation.*

But what happens when one family includes a lot of musical paths? Moms are often also responsible for figuring out how to best include everyone in the family, even when it comes to making music. Recognizing that many families have multiple musical needs, Yamaha offers a variety of flexible hybrid instruments, nimble enough to support divergent musical tastes.

The Yamaha AvantGrand hybrid piano, for example, doesn’t just replicate the sound of an acoustic piano — it actually uses the same mechanism and parts to deliver the feel of playing a real piano … but with no strings to tune, making it the perfect no-maintenance solution.

Woman playing a Yamaha N1X AvantGrand digital piano. — *Yamaha N1X AvantGrand.*

Clavinova digital pianos offer 88 full-size keys, authentic sounds and traditional cabinets. They also include a suite of educational, recording and arranging features, making them perfect for learning. Some models offer fun entertainment features like karaoke and stream lights, turning a musical instrument into a family party hub.

Yamaha Clavinova stream lights feature. — *Yamaha Clavinova stream lights.*

Even some fully acoustic Yamaha instruments now include the flexibility to accommodate modern family life. Children practicing traditional études on a piano equipped with the company’s unique SILENT Piano ™ technology (such as a Yamaha U1SH upright, P22 SC2 upright or GC1 SH grand) can do all their listening through headphones while still enjoying the true feel of a genuine acoustic piano … plus they can connect their instrument with an iPad^® for interactive games or virtual ensembles.

So this Mother’s Day, remember: Nothing says love like music!

Click here for more information about Yamaha keyboard instruments.

Young woman at home playing a Yamaha synthesizer.

How to Get the Best Audio When Listening to Livestreams

Written by Joy Frye on May 7, 2020. Posted in Music and Streaming. 1 Comment on How to Get the Best Audio When Listening to Livestreams

Whether you’re watching a Facebook Live event on your iPhone^® while using AirPlay^® to stream it to your AV receiver, or are watching YouTube Live on your smart TV with sound playing through your sound bar, you want the best audio possible. You may already have your home theater fine-tuned to deliver amazing 3D surround sound, but listening to a livestream can be a quite different experience than listening to a highly produced, professionally recorded and mixed movie or TV show.

That’s largely because livestreaming events use a wide variety of audio recording resources. Some may only be using a smartphone’s built-in microphone for the audio portion (sometimes even the video portion too!), while more sophisticated livestreams employ external microphones for better quality, and may also be presenting the performance in stereo. Higher production streams may even use a professional mixing board, where the vocals, instruments and room acoustics are captured by separate microphones and mixed together for a good balance of sound, sometimes even with added effects such as reverb.

Whether you’re listening with the use of an AV receiver, sound bar and/or wireless speakers, here are some tips to improve the livestreaming experience.

Tips for AV Receivers

Most AV receivers offer various preset modes (sometimes called “sound programs”) that are optimized for various types of content, from movies and sports to gaming and music. When listening to a livestreamed event, try starting with Straight Mode, which is the digital soundtrack decoded without alteration. If it’s a stereo broadcast, you’ll get left and right information. If it’s mono, you’ll get the same information through both the left and right channels, which will sound like it’s coming from between the two speakers. Straight Mode probably won’t be your final choice, but it’s a good baseline.

Multi-Channel Stereo Mode (sometimes called All-Channel Stereo Mode) will give you simulated stereo through all the speakers you have connected to the system, which is good for filling the room with sound. However, you may want to try some of the modes that use surround speakers to generate acoustics that simulate where the performance could be originating from. To create these experiences, the receiver takes the digital bitstream from the broadcast and decodes it into the original number of channels of audio being broadcast: one channel if it’s a mono broadcast, two channels for stereo or up to full 5.1 or 7.1 channels of surround, depending on the original source.

There will also usually be a variety of “DSP” (Digital Signal Processing) modes that create virtual surround sound environments such as a Jazz Club or Concert Hall. These process the original signal with additional acoustic information to recreate a tailored sound field that can emulate different listening environments in your home: everything from a baseball stadium to an intimate nightclub.

Be sure to try all the modes on your receiver’s remote, even the ones with names that don’t sound like they’re intended for music. You may be surprised at which mode is the best for your livestreaming event!

Closeup of someone's hand choosing from the items on their smartphone app with the TV on in background. — *AV receiver sound programs in the MusicCast app.*

Tips for Sound Bars

Like AV receivers, many sound bars have preset sound settings for TV, movies, sports, games, music and stereo. Even if content is streamed in stereo, your sound bar may be able to decode it into surround sound using Dolby^® Surround. So try presets other than stereo or a “music mode” and see which one sounds the best for the livestreaming event you’re listening to. You can also try turning up the volume of your subwoofer for more bass.

Clear Voice is a feature offered by many Yamaha sound bars that makes voices easier to hear and understand by bringing the dialogue and narration to the forefront. Although intended for movies, Clear Voice can have a positive effect on music too.

Tips for Wireless Speakers

Even your humble wireless speaker may have settings that will improve your livestreaming listening experience. For example, Yamaha MusicCast 20 and MusicCast 50 wireless speakers offer a Bass Booster feature for those who are all about that bottom end. You can turn on Bass Booster in the MusicCast Controller app by tapping the hamburger in the lower right-hand corner of the Now Playing screen:

Music app in use. — *MusicCast 50 Bass Booster feature in the MusicCast app.*

Remember, you are watching these musicians because you appreciate their artistry and talent. Don’t let a poor audio stream rob you of enjoying the artist’s gift to you!

Photograph by Walden Kennedy.

Check out this related blog article: How to Get Great Sound When Watching Sports on TV

Click here for more information about Yamaha AV receivers.

Click here for more information about Yamaha sound bars.

Click here for more information about Yamaha wireless speakers.

Understanding and Using Reverb

Written by Mike Levine on May 6, 2020. Posted in Recording. 2 Comments on Understanding and Using Reverb

Producers and recording engineers commonly add some degree of reverb to pretty much every song they work on. That’s because reverb provides a sense of space, giving instruments and voices more dimension and life. It can make anything sound as if it was recorded in a big concert hall, the live room of a famous studio, a club or almost any other type of space … even if it was actually captured two inches in front of a microphone in a tiny bedroom.

In this article, we’ll talk about the various kinds of reverb plug-ins available, and the ways you can use them during recording and mixing. (For information on how to use reverb in live sound, check out this blog post.)

Which is Which?

Reverb plug-ins are based on either algorithmic or convolution technology (or sometimes a combination of both). Algorithmic reverbs such as Steinberg REVelation or roomworksSE (both included with Cubase) use mathematical formulas to emulate various real acoustic spaces, such as rooms, halls, plates, and so forth. Even though they’re digital models of reality, they can be quite accurate.

Convolution reverbs use samples of actual spaces — called “Impulse Responses” (or IRs for short) — as the basis for their sounds. For example, REVerence, one of the reverb plug-ins included with Cubase Pro, offers sampled acoustics from recording studios, concert halls, cathedrals, tunnels and gymnasiums, among other places.

Screenshot of REVerence plug-in showing example of IRs from large Viennese hall. — *REVerence’s sounds include IRs from places and spaces all over the world.*

Although convolution reverbs sample real spaces, that doesn’t necessarily make them better overall. Algorithmic reverbs typically have more adjustable parameters, providing superior control and customization. They’re also more CPU-efficient, as compared to convolution plug-ins.

Configurations

Whichever type of reverb you use, the best way to apply it is as a “send effect,” using an auxiliary (“aux”) send-and-return configuration. Such a setup is usually preferable to using it as an “insert effect” — that is, inserting it directly on the source track. (For more information about aux sends and returns, check out this blog post.) There are two reasons why. First, you can send the signal to one reverb plug-in from multiple channels in your mix simultaneously, which allows you to use fewer plug-ins overall and save on CPU overhead. The second is that you can further customize the sound with other processing plug-ins inserted after the reverb. (More about this shortly.)

One note of caution: Whenever using an aux send to feed signal to a reverb plug-in, be sure to set the plug-in’s mix control (sometimes called “wet/dry”) to 100%. Otherwise, when you turn up the send, the reverb will output some dry (unprocessed) signal along with the wet (processed) signal, which can potentially cause phase issues since dry signal is already coming from the source track.

Screenshot of Cubase roomworksSE showing Mix control. — *Cubase roomworksSE Mix control.*

Spaces

When mixing, you’ll generally want to add some reverb to several tracks, unless they were recorded with enough natural ambience that it’s not necessary. How much you apply and the type of space(s) you select is an artistic choice.

For example, if you wanted to make a vocal sound like it was recorded at a live concert, you would probably want to choose a reverb based on a hall or some other large space. If you were trying to add some additional ambience to an instrument, you might want to instead go for a smaller virtual space such as a room, chamber or short plate.

Plate reverbs, in case you’re wondering, were analog devices typically found in recording studios that featured large metal plates that vibrated as audio passed through them, creating a reverberant sound that was then captured by an internally mounted microphone, with its signal then routed to the console.

Chamber reverbs simulate reverbs created in echo chambers, which were highly reverberant rooms (usually with tiled walls and/or floors, like bathrooms). The sound of an instrument or voice was pumped into the room through speakers and then picked up with a series of mics, with the resultant signal routed back to the console to be mixed in with the original sound source.

Plug-in recreations of plates and chambers often sound quite good. Plates are particularly versatile.

Falling into Decay

A reverb signal has two main sections: the early reflections and the tail. The former is the first part of the reverb signal. It reproduces the initial part of the sound being processed and is louder than the tail, which is the sustaining and fading part of the signal.

Screenshot of REVerence plug-in showing early reflections in a reverb waveform. — *The early reflections in a reverb waveform.*

The length of the entire reverb signal is a critical variable, and is often expressed as decay time, though it is also sometimes called reverb time or RT60. Some plug-ins offer an adjustable size (or “room size”) control that determines the length of the decay.

Be careful when using a reverb with a long decay time on an up-tempo song. The faster the tempo, the more quickly the next line or phrase comes around, and you generally don’t want the reverb tail hanging over it, since that can make your mix sound muddy and indistinct. On songs with slow tempos, you have more leeway to use longer decay times.

An easy way to check if the reverb is hanging over is to solo the vocal (or another track you’ve put the reverb on) and listen to whether it ends before the next line comes in. If not, try shortening the decay time.

In Advance

Another important reverb parameter is pre-delay, which is usually expressed in milliseconds. As the name implies, this adds a delay before the reverb starts.

*A reverb waveform without (top) and with (bottom) pre-delay.*

You’ll find that a short pre-delay (less than 30ms or so, depending on the song) often helps a reverb sit better in the mix. Without it, the reverb will start the instant the audio hits it, which can sound unnatural. If you set the pre-delay too high, however, you’ll hear a distinct space before the reverb begins. Unless you’re going for a rhythmic effect (where the reverb is timed to come in on a beat), that probably won’t sound very good.

Extra Goodies

Most reverbs have EQ controls of some type. It’s often helpful to attenuate (cut) some frequencies of the reverberated signal, particularly in the low end. Doing so can help avoid cluttering the mix with the low frequencies in the reverb tails, which generally can be reduced without damaging the overall tone. If you want more equalization options than your reverb plug-in provides, you can always insert an EQ plug-in after the reverb.

Screenshot of StudioEQ showing EQ plug-in inserted after a reverb. — *An EQ plug-in inserted after a reverb gives you additional frequency control.*

When it comes to processing reverb, you’re not limited to EQ, either. If you place a compressor after a reverb, for example, it will squash down the reverberated signal and change its sound — sometimes quite significantly. Similarly, saturation after reverb can add a cool graininess. If you’re going for a rhythmic effect, a dedicated delay plug-in can substitute for the pre-delay and give you more control, including locking it to the song’s tempo.

Bear in mind that, as mentioned in our blog posting The Virtual Soundstage, ambient effects like reverb make a sound recede towards the back of the mix, so factor that in when you’re deciding how much of it to put on a vocal or lead instrument. In general, it’s usually best to be understated with reverb. If all your tracks are dripping in it, it can take away the punch and clarity of your mix. That said, almost every song can benefit from some judicious application of reverb. Experimentation, as always, is key!

Check out our other Recording Basics postings.

Click here for more information about Steinberg Cubase.

Young girl reading a book on the floor of her room.

In My Room

Written by Howard Massey on May 4, 2020. Posted in Creativity.

When I was a kid, my favorite room was the Reading Room in the Ingersoll Public Library — a massive Art Deco building in the heart of Brooklyn, where I grew up.

Ingersoll Public Library in Brooklyn at sunset.

Perched up on the second floor, the Reading Room was a large, opulent space with dark wood wainscoting, plush carpeting and sunlight streaming through floor-to-ceiling windows that overlooked Prospect Park (the Brooklyn equivalent to Manhattan’s Central Park). My parents — both of whom were avid readers, a trait they passed on to me — would take me there every few weeks. It was a family outing I always looked forward to.

I remember racing through the bookshelves, picking out a dozen or more tomes of interest as quickly as possible before heading to the escalator upstairs. I’d plunk myself down in one of the Reading Room’s easy chairs and begin thumbing through the books in my lap, eager to pick out the top seven (the maximum you were allowed to check out). Once that decision was made, I’d settle back and enjoy the solemn stillness, feeling like a real grown-up. In my imagination, I was Bruce Wayne studying criminology in his private library at Gotham Manor, or Sherlock Holmes contemplating a set of baffling clues while puffing on his pipe at No. 221B Baker Street.

When I got to college, my favorite room was one of the practice rooms in the basement of the campus Fine Arts building. Behind its heavy soundproofed doors lay an old grand piano in pretty decent shape, and I’d pound away on it for hours on end, composing songs that I was convinced would be my ticket to fame and fortune. None of them did, but I wouldn’t trade a moment of the joy that uninhibited playing brought me — the perfect antidote to the pressures of academia and trying to find my way in the world.

In my senior year, I formed a rock band, playing drums at first before switching over to bass. After graduation, a group of my bandmates and I rented a house near the university, and the center of activity was our rehearsal room. With all our gear in there (plus an out-of-tune spinet I’d bought for fifty bucks from a neighbor), it was cramped, and pretty musty too, but I still recall spending many happy hours in that room, both with friends and on my own.

A few years later, I relocated to England. I still played bass with various bands and on recording sessions (as well as, sometimes, guitar or keyboards), but encouraged by some of the music publishers I’d wangled meetings with, I felt that my future lay in songwriting. So, even though my first domicile in Blighty was a tiny studio apartment in central London (something the Brits endearingly called a “bedsit,” since it had barely enough room to accommodate a bed and a single chair), I promptly rented an upright piano and placed it up against one wall, thereby depriving myself of a fair chunk of the already limited available space. No matter. As I saw things, it was a necessary part of my life.

I would move twice while living in England, and each time that piano would go with me. And indeed a few of the songs I composed on it would bring me a modicum of success (and much-needed income). It was hard to say goodbye to that old friend when I moved back to the States. I miss that piano to this very day.

Everywhere I’ve lived, I’ve had a music room, though over the years it would evolve into a well-equipped home recording studio. Today that studio does double-duty as my home office, where I find myself spending more time behind a computer keyboard than a musical one. But my old guitars and basses are still with me, even if my drum set isn’t (it was long ago replaced by electronic drum pads), and I take great comfort from knowing that they are here, still serving as my faithful companions.

Frankly, I can’t imagine life without a favorite room — a room where, as Brian Wilson once wrote, I can go and tell my secrets to. I hope you too have such a place in your life, especially these days, when positivity and inspiration have become such precious commodities.

Photograph by Jim Henderson.

Check out Howard’s other postings.

Eight Great Star Wars™ Surround Sound Effects

Written by Ted Goslin on May 1, 2020. Posted in TV & Movies.

One of the most significant achievements of the Star Wars™ universe is its use of sound. When the original film came out in 1977, there were few audio or visual effects companies that could create what was needed. This forced Star Wars creator George Lucas to start his own company, Industrial Light and Magic™, which is considered today to be one of the leaders in movie special effects.

We thought it would be fitting this May 4th (the official Star Wars Day) to pay tribute by presenting a list of the sound effects used in the saga that are best appreciated when heard in surround sound.

We’re providing YouTube™ links of film clips to help you identify the effects listed here, but to get the most from these moments, we suggest you go beyond your TV speakers and listen on a 5.1 (or more) channel system, using either an AV receiver and discrete speakers, or a sound bar with surround sound capabilities. You’ll enjoy even better audio if you can get your hands on Blu-ray Discs™ containing the full movies or access a streaming service that offers an option for 5.1-channel surround sound.

(Warning: Spoilers ahead!)

1. Light Sabers

Originally created by combining the hum of movie projector motors and electronic TV interference, this iconic sound can be heard buzzing through the front stage of your system in most of the original Star Wars trilogy, most notably when Luke Skywalker battles Darth Vader. A more recent example can be heard during the animated series, Star Wars: Rebels, when Vader faces off in an epic duel with his former apprentice, Ashoka Tano. Filled with the clashing of light sabers from every angle and rounded out with great music and a powerful, lightning strike-filled low end, this tense fight ends in a nail-biting climax. Watch it here.

2. Blaster Fire

While there’s no shortage of blaster fire to enjoy in any of these movies, try watching Rogue One while observing where the shots are coming from in the surround sound mix. One standout moment occurs when Baze Malbus rescues his wannabe Jedi pal Chirrut Îmwe from a bunch of stormtroopers using his heavy repeater blaster cannon. During the rescue, and in the incredible fight sequence that precedes it, you’ll notice blaster fire scattered through the soundstage, with some high-impact martial arts moves mixed in that make great use of the subwoofer as well. Watch it here.

3. Chase Sequences

Any chase sequence in Star Wars is well worth watching, but one notable recent addition happens in Solo: A Star Wars Story, when Han Solo, Chewbacca and their accomplices attempt to heist a monorail-like train on a frozen planet and are forced to contend with a group of thieves. Underpinned with rousing music, lots of blaster fire, ships crashing into things and a big explosion or two, this sequence makes great use of surround sound, with audio across the whole front stage, rear nuances from mechanical noises and full use of the subwoofer for explosions. Watch it here.

4. Space Battles

No Star Wars story is complete without epic space battles. One of the most jaw-dropping scenes takes place in Episode III: Revenge of the Sith right after the opening crawl during the Battle of Coruscant. First you’re introduced to a complete color palette of ships, lasers and explosions that fill the soundstage from front to back. Then the two Jedi fighters of Obi-wan Kenobi and Anakin Skywalker enter, soaring in from off-screen and zipping all around, heading towards their objective: a rescue. Watch it here.

5. Character Sounds

There are plenty of big moments in Star Wars, but what about the little ones? There’s lots of those too, from the ominous sound of Darth Vader’s breathing to the playful droid noises from R2-D2 and BB8. One of the most impactful comes in Episode VI: Return of the Jedi, when Princess Leia frees Han Solo from being a carbonite wall ornament in Jabba the Hutt’s palace. Just when they think they’re safe, Jabba’s laugh creeps into the audio track, soon filling the room, along with the sounds of his lackies laughing along with him. Watch it here.

6. Pod Racing

Episode I: The Phantom Menace offers something unique: pod racing. During this thrilling sequence, Anakin Skywalker, a 10-year-old boy, is competing against professional racers to win his own freedom, along with some ship parts to help his friends. While the whole race is filled with exciting sound, pay particular attention to the moments when ships are turning corners, crashing into each other and exploding … as well as at the end, when Sebulba tries to overtake Anakin with tragic results. Watch it here.

7. Jet Packs

Large engines sound cool when they reverberate with the low-end power of a subwoofer, but smaller engines — the ones that offer more than just the gut-punch of a subwoofer explosion — can sound even cooler. The perfect example: the jetpacks (known as “the Rising Phoenix”) used by Mandalorians, a warrior creed that train from a young age to fight for noble causes. In the Season 1 finale of the Disney+ series The Mandalorian, the title character launches himself towards the show’s main villain, Moff Gideon, who is flying overhead in a TIE Fighter (the solo fighter craft used by the evil Empire in aerial and space combat). The Mandalorian manages to get the upper hand and the result is a buffet of audio mayhem, from the launch of the jet pack to the sounds of the fighter and air whooshing by during the onslaught. Watch the series trailer here.

8. The Sounds of the Force

As every Star Wars fan knows well, “the force” is the invisible presence that binds all life together. One of the more shocking (and audibly powerful) moments involving the force occurs in the video game Star Wars Jedi: Fallen Order when the hero, Cal Kestis, has just defeated an Imperial Inquisitor and is about to escape when footsteps and the familiar sound of breathing signal trouble, in the form of Darth Vader. Now it’s time for you (the player) to attempt to fight the menacing Sith lord, and what ensues is a race for your life. During the battle, there’s plenty happening audio-wise, from slashing sabers in the front to the low-end rumble of the force in action. Watch it here.

Have fun … and may the force be with you!

Here are some more blog posts to help you enjoy Star Wars in surround sound:

Best Star Wars Scenes to Enjoy on Your Sound Bar

May the Fourth Be With You: The Best Moments from the Star Wars Saga

Home Theater Basics

Four Myths of Surround Sound

How to Shop for a Surround Sound System

Updated: How to Get ESSER (CARES, CRRSA, ARP) Funding for Your Music Program

Written by Dr. Dave Gerhart on May 1, 2020. Posted in Funding.

UPDATED: July 10,2023

There have been many rumors that all ESSER funds have been spent or the funds have been pulled back due to the debt-ceiling legislation that Congress passed in May 2023. These statements are not true.

Below, we have compiled resources from arts organizations and federal government websites. The purpose of federal education funding is to promote fairness among various communities and aid in increasing the availability of exceptional music and arts programs for a greater number of students. Your ongoing support and advocacy play a crucial role in advancing this endeavor!

Important Links

ESSER Funding Toolkit 2023 — COVID Relief Funding in the Music Classroom: An updated resource from the National Association for Music Education (NAfME) that provides tools to initiate conversations with your administrators about the remaining ESSER funds.

The Education Stabilization Fund Transparency Portal: This website provides a transparent view into federal COVID relief funds (ESSER, GEER, EANS and HEER). It shows how much funding was allocated to school districts and the amount of remaining funds.

Elementary and Secondary School Emergency Relief Fund (ESSER): The Department of Education has compiled ESSER resources on this page. (Updated 5/17/23)

In addition to ESSER funds, there are many federal programs that can be used to support music education. The links below provide information about block grants and other federal programs to help support music education.

Federal Funds Can Be Used for Music Education: This webinar, hosted by the National Association of Music Merchants (NAMM) Foundation, discusses federal funds (Title IV Part A, SSAE, Title I and Title II) and provides success stories to expand opportunities for all students.
REPORT — The Impact of Federal Funds on Music & Arts Education, 2022 Survey: NAfME, in collaboration with the NAMM Foundation, the Educational Theatre Association (edTA), the National Dance Education Organization (NDEO) and the National Art Education Association (NAEA), conducted an informal survey to collect data about the use of federal funds to support music and the arts (dance, theater and visual arts) during the 2021–22 school year.

UPDATE FROM DECEMBER 20, 2021: On June 14, 2021, the U.S. Department of Education began releasing state plans on how each state will use their ESSER III funds to support schools, students and educators. The state plans are required for states to receive the final third of their allocated ESSER III funds. As of today, 50 states and the District of Columbia have submitted their plans.

UPDATE FROM JUNE 4, 2021: On May 26, 2021, the U.S. Department of Education (DOE) released a Frequently Asked Questions (FAQ) on ESSER and GEER funds.

This document helps educators justify how and why they can access these funds for their program. It is important to note that for the first time, the DOE states that ESSER funds can be used to implement or expand music programs, which includes purchasing instruments.

Don’t forget, if you receive ESSER funds, please email us and tell us your success story.

UPDATE FROM May 5, 2021: The American Rescue Plan (ARP) was signed into law on March 11, 2021. This COVID relief bill extends or modifies several provisions in the Coronavirus Aid, Relief and Economic Security (CARES) Act that was passed in March 2020 and the Coronavirus Response and Relief Supplemental Appropriations Act (CRRSA) that was passed in December 2020.

The new relief bill authorizes $168 billion for the Education Stabilization Fund. The bulk of that funding falls under Elementary and Secondary School Emergency Relief (ESSER III), which will receive an additional $122 billion on top of the $54 billion (ESSER II) and $13 billion (ESSER I) that was allocated in the previous acts.

Important Links

Use of ESSER Funds, a resource from the Nebraska Department of Education
American Rescue Plan Act Fact Sheet, including a comparison of all three ESSER funds
ESSER III Allocations, a list of funding available to each state
Additional information about ESSER III from the from the Office of Elementary and Secondary Education
ESSER I, II and III Funding Estimates
This Funding Resource Guide Handout points you to articles and additional information about federal funds for music education.
Give a Note Foundation posted this blog about How to Get ESSER Funds for Your Music Program
Emergency Assistance to Non-Public Schools (EANS) Program

Educator Success Stories

UPDATE FROM February 25, 2021: The Coronavirus Response and Relief Supplemental Appropriations Act (CRRSA) was signed into law on Dec. 27, 2020. This new COVID relief bill extends or modifies several provisions in the Coronavirus Aid, Relief and Economic Security (CARES) Act that was passed in March 2020.

The new relief bill authorizes $81.9 billion for the Education Stabilization Fund. The bulk of that funding falls under Elementary and Secondary School Emergency Relief (ESSER II to differentiate it from the original K-12 funding under the CARES Act), which will receive an additional $54 billion on top of the $13 billion that was allocated under ESSER in March 2020.

ESSER II funds cannot be used until original ESSER funds are spent. ESSER funds are still available — check out this dashboard of ESSER funding that has been allocated and spent by each state and territory.

ESSER II funds must be spent within one year of allocation. All ESSER II funds must be spent by Sept. 30, 2023.

Important Links

ESSER II Fact Sheet
ESSER II Allocations, a list of funding available to each state.
Additional information about ESSER and ESSER II funding from the Office of Elementary and Secondary Education
Information about education funding in the new Covid-19 relief package from National Association for Music Education (NAfME)
COVID Relief Funding in the Music Classroom from NAfME

Below is the original article about the CARES Act.

Get CARES Act Funding for Your Program

We are living in challenging and unprecedented times, requiring intervention from the federal government. On March 27, the Coronavirus Aid, Relief and Economic Security (CARES) Act was passed. Last week, the U.S. Department of Education announced that $30.75 billion of the CARES Act will be distributed through four grant programs to address the impact of COVID-19 on students, K-12 schools and higher education institutions. This allotment is new grant money and not part of Title IV-A or other grant programs.

Only one of the CARES Act grant programs requires an application — due by July 1, 2020 — through the federal government. The Elementary and Secondary School Emergency Relief Fund (ESSER) provides $13.5 billion in emergency relief funds to support continued learning for K-12 students. State education agencies (SEAs) must apply for ESSER grant money by July 1, 2020 — time is of the essence! — and local education agencies (LEAs) will have one year to use the money. See below for information about how ESSER Funds can be used and how to get started on the application.

The other three grant programs are distributed to states or directly to higher education institutions. 1) The Education Stabilization Fund Discretionary Grants (ESF) provides a portion of $307 million in grants to states most affected by coronavirus to address specific educational needs of students, their parents and teachers. 2) The Governor’s Emergency Education Relief Fund (GEERF) includes $3 billion of discretionary funds distributed to state governments to support K-12 and higher education needs related to COVID-19. 3) The Higher Education Emergency Relief Fund (HEERF) provides $14 billion of funding directly to higher education institutions to provide emergency financial aid grants to students whose lives have been disrupted.

States have been informed of the funds they will receive. Here is the state-by-state breakdown of the GEERF, HEERF and ESSER Funds Allocations.

How Can ESSER Funds Be Used?

ESSER Funds can be used for the following:

Tools and resources for distance education/learning
Ensuring student health and safety
To give resources necessary to address the needs of individual schools
Developing and implementing plans for the next school year
Provide internet access for students struggling to learn remotely
Supporting low-income students with resources to help them with online learning
Support for special populations of students, such as those who are homeless
Children with disabilities
Racial and ethnic minorities

For a detailed list on how ESSER Funds can be used, refer to pages 7 and 8 of the Certification and Agreement for Funding under the Education Stabilization Fund Program.

How Do I Get Started?

Start with a musical needs assessment. Using the criteria above, how can ESSER Funds help your program address the projected needs of your incoming students? Write up a proposal to reflect those items.
Meet with your administrator about the proposal to address projected needs and ask about securing support from this funding source.
Principals are not always up to date on U.S. Department of Education funding programs, so it may be helpful to ask your principal/supervisor if they could advocate for your needs by checking with the district’s or school’s federal funding professional. (Most school districts have a dedicated staff member who seeks out federal funds to support educational needs.)
Ensure that your needs are advanced to the appropriate LEA department or representative to ensure that they are accounted for because it is the responsibility of the SEAs to download and complete the Certification and Agreement form and submit it.
Remember, SEAs have until July 1, 2020, to apply for ESSER Funds, so it is important to reach out to your administrator as soon as possible.
In a letter to education commissioners, Secretary of Education Betsy DeVos said that applications will be processed within three business days of receipt.

Additional Resources

Please be aware that this information changes daily. Refer to the U.S. Department of Education website for current information.

Music Education Policy During a Global Pandemic Webinar by the NAfME Public Policy Team (webinar slides are available here)

Press Release from U.S. Department of Education: Secretary DeVos Makes Available Over $13 Billion in Emergency Coronavirus Relief to Support Continued Education for K-12 Students

Education Week: Betsy DeVos Releases Billions More in Coronavirus Education Aid

If you know of additional ESSER Funds or CARES Act resources, please email them to educators@yamaha.com and we will share them with other music educators.

Yamaha is an active advocate for music education, and we want to empower music educators to strengthen their programs in any way we can. Please register for the Yamaha Educator newsletter to read up on advocacy, professional development, information about instruments, resources, partnerships in education and more. Join the Yamaha Music Educator Community on Facebook or email us at educators@yamaha.com.

How to Practice Drums Without Disturbing the Neighbors

Written by Steve La Cerra on April 30, 2020. Posted in Electronic Drums. 1 Comment on How to Practice Drums Without Disturbing the Neighbors

Drummers have to drum. But unless you have access to a rehearsal studio or you’re regularly gigging, it can be challenging to find ways to practice without disturbing the neighbors.

“Quiet drumming” might seem like a contradiction in terms, but there are actually several options for getting the volume down while keeping your chops up. Here are a few of them.

1. Use Practice Pads

The age-old method for quiet practice is the practice pad, which was initially developed for working on rudiments (though not necessarily beats and fills). Multi-pad kits are also available, making it possible to work on coordination and independence.

Practice pads offer a lot of advantages. They’re lightweight, easy to move and relatively inexpensive. They can be used anywhere in your home — you even take them outside and work on your flams while you work on your tan. A practice pad brings you back to the basics, forcing you to focus your concentration on a single surface. You can also easily hear a metronome while playing on a pad, which helps prevent sloppy habits and improves stick control.

A drum practice pad. — *A practice pad can help focus your attention on stick control.*

Practice pads are available with a variety of playing surfaces, ranging from rubber to real drum heads, so try various options and see what feels best to you. (Bear in mind, however, that whichever one you choose, the rebound is likely to be stronger than that of an acoustic drum.) Pads designed for tabletop use are adequate, but to maintain your playing posture, a practice pad should be placed on a stand at the same height as your snare drum.

2. Muffle Your Drums

As long as there have been drums, there have been people trying to figure out how to make them quiet! Homemade remedies have included filling drum shells with packing peanuts or moving blankets, placing towels on top of heads or cymbals, and putting sheets between the bearing edges and the heads.

These days, there are more sophisticated ways to reduce the volume of acoustic drums. For example, rubber drum and cymbal mutes can easily be placed atop your existing kit and quickly removed when it’s gig time. A downside to playing on drum mutes, however, is that sticks don’t rebound the way they would if you were playing directly on the heads, so you’ll have to work a little harder than usual — which is also a good way to build up your drumming muscles.

Mesh heads can also drastically decrease the loudness of any acoustic drum set, though a big disadvantage is that you’ll have to change back to normal heads when it comes time for a gig — unless you have the luxury of owning separate kits for practice and gigging. Mesh heads can also feel somewhat springy under normal tension and don’t play well with brushes because the wires get caught in the weave … and when tensioned high enough to feel like traditional heads, they generally don’t sound all that great. That’s where triggers like the Yamaha DT Series come in handy. Simply attach them to drums with mesh heads and connect them to an electronic module like the Yamaha EAD10 in order to practice at a low volume while hearing realistic drum sounds in your headphones.

Complementing mesh heads are the new generation of “practice cymbals” (sometimes called “low volume” or “silent” cymbals.) Essentially lightweight cymbals that have been perforated with a large number of holes, they feel and sound very much like regular cymbals, but are not nearly as loud. Since the Yamaha EAD10 has a built-in stereo mic, you’ll be able to mix in the sound of these kinds of cymbals for a realistic practice experience at a low volume. Check out this video to see how it works:

Here’s another video that shows you how to use practice cymbals along with DT Series triggers and an EAD10 to build a quiet drum set.

3. Use Electronic Drum Kits

There’s no question that an electronic drum kit keeps noise levels down, and they also provide a wide range of different sounds and features. That means you can keep reinventing your kit over and over again while sharpening your skills at the same time. (For a good example, check out this video of the Yamaha DTX6 being put through its paces.

However, keep in mind that playing on an electronic pad with a hard rubber surface can actually produce enough noise to disturb your next-door neighbors. For that reason, you should look for electronic pads with soft rubber surfaces or synthetic heads (these are also easier on your elbows than hard surface pads!). The Yamaha DTX720K electronic drum kit utilizes advanced DTX-PADs for the snare and toms. These are exceptionally quiet, but at the same time offer playability similar to that of acoustic drums.

*The Yamaha DTX720K electronic drum kit.*

4. Soundproof Your Practice Space

Soundproofing your practice space is the most effective way to play acoustic drums without disturbing your neighbors, but it’s an expensive undertaking, and few rooms (if any) end up being truly soundproof. If you can use a part of your garage or basement for practice, that’s the best way to go because they’re usually constructed from concrete, which is a very effective material for isolating sound. These kinds of spaces also have the natural advantage of no neighbors underneath — important since the thumping generated by foot pedals can easily permeate through floors and ceilings. There are commercially available sound-deadening mats and platforms that address this problem, though these kinds of products can be pricey. If you’re on a tight budget, rubber floor tiles designed for home playrooms or workout rooms can work surprisingly well. As a bonus, they usually come as locking panels, so you can custom-create a platform in pretty much exactly the size needed to accommodate your drums.

If neither a garage nor a basement is an option, fear not: There are ways to prevent sound from leaking out of any room. Start by making sure that all windows and doors are thoroughly sealed using weather stripping or caulk — but understand that sound can escape through air vents as well as holes in walls, floors or ceilings, so make sure they’re sealed too. Isolation of hollow doors can be improved by adding a layer of plywood or medium-density fiberboard (“MDF”) to each side of the door. Heavy curtains and blankets can also significantly decrease the amount of noise leaking through windows or doorways. Placing old mattresses or couch cushions against walls can also help improve isolation (even at the tough-to-control low frequencies), though you should determine whether the possible health risks of doing so outweigh the acoustic benefits. One myth to avoid: Don’t tack empty egg cartons on the walls or door. They won’t make things soundproof. In fact, they’ll do little more than make your practice room smell like a dirty grocery store.

Acoustic foam pads in a variety of colors. — *Acoustic foam.*

Bear in mind that, even if you’ve done a great job keeping sound from leaking out, the amount of sound bouncing around inside a room can be a real distraction, especially when playing a high-decibel instrument like acoustic drums. Fortunately, this can be tamed by hanging heavy drapes or moving blankets or by mounting “acoustic foam” on the wall. These kinds of treatments will also serve to slightly reduce the amount of high-frequency sound heard outside the room, though they won’t significantly improve isolation at low frequencies, such as the boom of your bass drum or floor toms.

Making your drums quiet is a challenge — but it’s not impossible. A small investment in materials and a little bit of ingenuity can help you maintain your practice routine and remain friends with your neighbors.

Photograph courtesy of the author.

Click here for more information about Yamaha drum triggers.

Click here for more information about the Yamaha EAD10 electronic drum module.

Click here for more information about Yamaha electronic drums.

Sounds of Resilience: An Interview With Dr. Barry Bittman

Written by Rich Tozzoli on April 29, 2020. Posted in Brand. 1 Comment on Sounds of Resilience: An Interview With Dr. Barry Bittman

“The solutions for our most difficult challenges often lie within us.” So says Barry Bittman, MD, Chairman and CEO of the Yamaha Music and Wellness Institute, a non-profit organization actively engaged in both education and research.

Dr. Barry Bittman

Dr. Bittman is an acknowledged expert in his field — a neurologist, author, international speaker, researcher and innovator who serves as a national healthcare transformation consultant. I recently had the opportunity to speak with him at length about the challenges facing us all during times like these. The information he shared was both illuminating and comforting.

RT: What are the benefits of making music during stressful times?

BB: More than two decades ago, I began what has become a remarkable journey into the relatively uncharted realm of understanding the psychobiological benefits of playing a musical instrument. Over the years, our research teams have uncovered a number of key insights and extensive evidence suggesting that expressing one’s self creatively (even without prior experience) reduces the impact of stress on many levels.

When we are stressed, there are a series of predictable biological changes that occur. If we can reverse the impact of stress by creatively expressing that which weighs upon us, we enable the healing process to begin.

This “disclosure theory” was originated years ago by the psychologist James Pennebaker. What he basically said was that the things we hold inside that we don’t express have a tendency to destroy us. If we can get those things off our chest, then we can positively transform our biology. There is a great deal of research to show that when people express themselves creatively with a musical instrument, there are positive biological benefits.

RT: Does this apply only to professional musicians, or to people who play just for fun too?

BB: We’ve performed a great deal of research on people who frankly don’t consider themselves musical at all. In fact, not being a musician was one of the conditions for the studies.

We discovered that, for individuals who don’t consider themselves musical or who aren’t trying to get to Carnegie Hall, if you give them an opportunity for creative expression musically, their biology changes in a positive manner. It became apparent that what we were really talking about was reversing or mitigating the impact on human stress, regardless of musical proficiency level.

RT: Can you get the same benefits from practicing on your own as you do from performing with others?

BB: There is an entirely different biology when you play an instrument for the sake of simply expressing what you are feeling inside versus when you are performing. You don’t have to be playing for somebody else. You can play for yourself and in doing so, you have the opportunity to inspire others. In fact, the worst reason not to play now is because you don’t have an audience. And the most important reason to play now is because you don’t have an audience.

One of my heroes is a gentleman by the name of Ray Bradbury, who was one of the greatest science fiction authors of all time. He didn’t write because he needed to make money or because he needed to publish another book. He wrote because there was no other way for him to internally make sense of everything that was happening in his life. He wrote as a form of creative expression.

As another example, take the classical composer Robert Schumann. He was what we would now call bipolar, previously referred to as manic-depressive. He didn’t compose so that he could buy a new buggy, he did so because he couldn’t survive another day without getting off his chest what he could not express otherwise. The reality is that many of the great composers composed or played for that same reason: it was their survival mechanism.

The problem today is that people, especially in competitive music, strive to play every piece perfectly. They want to play it the way Mozart did, or the way Schumann played it. But it’s absolutely impossible, because it’s inconceivable you could play it that way unless you felt precisely what they were experiencing. I sincerely doubt that even Mozart — who was truly a vessel of music — could play something twice exactly the same way.

What concerns me during times like these is that, when we are stressed and pressured, we tend to first give up the things we love most, because they don’t seem like real necessities. But if we fall back on that which has given us inner peace by allowing ourselves to express our joy, our sorrow, our frustration — if we put those things back into our lives, that’s when healing begins.

RT: How can simply playing an instrument — as opposed to composing a piece of music — be a liberating form of expression?

BB: A person playing a guitar on their couch is expressing whatever they feel. Even if you don’t know how to improvise, even if you’re playing someone else’s music, the way you play it reflects what’s within your soul, what’s in your heart and what needs to be expressed in the moment. In my younger years, I played piano seriously and then I gave it up during medical school. Yet after becoming a doctor, the very first thing I purchased when I could afford it was a piano. I would then come home at the end of a challenging day and bang away, or play gently, to enable myself to get off my chest what I didn’t even realize was inside.

Not surprisingly, I always felt better afterward. Our feelings become our biology. When we talk about blood pressure being raised, for example, it’s a complex reaction to stress — or distress — occurring at multiple levels. When our brains interpret a situation or whatever happens as stressful, a unique biological response occurs. Our experiences become woven into our memory banks — what we call our limbic system — and what follows is the turning on or off of a series switches at the DNA level, which we refer to as gene expression.

What we’ve been able to scientifically accomplish over the years is to measure that gene expression, technically in the form of messenger RNA, and look at the pathways that are associated with inducing and reversing that stress response by playing a musical instrument. Our first study focused on 47 genes that were associated with the stress axis. Later, we were able to look at the entire human genome — every single gene. We were able to measure the reversal of that stress response by actually triggering new stress-mitigating pathways. By pathway, I’m referring to a series of biological reactions in the body that can affect our immunity, and in turn, our health.

RT: What do you see as the best way of coping with the current situation?

Actually, I have a prescription. It’s one that doesn’t require a pharmacy, nor does it have any known side effects. Simply take the time to allow the creativity within you to well up in your own form of musical expression. Whether it be on 88 keys, a drum head, on any instrument of your choice — even just singing in the shower — devote a portion of your day to enabling the sounds of resilience within you to emerge. Just allow your mind to float and generate the music that extends from your instrument in a very personal way. That’s where true healing begins.

Photograph courtesy of the author.

Music Is Life: Michael McDonald, Bob James and Jon McLaughlin

Written by Yamaha Corporation of America on April 28, 2020. Posted in Artists.

Music is life. It’s something that we’re born with. Your heart is a musical instrument. It beats at a tempo and a rhythm that keeps you alive. Check out these videos as three master pianists talk about the impact music has had on their lives.

Michael McDonald

“I believe that making waves is something that every single human being does, in ways they maybe don’t even imagine,” says superstar singer/pianist Michael McDonald. “The simple act of love and kindness ripples out, and music is just another form of that. Music and art are what truly make us human.”

Bob James

“You don’t have to use any words to have an emotional experience with music,” observes jazz pianist and arranger Bob James. “I can go to any country in the world and if I go to a piano and play notes, I can speak to [my audience] in this unique way with sound: it’s its own language.”

Jon McLaughlin

“Music helps me be empathetic,” pianist/songwriter Jon McLaughlin says. “It helps me understand someone else, understand myself, and feel connected. With everything I do, I want to be creating a positive wave.”

Looking for more inspiration? Check out this video:

Functional Harmony, Part 1

Written by Jerry Kovarsky on April 27, 2020. Posted in Keyboard How-to.

In a recent posting, I described how a Dominant seventh chord has an inherent tension that wants to be released by resolving into a triad a fourth above / fifth below (i.e., G7 wants to resolve to C). This comes from a scale having a Dominant seventh chord on its fifth step (i.e., G7 if we’re talking about the scale of C) that wants to resolve back to the key center of the scale, the I chord (in this case, C).

This kind of “functional harmony” can be used to add more chords to a chord progression. Such added chords are often called passing chords because they help to create logical movement between two chords that seems to set up our ears to anticipate the next chord that follows.

Setting Up Other Scale Tone Chords

Let’s look at how we can use the Dominant seventh chord to set up various scale tone chords. In this example, they are built on the C Major scale (i.e., the key of C):

Let’s say you want to go from a C Major chord to an A minor chord. If you count up a perfect fifth from A (that is, seven half steps higher), you come to E. And E is the fifth step of an A Major or A minor scale, so an E Dominant seventh chord (E7) can be used as a passing chord to set up the A minor.

Note: In this, and the following two audio examples, the chords are played twice; the second time around, I add left-hand bass notes to help reinforce the sound.

In the analysis below the notes in the above example, I am calling the E7 chord a V7 of the vi chord. In traditional music theory this is called a secondary dominant chord. Basically, it means that the chord does not come from the current key center, so it has some notes from outside the key signature, but it works well to set up the following chord.

Let’s do the same thing to move from C to F:

Here we only have to change the C Major triad to a C Dominant seventh to get the “pull” that wants to resolve to the F.

One more example, this time getting a C major triad to connect to an E minor:

Now let’s take a very common four-chord progression and show how you can use these passing chords for some additional color:

Finally, here’s an example that uses Dominant seventh chords to set up each scale tone triad, with a little melodic figure to make it more interesting:

Note that I chose to skip the seventh step scale tone chord and just finish the example with the V7 (G7) resolving back to the I (C).

Changing the Bass Note

To get some variety in these progressions, you can use notes other than the root tone in the left hand (bass) for the passing chords:

Alternate Bass Notes for the passing chords.

Let’s Get Fancy

Let’s finish up with something a bit tricky that comes from deeper jazz harmony, but is related to this Dominant seventh resolution concept. The idea is that Dominant seventh chords that are a tritone (six half steps higher) apart from each other can be used interchangeably. You can think of this tritone interval as raising the fourth step of the scale, or lowering the fifth:

Both chords share some important common tones, like their third and sevenths, which are the tension notes that want to resolve.

Let’s look at how this works when going from the I chord to the IV chord:

In the above example, the E (the third) and B♭ (the seventh) of the C7 chord are the notes that want to resolve to the F and A of the F major chord. When we change the chord to an F#7, the same tension notes are present (E is now the seventh, and A# — which is the same as a B♭ — is the third), and while they usually would want to resolve into the B and D# of a B major chord, they sound equally good resolving into the F chord. In the third variation above, I modified the F#7 chord to have a lowered fifth, which keeps a C note constant in all three chords, which is the root of the key. This sounds really good, and is a common treatment used in R&B, gospel and jazz music.

Click here to read Part 2.

All audio played on a Yamaha P-515.

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about Yamaha keyboard instruments.

Bolt-On vs. Neck-Through Basses

Written by Michael Gelfand on April 24, 2020. Posted in Bass. 3 Comments on Bolt-On vs. Neck-Through Basses

To a non-musician, all basses are essentially the same. Just slap a body, neck, pickups, bridge, tuners, strings and some shiny, twiddly doo-dads together and you’ve got a bass, right?

Wrong. That’s like suggesting all cars are just hunks of metal with wheels, brakes, gas pedals and seats — they all do the same thing, so what’s the big deal?

To me, the factors that distinguish one bass from another are endlessly fascinating. Some details are obvious, easily measurable and dramatically affect how a bass sounds, feels and looks. Other design choices, however, are less visible and more finely nuanced, imparting subtle characteristics that are more challenging to measure and attribute. The line between subjective preferences and clear-cut performance features can get a bit blurry.

Consider, for example, basses with bolt-on necks versus those with neck-through designs. Some players say the difference between the two are night and day, while others would argue that other design decisions — tonewoods, scale length, pickup type and position —have a much greater overall impact.

Personally, I don’t think one design is inherently better or worse than the other. I own lots of basses, with a roughly 70/30 split between bolt-on and neck-through designs, and I love them all uniquely, if not equally. That said, understanding the differences between the two can help shine some new light on what it is about a bass’ design and construction that resonates with you.

What Is a Bolt-On Design?

As the name suggests, these basses have necks that are attached to the body via bolts or screws. The design tolerances of that neck-to-body connection are critical, though. The stronger the connection, and the tighter the gaps where the neck and body touch, the less the neck will move around, which translates into more stability and better transference of string vibrations into body resonance. Most Yamaha basses utilize a bolt-on design, with the BB Pro Series BBP34 and Attitude Limited 3 Billy Sheehan signature models featuring a six-screw mitre neck joint for extraordinary stability that withstands extreme duress. (Billy talks more about the importance of the Attitude Limited 3 neck joint in our blog posting “Exploring the Yamaha Signature Basses.”)

Yamaha BBP34

Yamaha Attitude Limited 3

What Is a Neck-Through Design?

Instead of being bolted on, this type of design (as featured in the Yamaha BBNE2 Nathan East signature bass) marries the neck and body into a single uninterrupted piece. In most cases, the neck runs all the way “through” the body, end-to-end, with wings attached on either side to flesh out the rest of the bass’ shape. Unlike bolt-on necks, which can be removed if necessary, neck-through basses are permanently interconnected for maximum stability.

Bass with white finish and neck-through design. — *Yamaha BBNE2.*

Benefits of the Bolt-On Design

It’s subjective, of course, but many players say that basses with bolt-on necks have a punchier, brighter and more pronounced attack than neck-through instruments. This could be due to the nature of how the neck interacts with — rather than interconnects with — the body, but I think it’s also affected by the types of tonewoods used in the bass’ body and neck. (Read more about bass tonewoods here.)

For example, a bass with a maple neck and fingerboard bolted onto a solid ash body will likely have a very different sound than an instrument with a maple/mahogany neck and rosewood fingerboard bolted onto a composite alder/maple body. One isn’t necessarily better or worse than the other, but they are surely different due to the tonal qualities of the woods being used. When you start considering all the possible combinations of bass tonewoods, it’s hard to know how much the bolt-on design starts to influence that equation.

That said, basses with bolt-on necks are almost always less complicated to build than those with neck-through designs, giving you more options to choose from. Another big plus is that if your bass’ neck ever suffers irreversible damage, bolt-on necks are easy to replace. (Mind you, most accidents are preventable! Here are some tips and tricks for the bass road dog.)

Benefits of Neck-Through Design

Basses with neck-through designs integrate the neck directly with the body to eliminate movement and maximize stability, which in turn should increase sustain — at least in theory. A couple of my neck-through basses are notable for their sustain, though it’s hard for me to definitively state whether this is due to their design or other factors such as the wood choices.

One inarguable benefit to neck-through basses, however, is that their neck “heel” — where the back of the neck meets up with the body — is more contoured, making for a more seamless feel and comfortable access to the upper register, especially when you’re at the end of the fretboard and need to move quickly around on the fatter strings. The aforementioned BBNE2 Nathan East signature bass, for example, provides effortless access up and down its 24-fret neck for sublime playing comfort.

And the Winner Is … You

There are arguments for and against every design, but to me a bass’ greatness isn’t measured by the sum of its parts, it’s measured by the experience of playing it with an open mind and your eyes closed. You can know everything there is to know about an instrument’s construction, but at the end of the day, all of that information between your ears takes a back seat to the indescribable feeling that comes when you finally pick up and plug in the bass that speaks to your soul. Bolt-on? Neck-through? They’re both great. As Stephen Stills once said, “If you can’t be with the one you love, love the one you’re with.”

Check out Michael’s other blog posts.

Click here for more information about Yamaha basses.

Person holding switch controller near tv screen.

How to Connect Nintendo Switch™ to Your TV, Sound Bar or AV Receiver

Written by Ted Goslin on April 23, 2020. Posted in Gaming. 4 Comments on How to Connect Nintendo Switch™ to Your TV, Sound Bar or AV Receiver

Ask anyone on the street and they’ve likely heard of Nintendo^®. Whether it be for classic titles like Super Mario Bros.^® or one of its many consoles — such as the Nintendo Entertainment System^® (NES^®), Super NES^®, N64™ or Nintendo Wii^® — Nintendo has become a household name since its first console launched in the U.S. in 1985.

To set itself apart from rival products like Microsoft Xbox™ and Sony™ PlayStation^®, Nintendo released Nintendo Switch in 2017. This is a console with incredible versatility that allows gamers to use its interchangeable pieces to play with or without a TV and take games on the go.

Since its launch, Nintendo Switch has sold hundreds of millions of consoles worldwide. Its popularity has given rise to a steady stream of new and rereleased games of cinematic quality that practically demand players connect the console to external devices to fully enjoy the content. Wondering how to do that? Here’s how to set up your Switch with a TV, sound bar or AV receiver.

TV Setup

Nintendo Switch console in the box. — *Nintendo Switch in the box.*

If you’re new to Nintendo Switch, setup with a TV is quick and easy. Simply unbox your Switch, piece together your console, dock and Joy-con controllers, then find a place for your Nintendo Switch dock to sit near your TV. This can be a cabinet under the TV that houses your home entertainment products, for example.

Next, you’ll need to plug in the power supply, then take the HDMI^® cable that comes with the Switch and connect that directly into an HDMI input on your TV. Depending on which HDMI source you’re using, you may need to use your TV’s remote control to change to that input in order to start playing the Switch. Then all you have to do is follow the on-screen setup instructions to start playing.

*Nintendo Switch TV connection instructions, post-connection.*

Listening over TV speakers provides stereo audio but one of the best features of the Switch is that it can be used with any device that provides full 5.1-channel surround sound — more about this shortly.

The Switch works with any standard video format, including standard definition, 1080p HD and 4K UHD (click here to find out about the differences between them) but it outputs video at a maximum of 1080p. There are ways to upscale your video output to 4K, which we’ll be explaining a little later in this article.

Sound Bar Setup

To take your audio to the next level, consider adding a sound bar, which provides a boost of more speakers with extra range, along with features that can improve the audio performance of your favorite games. Sound bars can also provide surround sound capabilities with technologies like DTS Virtual:X™ virtual 3D surround sound, which simulates the sense of audio coming from all around and above you. The Yamaha YAS-109 sound bar offers this option, and comes with HDMI inputs, built-in subwoofers for deeper bass, and Clear Voice technology for enhanced dialogue clarity.

Setting up your sound bar is just as simple as connecting your TV to the Switch — just plug the HDMI cable supplied with the Switch into the sound bar’s HDMI IN jack, then take a second HDMI cable (which you can purchase online or at most electronics stores) to connect the sound bar’s HDMI Out jack to your TV’s HDMI input.

*Yamaha YAS-109 sound bar HDMI input and output.*

AV Receiver Setup

An AV receiver (AVR) can also be connected to the Nintendo Switch and your TV. If you’re unfamiliar with what an AV receiver is and what it does, think of it as an all-in-one hub for your home entertainment system that not only routes signal to and from various audio and video components but can also enhance the look and sound of the content you’re viewing or listening to.

One unit that matches well with the Switch is the Yamaha RX-V385 AV receiver, which offers 5.1-channel surround sound and four HDMI inputs for multiple game consoles, streaming devices or Blu-ray players, plus MusicCast Surround, which lets you use Yamaha MusicCast 20 or MusicCast 50 wireless speakers as wireless rears. Another benefit of using the RX-V385 is upscaling, which takes video content below 4K and converts it to 4K quality if you are playing or watching on a 4K TV.

To play the Switch using an AVR, connect your TV and Nintendo Switch console to the AV receiver the same way you would to a sound bar, using the HDMI input to connect the Switch and the HDMI Out to connect the TV.

Yamaha RX-V485 HDMI inputs and output. — *Yamaha RX-V385 HDMI inputs and output.*

Because most AVRs provide multiple HDMI inputs (something that most sound bars do not offer), there will likely be several source options for you to choose from, so you’ll need to press the Input button on your AVR’s remote control to cycle through the various inputs.

Once you’ve connected your Switch to your TV, sound bar or AV receiver, you can get to work beating your new game!

Check out these articles for more about audio for gaming:

Three Reasons to Upgrade Your Sound System for Modern Gaming

Gaming in Dolby Atmos^®: An Interview with Josh Osiris

Home Theater Gaming with Google Stadia™

Electric String Ensemble Checklist

Written by Ken Dattmore on April 22, 2020. Posted in Strings.

Electric string ensembles in school music programs are not the far-fetched idea they once were.

Hundreds of high school and middle school programs have added electric quartets, quintets and more to their existing orchestra programs. In this article, we’ll take a look at the things you’ll need to get started.

Gear

Instruments will be your largest investment in this endeavor, but it’s okay to start small. A basic quartet of two violins plus viola and cello will give you a full performing ensemble. The crucial thing to keep in mind is ergonomics. Students should not have to deal with instruments that are heavy, oddly shaped or have poor components. As students move from acoustic instruments to electric, the transition should be seamless — they should not have to make adjustments at the expense of sound quality or ease of playing.

THE YAMAHA EDUCATOR NEWSLETTER: Join to receive a round-up of our latest articles and programs!

Sound System

Most schools will already have a basic Public Address (PA) system in their cafeteria, gym or auditorium. In a situation where such a system is not available, small amplifiers can be used instead so that the students can hear each other. Ultimately, you will need a PA with a mixer that can blend the individual instruments into a unified stereo or mono output.

In situations where it is difficult for students to hear themselves onstage, in-ear monitors (available from a variety of manufacturers) can be connected to the mixer and worn by the performers.

You’ll also need a number of cables in lengths of 8 to 12 feet to connect the instruments to the sound system. A variety of colors works best so students know which cable is theirs. In addition, color-coding the inputs to the PA helps speed up setup time during rehearsal and live performance.

Batteries are required for instruments that have internal amplifiers (i.e., those with active electronics), while those with passive electronics do not require batteries. If your ensemble is using instruments with active electronics, be sure to have a good supply of batteries on hand.

Effects pedals are not necessary, but at some point your students will probably want to use them. After all, one of the attractions of electric strings is that their sound can be processed to emulate that of electric guitars and keyboards! Start with a basic pedal with a few effects. Your students will catch on fast on how to use them.

Sheet Music

Now that you have your gear, the question is what to play? Likely it won’t be traditional acoustic repertoire. Students will want to play the music they relate to and listen to on their own time — modern songs. More and more, publishers are providing charts for these songs arranged for string ensembles. (You can find a wide selection of sheet music here.) If what you are looking for is not commercially available, you or your students can write their own transcriptions, which becomes another valuable learning experience.

Performers

Your final component are the performers. An electric ensemble is an exciting addition to a program and there will be no shortage of students who want to be part of it. More advanced players will sound great immediately, and less experienced players will find inspiration to stay in a program and get better. The performers who have the most fun are the ones that will do best!

Click here for more information about Yamaha electric strings.

Alan Silvestri

Written by Yamaha Corporation of America on April 22, 2020. Posted in Artists, Pro Audio Artists. 1 Comment on Alan Silvestri

Alan Silvestri is the composer of some of the most memorable film soundtracks of the last three decades, from Romancing the Stone and Back to the Future to his recent work on the 2019 blockbuster Avengers: Endgame — the highest-grossing movie of all time.

In these two videos, filmed at the legendary Abbey Road Studios in London, Silvestri describes his scoring workflow in detail, starting with loading the film into Steinberg Cubase and composing the music to play in time with the picture. From there, he adds different instrument parts to create a basic arrangement, and then exports the timeline to Steinberg Dorico to complete the final scoring. “It’s always about getting the technology out of the process,” he explains. “I’ve just found a kind of resonance with Cubase and Dorico — they just feel so comfortable and forward-thinking, and made for what I’m trying to do.”

Check out these related articles.

Click here to read an in-depth interview with Alan Silvestri.

Click here to learn more about Steinberg Cubase.

Click here to learn more about Steinberg Dorico.

The Modern Drum Set, Part 5: Cymbals and Hardware

Written by Steve La Cerra on April 21, 2020. Posted in Stage Drums, Studio Drums.

In previous installments of this series of blog postings about The Modern Drum Set, we discussed the snare drum, bass drum, toms and foot pedals. In this, our last installment, we take a look at the metal of the drum set: cymbals and hardware.

It’s Ancient History

Cymbals are some of the oldest known percussion instruments, dating back to the Bronze Age (around 3000 to 4000 B.C.) and originating in Central Asia. They made their way to Europe in the Middle Ages, and in the late 1700s, were used in orchestral works. All these years later, a cymbal is still essentially the same thing: a bronze or brass disc with a hole in the center.

Small cymbals, 10 to 12 inches in diameter, became a part of the drum set during the early 1900s; known as “sock” cymbals (the predecessor to the hi-hat), they were used mostly for special effects — often, songs ended with the drummer delivering a sharp smack on one. In the mid-1940s, bebop drummer Kenny Clarke switched his cross-rhythms from the hi-hat to a larger cymbal that we now call the “ride” cymbal. By the early 1950s, cymbals were available in diameters up to 26 inches, with thicknesses ranging from paper-thin to heavy. At the same time, hi-hat cymbals grew to diameters of 13 to 15 inches.

When rock music emerged in the mid-1960s, rock drummers initially used the same cymbals that were produced for jazz, even though those cymbals weren’t intended for this new style of hard playing. Manufacturers responded with cymbals that were louder, heavier and larger than their predecessors, and the assortment of cymbals available today is mind-boggling.

The three main types of cymbals are ride, crash and hi-hat. Ride cymbals range in diameter from 18 to 24 inches, while crash cymbal sizes run from 14 to 22 inches. Hi-hats vary in size from 12 to 16 inches, with 13 and 14 inches being the most popular. There are also a wide range of “special effect” splash, China, trash and stacked cymbals.

In general, larger diameter cymbals produce a lower pitch, more sustain and louder volume, but pitch and volume are also affected by weight and thickness — thicker and heavier cymbals produce more volume and have a higher pitch. Thinner cymbals respond faster, decay more quickly and tend to have a lower pitch.

The one thing they all have in common is that they need hardware for support.

My Arms Are Tired

When the drum set was developing in the early 1900s, cymbals were usually supported by L-shaped arms attached to the bass drum, but there were problems with this type of mounting system. For instance, the range of height and adjustment angles were limited, plus there were only so many cymbals that a bass drum could support.

Cymbal stands started to appear in the 1920s, and initially, they were lightweight devices, adequate for casual playing. But as jazz and swing became popular and drummers played harder and louder, it became apparent that these stands weren’t up to the task. Manufacturers began building heavier bases and adding support struts — though even that couldn’t prepare them for the beating that Who drummer Keith Moon would unleash on his drum sets in the mid-to-late 1960s.

Brace Yourself

Modern drum hardware comes in a wide variety of weights and configurations appropriate for any style of playing. Single-braced legs used in Yamaha HW-3 Crosstown, HW-680 and HW-780 hardware are durable, lightweight and provide stable support for all sizes and weights of cymbals and snare drums — plus they’re easy to transport at the end of a long gig!

Compact Channel legs for HW-3 hardware. — *Yamaha HW-3 hardware features Compact Channel legs for durability and reduced weight.*

If you’re an aggressive player, or if your taste leans toward large and heavy cymbals, you may need the extra support of double-braced legs like those found on Yamaha HW-680W or HW-880 Series stands.

Heavy-duty, double-braced legs on Yamaha HW680. — *Yamaha HW-680 stands feature heavy-duty, double-braced legs.*

Cymbal Stands

Cymbal stands come in two basic types: straight and boom. Smaller setups can usually accommodate straight stands, but as you add more drums and cymbals, boom stands become useful because they can reach locations that a straight stand can’t. Some cymbal stands are convertible and can be configured as either boom or straight stands. For example, the boom on Yamaha CS-665A and CS-655A cymbal stands can be telescoped into the top tube, turning them into straight stands and making them easier to pack. If you need a weighted boom for supporting heavy cymbals, the Yamaha CS-BW can be integrated with Yamaha CS-755, CS-865 and CS-965 stands. The CS-755 even has a retracting hideaway boom arm — a feature first developed by Yamaha.

Features to look for when choosing a cymbal stand include non-slip rubber feet, a plastic cymbal seat that reduces noise by preventing metal-on-metal contact and plastic plugs in the vertical tubes to prevent rattling. In addition, an infinite adjustment tilter like the one found on the Yamaha CS-850, CS-865 and CS-965 models allow virtually any angle, so you can place your cymbals exactly where you want them.

Infinite adjustment tilter on cymbal stand. — *Yamaha infinite adjustment tilter.*

Flexibility is also important. For example, an attachment clamp such as the Yamaha CSAT-924AW can be used to add a Yamaha CH-755 cymbal holder to any existing stand, while the Yamaha CSAT-940W allows a pair of closed hi-hat cymbals to be added.

Tom Stands

As we discussed in Part 2 of this series, toms can be mounted using a bracket on the bass drum. Many drummers, however, prefer to get their toms off the bass drum for versatile positioning and to ensure that the bass drum has maximum resonance. One way to do that is by using a tom stand. Yamaha offers a variety of single and double tom models. The WS-860A features double-braced legs for stability and a ball clamp system that rotates 360 degrees, so you can easily position two toms (or one tom and an additional snare drum) wherever you like.

Toms, as well as cymbals, can also be supported using a rack. Drum racks have been around almost as long as the modern drum set; initially they were used for holding cymbals and cowbells. They lost popularity in the mid-1900s, but came back in a big way (figuratively and literally) during the mid-1980s when a drummer’s kit was almost as big as their hair!

A basic rack consists of two legs and a horizontal pipe — a configuration that easily supports two toms and two cymbals while taking up less space than individual stands, and getting rid of the clutter and extra weight. The Yamaha Hexrack II is an example of a modular rack system that can be expanded if necessary by adding pipes and legs. The Hexrack II employs a unique cross-section that prevents twisting or slipping and utilizes the same pipe diameter for both tom and cymbal holders, so a Yamaha HXTCII Tom/Cymbal Clamp can accept either one, as well as a tension- and angle-adjustable Yamaha CHH-930 closed hi-hat holder.

Cross-section of the Yamaha Hexrack. — *Yamaha Hexrack II cross-section.*

Creating a rack requires a bit of planning, but once you’ve designed it, your setup will be repeatable and easier to build than if you used individual stands. (Check out this video to explore the limitless possibilities the Hexrack II has to offer!)

The Yamaha Hexrack II mounting system. — *The Yamaha Hexrack II is a sturdy and versatile mounting system.*

Snare Stands

The snare drum is probably the drum you play most, so keeping it stable and secure is a must.
Features to look for in a snare stand include a compact yet sturdy base, non-slip feet and a basket that securely clamps snare drums of different diameters. It’s also important to make sure the stand can position deep drums low enough, so the top head is at a comfortable playing height. The Yamaha SS-950 snare drum stand has a basket design that enables it to sit two inches lower than previous models, so you won’t have any trouble with an 8-inch deep snare drum. The SS-950 also has double-braced legs and a centered ball-and-socket tilter that stays put under heavy playing and allows wide ranges of adjustment.

Rubber feet on the Yamaha SS-950 snare drum stand. — *The rubber feet on the Yamaha SS-950 snare drum stand have adjustable spikes to prevent movement.*

Best Seat in the House

The drum “throne” (the seat you sit upon, as is befitting a king) is a very important component in your drum set for one simple reason: If you’re not comfortable, you won’t have any fun playing. Thrones come in three basic varieties: round, bicycle-style and bench seats. Picking the right one is a very personal decision, so try all of them to see which one is right for you!

Regardless of which style you choose, make sure there’s plenty of padding for comfort during long gigs. Seat height is usually adjusted via a smooth or threaded rod like the one used on the Yamaha DS-840 round throne. A wide base prevents the seat from rocking back and forth, and a memory clamp allows for repeatability, while also serving as a safety feature.

Small, round drum throne with threaded post for height adjustment. — *The Yamaha DS-840 drum throne uses a threaded post for height adjustment.*

Drum hardware is what makes a drum set uniquely yours. If chosen carefully, it will support your drums and cymbals safely for many years to come.

Check out the other installments in this series:

Click here for Part 1: The snare drum.

Click here for Part 2: The bass drum.

Click here for Part 3: Toms.

Click here for Part 4: Foot pedals.

Click here for more information about Yamaha acoustic drum sets.

Sun shining in beautiful blue sky with light clouds.

A Musical Message of Healing

Written by Rich Tozzoli on April 20, 2020. Posted in Creativity.

“The meaning of life is to find your gift. The purpose of life is to give it away.” —
Pablo Picasso

For me, this simple but profound statement has never rung more true than it does today.

But how could I apply this sage advice to my own work? At first I wasn’t quite sure. I talked it over with my longtime co-composer and close friend Hernan Romero. He and I are both guitarists, and this common bond has brought us together for many years and gotten us through both good times and bad. “Music is a vibration and that vibration is a physical reaction that the notes create in your body,” Romero has told me, revealing the depths of his feelings. “When I hold and play a guitar, it is right next to my heart and it literally resonates inside of me.”

After some discussion, he and I came to the realization that, just as music is what unites the two of us, so too does music unite us all, as the recent scenes of people in Italy singing and playing to one another clearly shows. That lead us to the decision to create a series of pieces — a musical dialog between two guitars — to help others, as well as ourselves, heal in a time of need.

Creating Our First Musical Message

We came up with a plan to work independently in our respective home studios, and began by using the voice memo function on our phones to sketch out the framework of the first piece. From there, we further discussed the idea and rehearsed it using our phone’s video conferencing capabilities. This allowed us to understand what each of us was going to play, and we made sure to leave a lot of musical space for one another. By doing so we were making a conscious decision to let the chords and production “breathe” in order to create more of an open, calming sound.

Once the initial idea was agreed upon, we decided that I would record the first pass and have Romero perform the “answering” overdub. I decided to use my Yamaha FG-TA TransAcoustic guitar not only because it was comfortable and familiar to me, but also because I felt the built-in reverb and chorus effects bought additional depth and dimension that enhanced the overall spacious feel of the piece. I positioned a high-quality omnidirectional mic near the sound hole and connected the guitar’s direct output (coming from its piezo pickup) into a tube preamp, which gave me two tracks to play with. The track was recorded without a click; I decided to instead rely only on the instinctive flow of time to guide me.

Once that was done, I sent the file to Romero so he could get to work. He had also decided to use a Yamaha TransAcoustic guitar for the track — a nylon-string CG-TA model. Using just a touch of the built-in reverb for additional sonic depth, he captured his performance using the same type of omni microphone that I had used, and then sent me the file for final mixing.

All that was required was some balancing, a slight touch of EQ and a little extra reverb, and the track was ready to go. We then added some simple graphics (including a brief glimpse of my home studio) and uploaded the song — which we call “Towards the Sun” — to YouTube. Here it is:

Ever since posting this video, we’ve been touched by the deep, heartfelt reactions of those who have viewed it. The entire experience reaffirmed our belief that music truly helps heal and that the guitar in particular is a voice that speaks without words. We’re planning on continuing the series, and intend to release more musical messages of healing on Romero’s YouTube channel in the near future. Hope you can join us there!

Check out Rich’s other postings.

What Does the Phase Button Do?

Written by Steve La Cerra on April 17, 2020. Posted in Live Sound. 1 Comment on What Does the Phase Button Do?

One of the most misunderstood of all the channel input controls on a mixing console is a button called “phase reverse,” often labeled with the symbol Ø. In this installment of Tools of the Trade, we’ll take a close look at what it does, and how it should be used.

It’s Just a Phase You’re Going Through

Audio waveforms repeat in a cycle of 360 degrees. The word “phase” refers to the position of the wave in that cycle:

Graph of an audio waveform — *An audio waveform has a cycle of 360 degrees.*

When you’re listening to one audio waveform, it’s very difficult to hear changes in phase. However, phase differences between two similar waveforms can have a major impact on the way certain instruments sound in your mix.

Phase problems can occur in many ways. A common example is what happens when you place microphones on both the top and bottom of a snare drum, because those microphones will likely be pointing in different directions:

As a result, the waveforms produced by the mics are almost like mirror images — in other words, they are out of phase with one another: When the top snare wave (blue in the illustration below) moves in a positive direction, the bottom snare wave (red) moves in a negative direction:

Diagram of out of phase waveforms from top and bottom snare microphones. — *Out of phase waveforms.*

If you listen only to the top snare microphone, it will sound fine, but when you add the bottom snare microphone to your mix, the low-mids of the snare drum may disappear. This problem (which is more audible at low and low-mid frequencies) is called phase cancellation. In severe cases, phase cancellation can even cause the level of an instrument to decrease drastically when the two channels are mixed together.

Here’s where the phase reverse switch comes to the rescue. You’ll find phase reverse on input channels of all Yamaha TF Series digital mixers. Pressing the phase button on a channel reverses the polarity of the signal from plus to minus, and vice versa:

*Yamaha TF Series mixer input channel phase reverse button.*

If you reverse the polarity on one of the snare drum mics (not both of them!), the two waveforms will rise and fall at the same time. The proper phase relationship between the two signals is restored, so that when you add the mics together you don’t lose the low-mids:

Diagram of the phase wavelength of snare channel reversed. — *The phase of the snare bottom channel has been reversed.*

Notice that there’s still a slight difference in timing between the two signals, as phase is related to time. A phase reverse switch cannot correct this — it can only reverse the polarity of the signal.

Don’t Be Phased

Another common cause of phase cancellation is the use of multiple microphones at different distances capturing the same source. For example, if you have a close mic on a hi-hat and the drum overhead mic also picks up the hi-hat, those signals may be out of phase. Fortunately, the distance between the overhead mic and the hi-hat usually means that the hi-hat won’t be as loud in the overhead mic, and that often solves the problem. Or try the phase reverse control!

A mis-wired cable can also be a source of phase cancellation. As discussed in our Interconnections 101 blog post, a balanced cable has a positive (+) wire and a negative (-) wire. If these wires are mistakenly swapped at one connector, signal passing through that cable is polarity-reversed.

Another very common cause of phase cancellation can occur when you use both a mic and a DI (Direct Inject) box for the same source, as is commonly done for electric bass, due to the difference in timing between the two signals. The signal from a bass (or other electronic instrument) through a DI to the input of a mixer is purely electrical and travels almost instantaneously. The signal going through the bass amp is relatively slow compared to the DI because it travels from the speaker through the air to the microphone. For most of us, this is plenty fast, but if you compare the waveforms from the DI and microphone you’ll see that the microphone lags behind a little bit:

Diagram showing the DI signal slightly ahead of the mic signal. — *The DI signal is slightly ahead of the mic signal.*

This phase cancellation is clearly audible: The bottom end of the bass gets weaker when you add the channels together. Reversing (that is, inverting) the polarity of one channel often (but not always) solves the problem. In situations where the phase reverse isn’t helpful, try moving the microphone closer to (or further away from) the amp. If you’re having trouble hearing whether or not the phase needs to be reversed, mute all of the instruments in the mix except for the bass mic and bass DI. Watch the left/right meters while switching the phase on one channel. When you see the level increase, the phase is correct.

Phase Reverse and Monitors

Phase reverse also comes in handy when dealing with stage monitors and feedback. Raising the volume of an acoustic guitar in a wedge monitor can sometimes cause feedback. This can be due to a resonance from the guitar body or possible interaction between the guitar, the monitor and the room. The typical solution is to use equalization to cut the frequency that’s ringing (see our How To Fight Feedback blog post for more information), but the problem is that EQ also changes the sound of the guitar. Reversing the phase on the guitar microphone can sometimes cure the problem without changing the tone of the instrument.

Similarly, reversing the phase a of a vocal microphone can sometimes reduce feedback between a vocal microphone and a monitor.

Phase-Out

Phase reverse on a mixer output such as an aux send can be helpful when setting up a system with a subwoofer that’s being fed from an aux send. Sometimes the phase of a subwoofer needs to be reversed relative to the main left and right speakers. If your mixer has phase reverse on the outputs or aux sends (as is the case some Yamaha mixers), you can flip the subwoofer’s phase while listening to the system from the mix position instead of having to use a switch on the sub’s rear panel. See our To Woof or Not to Woof blog post for more info.

As you can see, phase reverse is a valuable tool that can help you with a variety of audio problems. It only takes a few seconds to try, and the results can be ear-opening!

Photograph courtesy of the author.

Check out our other Tools of the Trade postings.

American football fans excited at a game.

Top 10 Sports Movies with Great Audio

Written by Joy Frye on April 16, 2020. Posted in TV & Movies.

Live sports provide a great escape. Sports movies take you behind the scenes by exploring the humanity behind the heroes and putting you right in the driver’s seat, the huddle or the batter’s box. And if they’re movies with great sound, the experience is enhanced further still.

Here are our picks for 10 unforgettable sports movies that bring the thrill of victory and the agony of defeat right to your home theater.

Rudy

The original underdog, Rudy is a “five foot nothing, 100 and nothing” football player whose only dream is to play for the Fighting Irish of Notre Dame. It may not have been critically acclaimed, but this movie about how Rudy overcomes impossible odds through hard work and sheer determination is an enduring fan favorite. Don’t be embarrassed; everyone cries at the jersey scene. Available on YouTube™, Amazon Prime, Google Play™, Apple TV+^® and Vudu^®.

Rocky

There are underdogs, and then there are underdogs. A relatively unknown actor at the time, Sylvester Stallone wrote the Oscar^®-nominated script and fought to star in this story of a small-time boxer who is given the chance of a lifetime to fight the heavyweight champion of the world. This Best Director and Best Picture winner inspired many a run up the steps of the Philadelphia Museum of Art! Number 2 on the American Film Institute (AFI)’s list of Top 10 Sports Films and available on YouTube, Amazon Prime, Google Play, Apple TV+ and Vudu. (Continue the story with Creed and Creed 2 on your favorite streaming services.)

Glory Road

This dramatization of Texas Western’s (now University of Texas at El Paso) legendary win over University of Kentucky in the 1966 NCAA^® National Men’s Basketball Championship eloquently captures that moment when the game transcends the sport. TW’s coach Don Haskins boldly started an all-African American lineup and beat Adolph Rupp’s Kentucky dynasty, changing college basketball forever. Available on YouTube, Amazon Prime, Google Play, Apple TV+ and Vudu.

Ford v Ferrari

Here’s a movie with award-winning sound to rev the heart of every surround sound lover. In a classic David versus Goliath showdown, American car designer Carroll Shelby and British driver Ken Miles team up for Ford Motors to take on perennial Italian powerhouse Ferrari in the 1966 Le Mans sports car race. This 2020 Oscar winner for Best Sound Editing will give your speakers a workout! Available on YouTube, Amazon Prime, Google Play and Vudu.

Hoosiers

Based on a true story, this classic about a small-town high school basketball team in Indiana (where basketball is king) earned Dennis Hopper both Academy Award^® and Golden Globe^® nominations for Best Supporting Actor for his portrayal of an alcoholic assistant coach given a last-minute shot at redemption. Gene Hackman is the head coach trying to overcome his own controversial past and lead the team to the state title. Number 4 on the AFI’s Top 10 Sports Films and available on YouTube, Amazon Prime, Google Play, Apple TV+ and Vudu.

Bull Durham

Writer, director and former minor league baseball player Ron Shelton’s tribute to baseball is a gritty, but often funny, portrayal of life in the minor leagues. Kevin Costner is Crash Davis, an aging catcher asked to school the latest rookie pitching sensation in a kind of A Star Is Born of sports. Amateur philosopher and unofficial team coach Annie Savoy (Susan Sarandon) sprinkles pearls of wisdom throughout and helps show that baseball is, indeed, life. Number 5 on the AFI’s Top 10 Sports Films and available on Tubi, YouTube, Amazon Prime, Google Play, Apple TV+ and Vudu.

The Replacements

Sometimes you have to ignore the critics and listen to your inner fan. The Replacements is just plain fun to watch. With its catchy soundtrack and hard-hitting football action, the story of a ragtag gang of washed-up football misfits given one last chance at glory as replacement players during an NFL™ strike is an entertaining ride. It’s also eminently quotable: “Pain heals, chicks dig scars, glory lasts forever.” Available on YouTube, Amazon Prime, Google Play, Apple TV+ and Vudu.

Caddyshack

OK, this may not be the first thing that comes to mind when you’re thinking sports movie, but this film’s roster of comedy pros is definitely championship-level. Rodney Dangerfield, Chevy Chase, Bill Murray and Ted Knight bring their A-game to the hilarious antics of Bushwood Country Club’s golfing members and caddies. Number 7 on the AFI’s Top 10 Sports Films and available on YouTube, Amazon Prime, Google Play, Apple TV+ and Vudu.

A League of Their Own

This story of the All-American Girls Professional Baseball League^® formed during World War II (when male professional players were off fighting the war) stands out as one of relatively few women’s sports movies. Tom Hanks plays Jimmy Dugan, an alcoholic ex-player asked to coach the hastily assembled team that includes two sisters — one beautiful and talented, the other doomed to live in her big sister’s shadow. After reprimanding one of his players, Hanks delivers the memorable line, “There’s no crying in baseball.” Available on YouTube, Amazon Prime, Google Play and Vudu.

Moneyball

Nominated for six Oscars, including Best Picture, Best Actor (Brad Pitt) and Best Supporting Actor (Jonah Hill), this movie is based on the true story of how the Oakland Athletics™ baseball team’s general manager Billy Beane ignored traditional scouting methods and picked players almost entirely by their On-Base Percentage (OBP). Change is never easy, especially in a sport as deeply steeped in tradition as baseball, but Beane’s strategy is eventually shown to be a winner. Available on YouTube, Amazon Prime, Google Play, Apple TV+ and Vudu.

And we’re only scratching the surface! Honorable mentions include Field of Dreams, Seabiscuit and Miracle, all available on major streaming services.

While the quality of the audio may vary by film (or the quality of the streaming service), with the right tweaks and gear, you can be immersed in the action — whether via Yamaha Clear Voice technology in a sound bar to enhance the dialogue, or via a full discrete 5.1-ch. surround sound setup to hear the action all around you.

Looking for more content to enjoy at home? Check out our blog article Stream These 2020 Oscar Nominees in the Comfort of Your Home.

Related articles about home theater:

Home Theater Basics

Home Theater In Small Spaces

Home Theater on a Budget, Part 1: Starter System

Home Theater on a Budget, Part 2: Intermediate System

Home Theater on a Budget, Part 3: Advanced System

Home Theater on a Budget, Part 4: Luxury System

Two electric guitars resting on leather couch with wooden backdrop.

Sibling Harmony

Written by Robbie Calvo on April 15, 2020. Posted in Electric Guitars.

Q: How many guitars does a guitarist need?

A: Just one more!

Yes, it’s a joke, but one with a ring of truth to it. I imagine most seasoned players would give that answer if they’re being totally honest.

Why do we need multiple versions of the same musical instrument? Is it because we’re addicted to their look, or their unique tonal variations? Or is it down to any of the individual variables that go into an instrument’s aesthetics or sonics? (i.e., body style, coloration, type of tonewoods, pickup configurations, strings, wiring, etc.)

In a previous blog, I shared my thoughts on the aesthetic appeal of an instrument and its ability to attract us toward it. Frankly, I have little interest in playing a guitar that I perceive to be “ugly,” whether that’s due to its symmetry or just the color and finish.

Is that a limited viewpoint on the validity of an instrument? Sure. But I wouldn’t buy a car or house I thought was “unseemly,” either. I believe the integrity of who you are should be upheld in everything you do, including your personal choices and live performances. I want to be proud of the instruments I own and play, and ultimately I think that synergy shines through both in our personality and in our musical voice.

What Goes Into the Sound of an Instrument?

The shape of a guitar is arguably the most appealing aspect of the instrument, and that body style will also have a direct effect on its tonality. A single-cut electric guitar without body contours will sound innately different from a double-cut model with arm and body chamfers. Those differences alone would justify having both types of instruments in my guitar arsenal.

The tonewood selections for the body, top, neck and fingerboard also have an effect on the overall tone of an instrument — even such seemingly minor details like the direction, density and figuring of the wood grain may have an impact. Guitar manufacturers are acutely aware of the importance of tonewood combinations. Maple tops on mahogany bodies and maple necks with rosewood fingerboards, for example, are typical, tried and trusted tonewood combinations.

In my two-part blog on resonant frequencies, I explored the entire range of frequencies we can perceive, from the audible ones that the human ear can detect to the inaudible frequencies we see as colors. Certain clear-coat finishes are renowned for their ability to let the tonewoods resonate. For example, nitro-cellulose is often lauded as the best finish on electric guitars for allowing the wood to season, breathe and patina gracefully over time.

Needless to say, the pickup configurations also have significant — sometimes even profound — effect on the tonal details, along with other physical aspects such as the type of strings being used, the fret-wire, wiring capacitance and electrical shielding.

And then there’s the human impact. Will a guitar resonate differently in the hands of two different players? Will a small-framed guitarist with long fingers make an instrument sound different from the way a large-framed player with short, stubby fingers will make it sound? In my opinion, the answer to both questions is yes.

In addition to technique, I also think intention, soul and personality affect the tone being produced by an instrument … though the end result, of course is always subjective and personal to the taste and preference of the listener.

The Guitars and the Video

I thought it would be fun and informative to record and film two of my favorite guitars to see if the viewer can hear their unique tonal qualities when played side-by-side.

The Yamaha Revstar 502TFM and Revstar 720B in this video are essentially the same guitar, with a few minor variations. The mahogany neck-through body, flame maple top, rosewood fingerboard, fret wire, hand-rubbed finish, volume and tone controls are all the same.

The differences between the two lie in the pickups, tailpiece, tuners and the subtleties in the flame maple. The RS502TFM sports cream-colored P90 single-coil pickups, a uniquely styled tailpiece and standard tuners. The RS720B features chrome and black FilterTron-style humbucking pickups, a Bigsby^™ tremolo and locking tuners. As you can see from the photo below, my 502 has a vintage Japanese denim (blue) finish, while my 720 is ash gray … and even these differences in coloration can have a resonant frequency effect on the tonality.

Here’s the video:

As you can see, I’m jamming along to a backing track, alternating 8-bar licks in a D minor pentatonic scale between the two instruments, starting with the 720. I’ve stayed in the same region of the fretboard on both guitars to keep the frequency responses within the same range and octave, and both instruments are running through the same custom tone patch in a Line 6 Helix^® guitar processor. Both guitars play the first two licks on the bridge pickup. Licks three and four are played in middle position (both pickups) and the remainder of the trading session is played using the neck pickups.

Can you hear the tonal variations, pickup selections and overall nuances between the two guitars? Do you have a preference in tone?

Play the video again and close your eyes this time while listening. I’m suggesting you do that because your visual preference for either model or color may affect your opinion of which sounds best.

The Wrap-Up

We’ve all heard the phrase “sibling rivalry.” (Those of us who have brothers have probably experienced it!) I think there’s a case to be made for “sibling harmony” too. Both guitars I used in this video are similar, but to my ears they have significant differences that serve to complement one another beautifully. The RS720B sounds warmer and more rounded to me, while the RS502TFM has a little more overdriven bite and upper-mid harmonic content. As we’ve seen, there are many factors that contribute to this rich tonal equation — all worth considering in your quest for one more guitar!

Photograph courtesy of the author.

Check out Robbie’s other postings.

Click here for more information about Yamaha Revstar guitars.

Click here for more information about the Line 6 Helix guitar processor.

Hand adjusting dial on Yamaha STAGEPAS mixer.

Fast STAGEPAS Setups

Written by Yamaha Corporation of America on April 14, 2020. Posted in Live Sound.

Part 1 of this series gave an overview of the mixer functions and interconnection options offered by the Yamaha STAGEPAS 1K PA system. In Part 2, we described making Bluetooth^® connection to the STAGEPAS for wireless streaming and control. In this installment, we’ll present three videos that show you how to quickly and easily set up your STAGEPAS system if you’re a solo performer, presenter, teacher or DJ.

In this first video, Yamaha product manager John Schauer demonstrates the simple steps required to use your STAGEPAS 1K if you’re a solo performer: just connect your microphone with a single cable for vocals, and add an input for guitar or other instrument. He also discusses the functionality of the Hi-Z switch and the use of an optional footswitch to mute onboard effects between songs so you can talk to the audience without reverb or echo on your voice:

Presenters and teachers will want to check out this next video. All that’s required to use a STAGEPAS 1K system for presentations is a single cable to connect your microphone for speech, to which you can easily add a Bluetooth or computer audio connection for background or walk-in / walk-out music:

Finally, John takes you through the steps required for connecting your DJ system. As he explains, you can use a single STAGEPAS 1K for small events, or expand to dual STAGEPAS 1Ks for larger events where extra coverage is required — a setup that can also provide full stereo sound at the push of a button.

Click here for more information about the Yamaha STAGEPAS 1K.

Reconnecting With Your Creative Self

Written by Shelly Peiken on April 13, 2020. Posted in Creativity.

For the past few weeks I’ve found myself waking up in the morning wondering, “Is it Monday? Is it Thursday? Sunday, maybe?”

You have to be grateful, however, if you’re a self-contained worker — that is, if you don’t rely on kinetic energy to set your mind in motion. If that’s the case, nothing — creatively speaking — has changed. You’re still on your own watch.

But for those of us who depend on an exchange of ideas in close proximity to another human being, some degree of adjustment is required.

I’ve been reflecting on how the current situation may give us an opportunity to reconnect with someone special: that first person we ever wrote with, the first person with whom we fell under the spell of music, the very first person with whom we created an original melody and lyric.

Sparks of Greater Things to Come

When we were children, before we realized that there was a process in which two (or more) people could combine creative forces (“co-writing”), we songwriters-in-the-making were alone in our bedrooms with a plastic guitar or keyboard marrying chord progressions to poetry from our journals. The result: fledgling motifs, sparks of greater things to come. We couldn’t believe these promising sounds were coming forth from us! The world disappeared. We didn’t run to the table when our mother called us for dinner. We weren’t interested in playing with the other kids outside. We had this new, mad love. It was fantastic. We were alone and we couldn’t be happier.

Then we discovered we could make music with a partner. This was exciting too. We got to share our passion and tricks of the trade with fellow music freaks. We came to realize our strengths and weaknesses. We got better because there was oversight. And a lot of us never went back to the solitude of that bedroom again.

The Pleasure of Your Own Company

A friend recently suggested that since we’re all going to have to live with our own company for a while, we’re going to have to learn to appreciate it. Maybe he has a point. Have we become so reliant on external endorsement that we’ve forgotten the magic that can emerge from an army of one? Sure, collaboration is a wonderful process, but it can also dilute an idea that was divinely inspired.

In a recent piece in the Telegraph about artists creating in isolation, music critic Neil McCormick describes how, back in 2006, singer/songwriter Justin Vernon (aka Bon Iver), having broken up with his girlfriend and his band, headed to the seclusion of a hunting cabin in rural Wisconsin to lick his wounds and work on new music. He surfaced with For Emma, Forever Ago (which included the song “Skinny Love”), an album that catapulted him to a household name. Food for thought.

As I sit by myself on a piano bench trying to acclimate, I’ve found that once I let myself slip into that indulgent zone — where there’s no one to impress, judge or disagree, where nobody is directing me or offering their opinion, no matter how well-meaning, constructive, productive or how right they may be (that is, if there even is a right or wrong when it comes to music) — I got comfortable. In fact, I liked it. A lot.

So we might as well make the most of things and consider reconnecting with that kid in the bedroom, with our innocence, with that budding songwriter with no expectation, just surprise. Who knows? We may discover that our new favorite collaborator is the one who was there from the very beginning: Our self.

Check out Shelly’s other postings.

Introducing the YBS-62II Professional E♭ Baritone Saxophone

Written by Yamaha Corporation of America on April 10, 2020. Posted in Woodwinds.

Yamaha YBS-62 custom baritone saxophone.

The Yamaha YBS-62 Professional Baritone Saxophone has garnered admiration and respect from musicians for over 35 years. The new second-generation YBS-62II model retains the same level of playability and quality while bringing improvements in ergonomics and intonation.

Incorporating high-end features from the Yamaha YBS-82 Custom Baritone Saxophone, the new key layout of the YBS-62II allows you to play faster and more comfortably than ever before. A shorter bell design enhances playability and intonation in all registers, especially centering the notes in the low range of the saxophone. Integrated key posts (attaching multiple posts onto a single plate/rib) help to impart a moderate level of resistance while delivering a solid tonal core. And a hydro-formed neck and responsive bore design ensure a response that is quick, in-tune and rich in tone. The YBS-62II comes with a hard case with wheels, and an optional detachable peg can be used to help support the weight of the instrument.

With the YBS-62II, you can join the giants that have played the YBS-62 for decades!

Click here to learn about the Yamaha YBS-62II.

Man sits at keyboard with tablet device.

Apps to Help You Learn to Play Keyboard At Home

Written by Jerry Kovarsky on April 9, 2020. Posted in Piano How-to.

If you’ve always wanted to learn to play keyboards, or hoped to get back to practicing and improving your skills, there’s no time like the present. And, thanks to these two cool apps from Yamaha, your smart device can serve as both a helpful teacher and a musical partner in these endeavors.

Chord Tracker

I wish this app existed when I was starting to learn to play! I had a terrible ear and had to buy sheet music or songbooks to learn a song. With the free Yamaha Chord Tracker app (available for iOS^® 15.2 or higher and Android™ smart devices), those days are gone forever. This brilliant piece of software “listens” to your favorite song (as long as it’s in your device’s music library and not part of a streaming or subscription service) and quickly brings up a chart with the chords.

There are options to show the notes of the chords either in music notation, on the keys of a keyboard, or as guitar chord symbols. You have control over the volume of the song playback as well as the tempo (tip: slow it down while you’re first learning it), and you can also transpose it if the key is too hard for you to play or sing to. Loop start and end points can be set, making it easy to learn and practice each section of the song separately. You can even edit the chords to make your own arrangement of the song by choosing from two recommended chords or selecting the chord root and chord type.

Chord Tracker can be used with any kind of instrument, but if you’re playing a compatible Yamaha keyboard (such as PSR-670, PSR-SX700, PSR-SX900 or PSR-A3000 portable keyboards, a DGX-660 portable grand piano, a Genos digital workstation or selected Clavinova CVP Series models), you can listen to the song through your keyboard’s internal speakers. What’s more, if you’re using a model that has accompaniment features, the chord information can be sent to the keyboard to trigger onboard Styles. Many instruments even allow you to record yourself playing along with the song, saving it as a standard audio file that can be shared with family and friends.

For more information about Chord Tracker, read this blog article or check out the three videos posted here.

Smart Pianist

Available for both iOS and Android devices, Smart Pianist is a free app designed for use with selected Yamaha keyboards, including P-121, P-125 and P-515 digital pianos; YDP-144, YDP-164, YDP-184, YDP-S34 and YDP-S54 Arius pianos; selected CLP Series Clavinova models; and NU1X and N3X AvantGrand pianos. It’s a great tool for personal study that not only adds a graphic touchscreen interface to these instruments (yes, it knows which model it’s connected to and automatically adjusts its features accordingly) but adds lesson songs, some of which are well-known technique exercises from Hanon, Beyer, Czerny and Burgmüller, displayed in standard notation. With the ability to isolate one hand or the other, control tempo and change keys, this is a terrific tool for practice and self-learning.

Smart Pianist uses Chord Tracker technology to display the chords of the tune you want to learn, but when connected to a CVP800 Series or CSP Series Clavinova, it’s even more advanced, thanks to a feature called “Audio to Score.” This displays the chords in your choice of notation, from simple block chords to complex arpeggiated patterns.

You can find a number of postings about Smart Pianist here on the Yamaha blog, and informational videos can be found here and here.

For more ideas on learning keyboards at home, check out Jerry Kovarsky’s blog series “The Well-Rounded Keyboardist.”

Click here for more information about Yamaha keyboard instruments.

The Virtual Soundstage

Written by Mike Levine on April 8, 2020. Posted in Recording.

Among the decisions you need to make when mixing is where to place the various instruments and vocals in a virtual “soundstage.” You can actually do more than just panning elements left and right in the stereo spectrum — you can also influence how far back or forward they seem. To some degree, you can even impact the apparent height of sounds in the mix.

In this article, we’ll tell you how to craft a mix that places the listener inside the music, even in a standard stereo setup.

Listen Up

Start by trying this simple exercise: Put on a pair of headphones and listen to the mix of a professionally produced popular song, paying particular attention to the placement of the various instruments and vocals.

First, focus on the stereo panning. You’ll hear the bass and kick drum — almost always the lowest instruments, frequency-wise — in the center. The lead vocal and snare drum will also usually be centered as well, although some mix engineers like to move one or both slightly off-center. Other elements, such as guitars, keyboards, background vocals, percussion and various parts of the drum kit will typically be spread out to the left or right or to both sides simultaneously. (To do the latter, simply create a copy of the track, then pan the original hard left and the copy hard right. Be careful, however, to slightly delay the copy or phase cancellations will result!)

Next, listen for the difference in depth between the various mix elements. Some sounds will be “in your face” — that is, right up front — whereas others feel like they’re coming from further back, as if they’re behind the “front line.” Finally, focus on differences in height; you’ll find that high-frequency sounds will appear to be higher or taller than the others.

While mixing, you can adjust where an instrument or vocal sits in all three of those dimensions. Note that all the techniques discussed here can be applied in Steinberg Cubase or any other DAW.

Front or Rear

Whether a track sounds like it’s at the front edge of the mix or further back depends mainly on three factors: level, ambience and brightness. If you think about it, it’s similar to how you perceive sounds in real life. A closer sound will be louder than a distant sound. It will also be less ambient because you’re hearing more of it directly and less reflected sound — the softer, and slightly delayed reflections coming off the floor, walls or ceiling. In addition, a close sound will seem brighter, thanks again to hearing more of it directly, with fewer duller-sounding reflections.

To make bring a sound further forward, you have several tools at your disposal. These include raising its volume; reducing the amount of reverb or delay; and/or gently boosting its presence (that is, frequencies between 4 kHz and 6 kHz). Doing the opposite will cause a sound to appear more towards the back of the mix.

Screenshot of Steinberg Cubase with reverb and delay controls open. — *Ambient effects like reverb and delay help create the illusion of distance.*

Up or Down

High-frequency sounds like cymbals and shakers — as well as, to a lesser degree, the upper ranges of pianos and guitars — often seem like they’re coming from the top of the mix. For that reason, you can raise the perceived height of a mix element by boosting its high frequencies (somewhere between 4 kHz to 20 kHz) and cutting low frequencies. You can’t be too heavy-handed about this, however, because too much boost will sound harsh, and if you cut necessary lower frequencies from an instrument or voice, it will sound thin and unnatural.

Note that the opposite does not hold true: You can’t move a sound whose energy mostly lives in the lower-midrange and low end to where it will appear to be floating on top of the mix. You can, however, roll some of the upper-mid frequencies off an instrument like bass guitar to place it more in the “bottom” of a mix.

To Each Its Own

Many times, you’ll find yourself having to mix multiple sounds that are occuping the same or similar frequency ranges. For example, note the overlaps in the four instruments shown here:

Screenshot from Steinberg Cubase comparing frequency snapshots from several instruments. — *Frequency snapshots of several instruments.*

When tracks are competing for space in the same frequency area, you’ll have to deal with the phenomenon of “masking.” This not only makes one sound hard to distinguish from another, it also tends to clutter up the entire mix in the lower midrange (250 Hz to 500 Hz). Worse yet, the louder tracks in a particular range can render softer tracks in the same range inaudible.

One good way of combatting this is to carve out a discrete frequency range — essentially a sonic “hole” — for each element (something we’ve discussed in a previous Recording Basics posting).

Screenshot from Steinberg Cubase showing user making EQ cuts and boosts to common frequencies. — *EQ cuts and boosts at common frequencies give each element its own space.*

Another method is to pan various mix elements — particularly those that “live” in the same frequency range — away from one another so that each occupies a different space in the virtual soundstage you’re constructing. For example, you might want to place a rhythm guitar off to the left and a piano off to the right, or a shaker opposite to the hi-hat. Again, this rule of thumb applies mainly to multiple sounds in the same frequency range. Since a kick drum, snare drum and lead vocal all occupy distinctly different frequency areas, it’s generally fine to leave all three in the center of a mix.

Stereo Elements

These days, most synth and keyboard sounds originate in stereo and therefore take up space across the entire stereo field. They sound great on their own, but sometimes — particularly if you have other sounds in the same frequency range — they crowd out the rest of the elements due to their width. Too many stereo tracks can also reduce the punchiness of your mix.

In a mix with few components — say, just guitar/vocal or piano/vocal underpinned with maybe some synth strings and background vocals — you might want the main instrument to stretch all the way across the soundstage, from far left to far right. But when mixing a full band or ensemble, you’re usually better off reducing the width of stereo instruments so that they take up less space by sending their signal to, say, half left and half right instead of hard left and hard right.

If you’re working in Steinberg Cubase Pro, this is easily accomplished: simply change the panning mode from the default Stereo Balance Panner to the Stereo Combined Panner. (Click on the arrow to the right of any stereo track to change the panner type.) This not only allows you to independently pan the left and right signals, it lets you take a stereo image and reduce the distance between left and right — even move the whole image towards one side or the other.

Screenshot of the Cubase Stereo Combined Panner. — *The Cubase Stereo Combined Panner (circled).*

Start Panning

One effective workflow for starting your mix and creating your panning scheme is to begin with everything in the center. Get as good a rough balance as you can in terms of relative levels before you start placing the tracks across the soundstage.

User balancing a track on Cubase. — *Get the best-sounding balance before you start panning and placing tracks.*

Instead of randomly placing elements, think first about where you want them to go and how they will relate positionally to the other elements in the mix. Although there are norms, there are no absolute rules when it comes to panning and placement, so feel free to experiment. And be sure to check your mix on a variety of speakers — and on headphones too — in order to get a good sense of the way the end listener will hear the virtual soundstage you are constructing.

Check out our other Recording Basics postings.

Click here for more information about Steinberg Cubase.

Here’s What You Need to Know About Vinyl

Written by Rich Tozzoli on April 7, 2020. Posted in Vinyl. 4 Comments on Here’s What You Need to Know About Vinyl

These round, flat vinyl disks with spiral grooves have brought music to the ears of listeners around the world for more than a century. Even through the advent of digital technology, vinyl records remain amazingly popular, and have even enjoyed a resurgence in recent years.

But not all vinyl is the same. In this article, we’ll look at the key factors that determine their sound quality and durability.

Speed and Diameter

Vinyl records come in three speeds: 33 1/3 rpm (often just called a “33”), 45 rpm and 78 rpm. The “rpm” is an abbreviation for “revolutions per minute” — an indication of how fast the record is meant to spin on the turntable.

In the early days, rotation speeds of records were not always consistent, generally running from around 70 to 80 rpm, but by the 1920s, 78 rpm became the standard. This had a severe limitation in that records running at such a high speed could only hold a few minutes of music. In the years after World War II, several competing formats appeared, most notably the 33 1/3 rpm LP (Long Play) record which not only had a slower playback speed but narrower grooves, followed soon thereafter by the middle-ground 45 rpm format. Interestingly, early 45s were released in different colors, depending on the type of music they held. The 33 1/3 rpm and 45 rpm speeds continue to be the standards to this very day; 78 rpm records were largely phased out by the mid-1950s.

Vinyl records also come in three standard diameters: 7-inch, 10-inch and 12-inch. The larger the diameter, the longer the groove can be and the greater the possible playing times, dependent upon rotational speed. (The actual playing time is a ratio between speed and the length of the grooves.)

Since 7-inch and 10-inch records hold less information, they are usually used as “singles” (i.e., they contain one song per side) playing at 45 rpm. 12-inch records are generally employed for long-format “albums” (playing at 33 1/3 rpm) that include several tunes per side, but some of today’s singles are pressed onto 12-inch disks since the extra room on the surface allows the grooves to be further apart, which results in a louder record with a greater dynamic range (i.e., the difference between the softest and loudest sections) for better sound quality.

Most turntables can accommodate vinyl of every size, but not all offer different speeds. The Yamaha MusicCast VINYL 500 Wi-Fi Turntable can handle rotation speeds of 33 1/3 and 45 rpm (make sure you select the correct one before spinning your favorite tune!) and, unlike most other turntables, can be wirelessly connected to Yamaha MusicCast speakers:

White turntable with speed switch. — *Yamaha MusicCast VINYL 500 Wi-Fi turntable speed switch.*

Weight

Another important factor is the weight of the record. Most of the vinyl pressed in the past 20 years are 12-inch records that weigh between 120 and 140 grams. However, some newer records come in weights of 180, 200 or even 220 grams. While some may refer to these as “audiophile grade” records, it does not necessarily mean they have more sonic benefits.

The increased weight of these disks makes them sturdier and more resistant to warping; it also provides a stronger platform for the stylus to rest on and allows for more playbacks before deterioration. Some people also claim to hear more fidelity when listening to heavier records. However, this type of vinyl often commands higher prices than the standard grades, often fetching upwards of $50 or more per disk, versus the standard record price of around $10 to $30. Note that regardless of weight, the depth of the grooves is exactly the same on all releases.

Cleanliness

Because vinyl is an analog format (which means there’s physical contact required for playback, in this case in the form of a needle traveling down the groove cut into the surface of the record) as opposed to a digital one like CD or streaming audio (where there is no physical contact required for playback), it’s important to keep records clean for optimal longevity and sound. Most collectors recommend using an anti-static cleaning brush for this purpose, as shown below:

Without pressing too hard (so as not to damage the grooves), turn on the turntable and move the brush from the inside grooves to the outside while the record is spinning. Once or twice is enough, then turn the record over to clean the other side. To avoid transferring any oils or dirt from your hands, try not to touch either the surface of the record or the brush. (Records should always be held gingerly by their outside edge, as shown in the photo at the top of this posting.)

You can clean even deeper in the grooves by using a record cleaning solution with a static-free microfiber cloth. Just wet the cloth slightly with a few drops of solution and wipe in the direction of the grooves. For more information about cleaning records, be sure to check out our blog posting How to Clean Vinyl Records.

Also be sure to regularly clean your turntable’s stylus needle, since small amounts of dust may collect as the records play — something that will eventually cause damage. With a light touch, simply swipe a small, soft brush soft brush in one direction from back to front over the tip of the needle a few times to get rid of any dirt or dust particles.

Last but not least, remember to store your vinyl records in both their inner and outer sleeves, out of direct sunlight and in a cool, dry place. Try to store them vertically and don’t stack them on top of each other because they are heavy and can warp. By following these simple tips, you can keep your vinyl protected and enjoy listening to your favorite music in your favorite format for years to come.

Check out these related blog postings:

Five Reasons Vinyl Is Making a Comeback

How to Clean Vinyl Records

Jeff Coffin Video Series, Part 1: Shopping for Vinyl

Jeff Coffin Video Series, Part 2: Caring for Vinyl

Appreciating Vinyl Records … and the Best Way to Enjoy Them

Spotlight on Vinyl Subscription Services

How to Connect a Turntable to an AV Receiver

Seven Fun Places to Put Your Wireless Turntable

Get Your Party Started with the MusicCast VINYL 500

Click here for more information about the Yamaha MusicCast VINYL 500 Wi-Fi Turntable.

Drawing of Isaac Newton using a prism to analyze the colors in a ray of light.

We Can’t All Be Isaac Newton

Written by Howard Massey on April 6, 2020. Posted in Creativity.

In 1665, Cambridge University in England closed its doors due to an outbreak of the bubonic plague. One of those affected was a young graduate student with a then-undistinguished academic career. His name was Isaac Newton.

Painted portrait of Isaac Newton. — *A young Isaac Newton.*

Newton returned to his home in the countryside, where he would spend nearly two years indoors. During that time he would not only formulate the fundamental laws of motion and inertia that serve as the cornerstones of physics to this very day, but also greatly advance the understanding of light and write three mathematical papers that would come to define calculus. His feats of intellect during that relatively short but incredibly productive period were so prodigious, in fact, that 1666 would come to be known as Annus Mirabilis, or the “Year of Wonders.” Newton later referred to this time as “the prime of my age for invention and minded mathematics and philosophy more than at any time since.”

Admittedly, there was no Netflix^® in those days, nor was there streaming audio. (Not even — gasp! — video games.) But there were other ways of passing the time. Trimming candle wicks, for example. Plucking goose feathers. Darning socks. Tending to the fire in the hearth. Learning to play lute.

Okay, so maybe it was a bit boring. But not everyone who stayed in their homes sat idle waiting for things to abate. Some, like Newton, used the time to allow their minds the freedom to wander, and explore, and create. Supposedly it was the simple act of an apple falling from a tree, observed from a window within his cottage during that period that sparked Newton to wonder about what unseen force caused such a trivial event to occur. Something called gravity, perhaps?

So I would urge you to consider all that can be accomplished with the time you’ve gained these days. Take up a hobby. Develop a new skill. Count your blessings. Make a resolution. Read a book. Grow a plant. Play with your kids. Reach out to an old friend or a relative. Listen to your favorite music. Explore new music you may have never before considered listening to. Learn an instrument — and if you’ve got children that are musically inclined, jam with them. Allow yourself to breathe. Savor life. And above all, tell your loved ones just how much you love them … at least as many times a day as you wash your hands.

We can’t all be Isaac Newton. But if we put our minds to it, we might be amazed at what we can achieve and create in our homes during these trying times.

Check out Howard’s other postings.

Mike Block with student -- both playing the cello while standing

Cellist Mike Block’s Musical Quest

Written by Ben Nussbaum on April 3, 2020. Posted in Educator Profiles.

“The quest to explore different traditions from around the world outside of classical music has really felt like a quest to discover more about myself,” says Mike Block.

Block, an associate professor at Berklee College of Music and the New England Conservatory, plays the cello and sings. Other than that, he’s hard to pin down.

He has released 11 albums either as a solo artist, in a pair or trio, or as the leader of a group of musicians. The music he has tackled on his albums include bluegrass, original songs, Bach compositions alternating with modern classical music, and an upcoming duo album with an Indian tabla player.

He is part of Y o-Y o Ma’s Silkroad Ensemble and has collaborated in performance or recordings with the likes of Stevie Wonder and Alison Krauss. He’s also the first cellist to perform at Carnegie Hall standing up, using a cello strap of his own design.

Roots

Block’s father, Glenn Block, is director of orchestras and a professor of conducting at Illinois State University. His mother, Nancy Cochran, is the former director of Lamont School of Music at the University of Denver. Block’s siblings all play string instruments.

Classical music was the default — “it was what we played in the car,” Block recalls.

Other styles of music had a mystique to them — the allure of the unknown.

“The idea of popular music fascinated me as a kid,” Block says. “How can the same art form I’m studying, focusing on music from across the ocean from past centuries, … how can all these same skills captivate millions of people today?”

Despite his varied output, Block is not a sonic tourist, dipping into a style just long enough to take a metaphorical selfie. “Anything can be done poorly or masterfully,” Block says.

On his musical quest, he goes deep into whatever he’s playing, whether it’s Chuck Berry or Beethoven.

Block says he has seldom received pushback from his peers in the world of professional music although he jokes that the people who don’t return his emails probably don’t support his musical eclecticism. He adds with a laugh, “You never hear back from the people who don’t like what you do.”

Spotlight: Efficiency

How is it possible to teach, have a family, play with other top musicians, embrace a huge range of musical styles and have a steady recording career? There’s another quest behind Block’s musical one. Block is constantly in pursuit of efficiency.

“Whether it’s improvising on new jazz chord changes or trying to sing a new bluegrass song, there’s always an efficient way to learn something,” he says. “Efficiency holds intrinsic moral value for me. Inefficiency is a kind of sin rooted in a lack of appreciation for the preciousness of our time and other people’s time.”

Block laughs and adds, “I know I’m coming off quite harsh and dramatic. But, potentially to a fault, I’m always trying to design the quickest way to accomplish a goal, whether it’s the layout of my office or the pacing and structure of a workshop I’m presenting.”

Block explains that learning new things efficiently mattered to him from the beginning of his career. “I never felt like I had a huge natural talent,” Block admits. “My hope was always that I could try to catch up to everyone else.”

It’s all about working hard and working smart. Block has a firm idea in his mind of his end goal and observes other musicians for patterns or habits that he can build from. He also emphasizes breaking down a new skill into small, manageable components.

Block embraces efficiency as a teacher too. “Keeping students motivated often depends on how clearly and efficiently you can share knowledge,” he says.

Stand and Deliver

Block is an inventor and entrepreneur as well as a musician. He designed and patented The Block Strap for cellists to play while standing or moving.

Block’s friend Rushad Eggleston is known for playing cello while standing, but he uses a guitar strap. Block says that he was hesitant about giving it a try, even though he was “incredibly jealous” of Eggleston’s freedom to move around the stage.

Block explains that he used to think that “standing was Rushad’s thing. I won’t try that because people will think I’m copying him.”

One year, Block invited Eggleston to teach at the Mike Block String Camp in Vero Beach, Florida. “The morning after the faculty performance, four cellists showed up to class with straps,” Block says. “I don’t know where they got straps by 10 a.m., but they were inspired by seeing Rushad, and they had no hesitations about trying to stand and giving it a shot. I realized I was also inspired by Rushad, but I had mental baggage that prevented me from trying it.”

At first Block tried a guitar strap like Eggleston and then attempted to adjust his technique — but the results were not encouraging. “Then I had an epiphany that seems obvious now,” Block says.

The eureka moment was that he could just design a new strap to match his existing cello technique. From there, designing the right strap became a two-year-long process.

Block points out that cellists are trained to direct their arm weight into the instrument. When cellists are sitting, that force is transferred from the cello to the floor. But when they are standing, the force enters their body, creating what Block calls “a much more visceral, physical experience.”

Rebel with a Cause

Although he eventually broke free, Block says that he felt confined when he first started to take music seriously. “I was frustrated that even though I was identifying as a musician who was training for a professional career, I couldn’t do all the things musically that I wanted to do,” he recalls.

When he was playing only the selections his teachers assigned to him, he struggled to feel 100% invested in music.

“I didn’t feel empowered,” he remembers. “For me, self-empowerment comes with a streak of rebelliousness. But it’s not rebellion for its own sake, and it’s not directed at some outside authority. Ultimately what I’m rebelling against isn’t other people but the nagging voices in my own head. Living true to myself has meant examining assumptions I have about what I can do or what I shouldn’t be doing.”

Block works to make sure his own students have the freedom to pursue music in a way that empowers them, so that they can follow their own path. The key is to build on students’ existing passions and interests for various types of music and artists, rather than deciding all the repertoire for them.

As a teacher who wants to understand his students’ musical tastes, Block is constantly exposed to new sounds. He’s familiar with pop music, but he notes that his students arrive at Berklee with an unpredictable range of tastes and knowledge, remembering one student who had a deep knowledge of klezmer music (a tradition of the Ashkenazi Jews) and others who listen to cutting-edge jazz.

A Fine Line

Executing at a high level is the goal, no matter the type of music. “There’s no style that justifies playing at a lower level or not working on your technique or achieving a high level of mastery,” Block says.

He isn’t big on teaching the same thing over and over. “By the time we figure out how to teach something really well, it’s at that moment that the thing we’re teaching dies, in a way,” Block says with a laugh. “Maybe that’s dramatic language. But finding ways to give students structure and help them progress while giving them space to find themselves and find new things — I often feel that tension in teaching.”

Block says that it’s “a particularly fine line when teaching improvisation or working on arranging and composition — giving students the space to explore versus making sure they work on the skills that have stood the test of time.”

Block constructed his Florida camp to marry timeless technique with of-the-moment music. The camp, entering its 11th year, hosts more than 100 students each summer. Students who choose the popular collaborative track are first taught several pieces of music by ear, ranging from Celtic fiddle tunes to contemporary jazz. Then they form groups and are coached through arranging, improvising and performing music. “They’re learning from existing traditions, repertoire and skills, but making it their own,” Block says.

The Mike Block String Camp is a great distillation of Block’s approach to music: Creativity paired with timeless skills. Classical rigor applied across a range of musical styles.

Block’s musical quest continues, but his standards never change.

Mike Block At a Glance

Education
- Bachelor’s: Cleveland Institute of Music
- Master’s: The Juilliard School
Current Position: Associate Professor at Berklee College of Music and New England Conservatory
Select Projects and Recordings:
- Mike Block String Camp
- BachInTheBathroom.com
- ArtistWorks.com
- “Step into the Void: The Complete Bach Cello Suites” (2020)
- “Walls of Time” (2019)
- “Final Night at Camp” (2018)

Photos by Eric Levin Photography

SupportED 2020v5n1 with Mike Block This article originally appeared in the 2020N1 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.

Tips to Get the Most Out of a Conference

Written by Sarah Lindenfeld Hall on April 3, 2020. Posted in Conferences.

Tradeshows can be powerful ways for music educators to hone new skills, network and find inspiration. But as attendees go to sessions and roam exhibit halls, the experience can be overwhelming.

Jessica Voigt-Page, now a veteran of music education conferences, remembers feeling so dazzled and overwhelmed at the 2012 North American Saxophone Alliance conference that when she met noted saxophonist Eugene Rosseau, she failed to introduce herself.

“It was the first time I’d ever been in the same space as a lot of the really big-name performers and pedagogues of my field,” says Voigt-Page, an adjunct lecturer in saxophone at Baylor University in Waco, Texas. “There was almost that starstruck nature.”

Forgetting to mention her name was a learning moment for Voigt-Page, who also teaches music entrepreneurship and professional development at Baylor. “I realized that I needed to have a plan when I met people and when I interacted with people,” she says. “I needed to know what I was going to say … and to include my name in that elevator pitch.”

THE YAMAHA EDUCATOR NEWSLETTER: Join to receive a round-up of our latest articles and programs!

Plan and Prepare

How can you thrive at your next professional development conference?

Some conferences feature dozens of sessions, so you could easily miss a must-see program if you don’t scan the schedule before the opening keynote. Check the schedule online before the conference opens to research the sessions, speakers and performers. “It allows you to better understand the angle they are coming from and the angle they are going to be taking in that clinic or presentation or performance,” Voigt-Page says.

Many conferences, including the Percussive Arts Society International Convention (PASIC), offer apps that let attendees browse the full events schedule and check off the sessions that they plan to attend to create a personalized conference calendar on their smartphones. Joshua Simonds, executive director of the Percussive Arts Society, recommends studying a map of the convention hall or hotel, so you can chart out your routes between programs.

Ask for Funding

Caption:Yamaha Master Educator Daniel Berard Budgets may be tight for many music educators, but often school districts have professional development funds or innovation grants. Have a conversation with your administrators and department leaders about why you want to go, what you hope to learn and, most importantly, how the new knowledge will help your students grow, says Daniel Berard, a Yamaha Master Educator and director of bands at Chatfield Senior High School in Littleton, Colorado.

Foundations or school booster groups may also be able to help cover at least part of the cost of attending a conference. If funding isn’t available, Berard doesn’t mind paying his own way. “I’ve never once regretted making a financial investment in my own personal or professional growth,” he says.

Walk the Exhibit Floor

Caption:Joshua Simonds With dozens of vendors and organizations, the exhibit hall can seem daunting. To alleviate some of that stress, scan the full space, then zero in on individual areas.

At PASIC, Simonds likes to walk the entire exhibit floor first and then return later to visit specific booths based on his needs. On his second time through, he takes advantage of the opportunity to talk with the people behind the products and services.

“You are dealing with the actual people who make the instrument or know about it more than anybody else,” Simonds says. “They want you to talk to them. They may not want you to play on the instrument for 10 minutes nonstop. But you have their full attention, which is awesome.”

Don’t be Shy

At larger conferences, you may turn a corner and run into a music education luminary or world-class performer. Resist the urge to nervously run away; instead, take the opportunity to introduce yourself, Berard says.

A turning point in Berard’s career was when he found the courage to ask legendary conductor Richard Floyd what it would take for Floyd to visit his school. “Without batting an eye, Richard said, ‘Just ask,’” Berard recalls. “That one little conversation in the hallway of The Midwest [Clinic] turned into a lifelong dear friendship. People are so willing to share information, and that’s really … the lasting impact of [going to] a convention.”

Remember to Follow Up

Making connections and gaining new ideas are often the main goals of attending a conference; however, those tasks can be difficult if your notes are scattered. Conference veterans recommend creating your own system to stay organized.

Berard types out running notes on his phone, records voice memos and snaps photos of a concert program. After the conference, he’ll take the time to go over everything.

Voigt-Page gets a new notebook for each conference and jots down highlights from different sessions and details about the people she meets. Once she gets home, she sends each individual a quick thank-you message, stating something she learned or enjoyed from the meetup.

“We don’t always get told ‘thank you’ for the things we present and the work we do at these conferences,” says Voigt-Page, who often performs and speaks at conferences. “It’s going to make them feel really great about themselves, and you’ve built a really solid connection in a positive way.”

Key Music Education Conferences

Here is a sampling of national conferences geared toward music educators. Check your state music education association for events in your area.

Introducing the YBS-82 Custom E♭ Baritone Saxophone

Written by Yamaha Corporation of America on April 3, 2020. Posted in Woodwinds.

“One size fits all” doesn’t work for everyone. The new Yamaha YBS-82 custom baritone saxophone is a premier instrument that allows you to fine-tune your sound with high-quality handcrafted options. And with its introduction, Yamaha now offers a complete Custom lineup of brass and woodwind instruments, ranging from soprano to baritone voices.

The YBS-82 offers expert saxophonists a wealth of features and customizable options. Neck configurations are available in three different tapers (C, E, V) and six finishes to help you arrive at your signature sound, including gold lacquer, unlacquered, gold-plated and silver-plated. A new ergonomic key layout makes it easier to play the instrument comfortably, and a shorter, one-piece bell enhances the playability and intonation in all registers, centering low notes and providing richness across the full range of the saxophone. The bore has been redesigned (a feature that’s also been integrated into the new Yamaha YBS-480 and YBS-62II intermediate and professional baritone saxophones), and a detachable peg is included. There’s even a hard case with wheels to help you move the YBS-82 safely and easily.

Click here to learn more about Yamaha saxophones.

Click here to learn more about the Yamaha YBS-82.

Cle Elum Roslyn band members hold trophies

Case Study: Cle Elum-Roslyn is a Small District with a Big Sound

Written by Savy Leiser on April 3, 2020. Posted in Case Studies.

Cle Elum, Washington, is a small town with a population of about 2,000 and a school district serving approximately 900 students in K-12 — but that doesn’t stop the power of music flowing through it.

If anything, the town’s size has helped people form closer connections through music. “Our community is really tightknit,” says Nick Maupoux, music director for Walter Strom Middle School and Cle Elum-Roslyn High School.

The community’s closeness has helped Maupoux with everything from securing grants for the music program’s growth to finding an audience for student performances. “In Cle Elum, there are a lot of awesome organizations looking to help the school out,” he says. “[And] in a small town, people just go to more events, I feel.”

Since his hiring in 2014, Maupoux has added music as a mandatory part of the sixth-grade curriculum, revived the choir program and high school marching band, and moved the band from a one-room setup to a new music building.

Starting with Sixth Grade

Before Maupoux, the district required music only through fifth grade. Maupoux worked to add an introductory band class into the schedule for all sixth-grade students in their first semester. Afterward, students can choose to stick with band or sign up for a different elective.

Maupoux collaborates with Ted Brown Music, which has six stores in Washington, to host an instrument petting zoo each spring. At the event, incoming sixth graders try out instruments and can also sign a rental agreement with Ted Brown.

For “parents who cannot afford to rent, … we will provide [an instrument],” says Lara Gregorich-Bennett, the middle school principal, who is also a band parent.

Raising funds to have an instrument for every student has taken some effort on Maupoux’s part. “I’ve been doing a lot of grant writing since I’ve been here,” he says.

During the past few years, Maupoux has received about $18,000 in grants from local businesses to provide instruments for students.

Maupoux has seen an enthusiastic response from both parents and students who are grateful to try an activity that they may have otherwise overlooked. “We have kids whose parents are like, ‘Wow! I had no idea they were going to like this,’” Maupoux says.

A New Home for Music

Just a few years ago, the music program was busting at its seams, occupying one middle school classroom packed tight with chairs that spilled into the hallway. “The community saw that we were outgrowing our current situation,” Maupoux says.

When Cle Elum received levy funds, many members of the community prioritized a new music building. Band parents attended school board meetings to testify about the music program’s importance.

“I would go to the school board and say, ‘Can I have two of the kids that just went to state come to the board meeting and play something for you?’” says Susan Bronkhorst, a member of the committee that hired Maupoux.

At that time, the band’s drum major was also a student representative on the school board. “She was always bringing to light the fact that she was a good student going to college, and music needed to be kept at the forefront of everyone’s mind,” Bronkhorst says.

Now a dedicated music building sits between the middle school and high school. In use since 2017, the building features high ceilings, a band room with a permanent jazz setup, a choir room with risers and a piano, three practice rooms, an instrument storage room with lockers and an office with a music library.

Marching into Competition

As a former member of the Oregon Crusaders Drum and Bugle Corps, Maupoux also revived the school’s competitive marching band, which had not been active since the 1990s.

Maupoux’s “number-one goal was to get a marching band going,” Gregorich-Bennett says. “He started, step by step, implementing different things and taking it to the next level.”

First Maupoux introduced a pep band and then slowly added drill, a color guard and other elements. “In 2014, we did just one song and some drill,” Maupoux says.

Then in 2015, the band performed in its first exhibition, and by 2016, the band was competing throughout the Washington Tri-Cities area. “Now we’re doing competitive field shows and getting trophies,” Maupoux adds.

The marching band claimed Best General Effect, Best Brass and Woodwinds, and first place in Division A at the 2019 Southeastern Washington Cavalcade of Bands as well as Best Music, Best Percussion and first place in the A Division of the 2019 Pacific Northwest Marching Band Championships.

College Connections

Although the marching band has only 24 students, running it takes a big team. Maupoux has developed a partnership with Central Washington University (CWU), his alma mater.

“I honestly couldn’t do it without the help of our [CWU] music education students,” Maupoux says. “I bring out one person per section. We have a band of 24 but have a staff of nine or 10. … The college students can practice teaching, and my kids can get more information.”

Working with CWU students also exposes high schoolers to college-level music performances. “There are concerts at Central, and it’s great to have them so close that we can attend,” says Lisa Hegg, a band parent. “My daughter wants to continue at Central after she graduates.”

Seeing those programs has motivated students to practice harder. Gregorich-Bennett recalls a conversation between Maupoux and a student last year. “One of the kids asked, ‘How did they get so good at this?’ Nick replied, ‘They practiced.’ Then the student said, ‘That’s it?’”

Gregorich-Bennett adds, “They see what other people … are able to do. That’s the point Nick stresses with the students. We can be that good; you’ve [just] got to practice.”

Community Performances

While Cle Elum’s strength doesn’t come in numbers, it does come from tightknit community bonds. “Every performance we have is in the newspaper,” Maupoux says. “The local TV station comes out and records our concert, and we can get a DVD.”

Students in the Cle Elum-Roslyn band want to perform every chance they get. Maupoux regularly organizes student performances for the school board where he hands out invitations to future shows. The music program hosts quarterly concerts as well as community performances for Halloween parades, holiday caroling and graduation, but some students hunger for more. “I had two middle school saxophone players … ask if they could play in front of a grocery store,” Maupoux says. “People started giving them money. They made it a donation to the band program.”

For all of his ensembles, Maupoux emphasizes quality over quantity. “We focus on creating the best sounds we can,” he says. “Focusing on tone quality, balance, articulation — all those details — is what makes music good.”

Assessments: Focus on Goals, not Grades

Written by Greg Scapillato on April 3, 2020. Posted in Teaching Tips.

Music educators are no strangers to evaluation. Often, these evaluations happen when a culminating activity — like a festival, concert or recital — presents a finished product for consideration.

While feedback (“how did I do?”) is certainly valuable at those points, assessments (“am I progressing toward the goal?”) throughout the learning process have significant benefits. The essential question is: are we using assessments to report learning or to inform learning?

Go with the Flow

Learning goals are the context for any assessment. Starting with general and moving to specific statements, you can create a natural flow from course objectives to learning goals to assessments, as seen in the example below.

course objective: students will demonstrate skill fluency on their instruments.
learning goal: students will perform major scales fluently on their instruments.
assessment target: students will perform 12 major scales for one octave each in eighth notes at 100 beats per minute.

The broad nature of the course objective and learning goal make them transferable to other units of study. The specificity of the assessment target allows students to focus their attention while relating to the broader goals. Throughout instruction, we keep students focused by continually referring back to these stated goals and targets.

Ready for the next level? Engage your students in developing specific targets within the broader learning goals. Get some base level data, then use guiding questions to help students “connect the dots” between their current level and the ultimate goal.

Less is More

“assessing” is often synonymous with “grading” though this correlation may have unintended consequences. Studies show that when feedback includes grades (percentages or letters, for instance), students focus on the grade and not on the feedback.

We can assess students and offer specific feedback without attaching a grade to the activity. With rubrics, try to remove any points or letter grade attributes. Include only the descriptions for each level of performance. In other words, try grading less while continuing to offer students feedback through your assessments.

Formative vs. Summative

If you can buy into the idea of grading less, the next step is to define when grading is truly needed. The “when” for the assessment will help determine its purpose, whether formative or summative.

Formative assessments give actionable feedback to students and shape instruction for the teacher while summative assessments report student achievement, usually on a grade or progress report.

Formative assessments give students the opportunity to demonstrate progress toward learning goals without impacting their overall grades. We can gather useful data measuring the progress of our classes toward mastery and offer suggestions to students for improving their performances.

Actionable Feedback

Once we have scheduled formative assessments for each student, we also want to provide meaningful feedback through a rubric. The rubric is the start but not the end. A holistic rubric will have detailed descriptions for each level of performance across several components.

Though the rubric will let students know how they performed, it doesn’t guide them as they move forward in their learning. Consider adding a section to your rubrics to answer the “how” for students. Did they miss some rhythms? Did they fall short in tone quality?

Also share practice strategies or exercises they can use. You may even choose to develop a list of frequently used comments that can still be tailored, if needed, to an individual student’s situation.

Do-Overs are Cool

If formative assessments are ungraded, students won’t need to be reassessed. They will have continued opportunities to show their growth.

But what if the summative doesn’t turn out as successful as either of you hoped? Offering the opportunity for students to redo a summative assessment can help alleviate test anxiety as well as serve your ultimate goal — for students to meet learning targets.

You can set up reasonable policies to prevent students from abusing these redo opportunities. For example, you could limit reassessments to those students who have submitted all of their formatives prior to the summative or set a specific deadline for reassessments.

Assessments are more than just grade generators. They can be powerful tools to shape our instruction and drive improvement in our students’ performances!

Create A Chamber Program

Written by Frank DiMaria on April 3, 2020. Posted in Teaching Tips.

Chamber ensembles allow students to practice and perform with like-minded musicians while providing camaraderie.

Being in smaller groups builds performance and technical skills, boosts confidence and connects musicians, says Dr. Matthew Geiger, director of percussion studies at East Tennessee State University in Johnson City.

In addition, teachers and coaches can better address matching, blend, balance and intonation in the intimate setting of chamber ensembles, says Dr. Heidi Radtke, an adjunct professor at Butler University in Indianapolis.

Auditions and Instrumentation

Repertoire for chamber ensembles is available for a variety of levels, making ensemble opportunities open to students with wide-ranging skills. Geiger requires students to audition, so that they work harder for spots. Typically, he writes an original piece that isolates specific skills or picks a song from an audition method book.

Directors can group students in several ways. Ensembles comprising the same instrument allow instructors to provide targeted technical advice. However, some music programs lack enough of certain instruments, so mixed-instrument ensembles are formed, which does have advantages. “They connect students with peers they may not have worked with in the past,” says Geiger, who is experienced in solo and chamber percussion.

Larger chamber ensembles benefit younger players because the parts carry less weight and thus less pressure, Geiger says. While he’s tutoring his younger students, the older ones can lead their own groups. As musicians mature, he mixes the ages, allowing younger students to play at least one piece with older students.

The Director’s Role

Chamber ensembles are not conductor-driven, so students must be self-reliant. Radtke suggests that ensembles work best when each member is able to contribute. As opposed to having one specific leader, she appoints a new leader for each rehearsal or has students take turns cueing and leading the group in different exercises.

Although ensembles are student-driven, the director still must facilitate. “If you want students to know how to rehearse, you have to teach them how to be a chamber ensemble,” says Radtke, who coaches middle and high school groups in the Carmel (Indiana) Clay Schools.

Younger and more inexperienced groups will need more guidance and supervised rehearsals or coaching sessions, Radtke says. Her ensembles initially work without instruments. Students learn to look at one another, move together and breathe together. A metronome clicks while her students count. “They get used to looking at each other in the eyes and seeing how each other moves,” says Radtke, who wrote a doctoral dissertation on saxophone chamber groups and has performed with the Indianapolis Chamber Orchestra and the Indianapolis Symphony Orchestra.

All groups should spend a significant amount of time during each rehearsal focusing on fundamentals such as breathing, cueing, tuning, balance, melody passing and matching, and chorale study exercises, Radtke says. “Once a musician learns how to listen and how to read another’s body language, they’ll take those skills onto other, larger ensembles,” she adds.

Rehearsal Spaces and Times

Ensembles need rehearsal spaces and dedicated practice time. A trio or quartet can squeeze into a band practice room, but bigger groups work better in a typical classroom. Rooms with speaker systems work best, especially for younger players, so the ensemble can listen to pieces of music together.

Geiger’s college ensembles rehearse at least once a week. When he worked with middle or high school chamber players, his ensembles met after school.

Geiger likes to keep his groups on consistent schedules and blocks out an hour or two every day, booking the various ensembles within those blocks for the same time each week.

Radtke recommends that chamber groups commit to a set place and schedule to rehearse. For those working on a recital program, she says that two to three rehearsals per week, each lasting 60 to 90 minutes, would be ideal.

Performance Opportunities

The most important aspect of being in an ensemble is performing in public. Radtke’s ensembles participate in the band program’s chamber music night.

Being on Butler’s staff allows Radtke to set up workshops in which her college students teach her high school and middle school ensembles. After the workshops, they perform together.

Because they are small, ensembles travel without much baggage. “The easiest performance opportunities include presenting chamber concerts at the school and at [other] local high schools or universities,” Geiger says.

Some states host solo and ensemble festivals for additional performance opportunities. At those events, musicians receive scores and useful feedback from guest adjudicators. “Chamber music competitions are plentiful at the high school and collegiate levels and can be a great motivator,” Radtke says.

Overall, chamber groups offer their participants the opportunity to build friendships beyond the larger band program. “If you have students who really want to work together, it’s worth investing in that opportunity,” Radtke says.

Q&A with Actor Erich Bergen

Written by Marcia Neel on April 3, 2020. Posted in Q & A.

Every year I attend the National Association of Music Merchants (NAMM) Advocacy Fly-In in Washington, D.C.

For the last two years, I have had the pleasure of spending time with Erich Bergen, an actor and singer best known for playing Bob Gaudio in “Jersey Boys.” He recently ended his role as Blake Moran, policy advisor and executive assistant to the president on CBS’ “Madam Secretary.”

Q. When did you know that you were going to make music the focus of your professional life?

A. Music has always been a part of my professional life although it’s not the thing that has brought me the most notoriety. When I was about 3 years old, I discovered MTV, and from that moment on, music was integral to every corner of my life. I didn’t care about sports, comic books or spaceships unless it was in a music video, on an album cover or part of the stage design of a pop star’s world tour. I didn’t see a future that didn’t have music in it, and I turned out to be right.

My professional career started by playing The Four Seasons’ songwriter Bob Gaudio in the stage musical “Jersey Boys,” a role that I later played in the film version. It was the perfect hybrid of musical theater, a love I discovered in my teens, and the pop music that I had always loved.

While it certainly brought me some attention, it didn’t come close to the number of eyeballs that watch “Madam Secretary” on a weekly basis. That’s where most people know me from, but most of those people don’t know I have a musical background. It’s interesting to see people connect the dots that the guy behind the keyboard in “Jersey Boys” is also the guy working in the White House on “Madam Secretary.”

Q. What book is on your nightstand right now?

A. I have a giant stack of things to get through. I buy books like they’re going to stop making them! Currently, I’m loving “The Dakota Winters” by Tom Barbash.

Q. What is your favorite guilty pleasure food?

A. Chinese food in New York City.

Q. What is your biggest pet peeve?

A. Chewing sounds or certain food description words like “yummy” or “delish.” I’ve walked out of dinners before due to this. Don’t. Just don’t.

Q. Why is music important to humanity?

A. Music is the great communicator throughout the history of the human race. It transcends all languages. For example, try to watch a movie without a score. It has little to no impact.

Q. Which person from history, dead or alive, would you want to have lunch with, and what would you discuss?

A. I want to talk to the guys who wrote the U.S. Constitution. I have some things I want to update them on and see if they want to make some clarifications …

Q. Why is it important to protect access to music education?

A. When it comes to education, one size does not fit all. We are not robots. Memorizing facts, figures and equations is meaningless for many people — it must be applied to something. I would never have understood math if I couldn’t apply it to music. Arts education is an equal part of a well-rounded education, and anyone who doubts that should just look at the science. It’s been proven time and time again that those with access to music education do better overall in grades and test scores. Music education gives life and saves lives. Why is this even up for debate?

Q. What is the most embarrassing musical moment of your life?

A. I think to be an actor, especially one who performs live on stage, you have to risk embarrassment on a daily basis. I fell through a trap door on stage in “Jersey Boys” one night in Los Angeles in front of about 1,500 audience members. I don’t remember falling, but I do remember coming to, realizing I was on the floor, and the audience was rumbling. I suppose somewhere in there was an embarrassing moment. … I just can’t remember it!

Q. What piece of music do you wish you had written and why?

A. I’ve seen other people asked that question, and I’ve never quite understood how anyone can answer it. I can tell you my favorite songs. I can tell you my least favorite songs. I can tell you the songs that remind me of a certain smell or year. But what song do I wish I had written? My answer is anything that was a big hit, right? So anything by Diane Warren or David Foster.

Q. Other than music, what brings you inspiration?

A. I honestly don’t know. My biggest inspiration for waking up in the morning, working out at the gym or even writing my own music is other music. So I’m really not sure. Animals, maybe?

Top photo by Corey Rivers

Mike Block Remembers the Hidden Meaning Behind a Lesson

Written by Ben Nussbaum on April 3, 2020. Posted in Teaching Tips.

Cellist Mike Block, an associate professor at Berklee College of Music, remembers a huge moment from when he was in college at the Cleveland Institute of Music.

It didn’t go as planned, but in retrospect Block sees that as a blessing.

“I was just beginning to improvise,” he recalls. “I was jamming with a couple friends, and I really wanted to play one of our improvisational pieces in our studio class.”

For Block, it was a daring move, one that he thought would impress and surprise his peers and his teacher.

“I was studying with a really fantastic, technically minded teacher, Richard Aaron,” Block says. “Richard was like, ‘That sounds really fun, but your vibrato is too tight. Let’s work on your vibrato.’ He sat with me for 10 minutes, and we worked on vibrato — after I improvised for him for the first time and played my heart out.”

Block was taken aback by his teacher’s business-as-usual response. “At the time I found it a little demotivating,” he says. “What I really appreciate about it in retrospect is that he never told me not to do non-classical stuff. It didn’t matter what kind of music I played as long as I did it at a high level and with attention to detail.”

Letter to Myself: Marcia Neel

Written by Marcia Neel on April 3, 2020. Posted in Master Educator Collective.

Marcia Neel is Senior Director of Education for Yamaha Corporation of America and a Yamaha Master Educator.

She is president of Music Education Consultants Inc., and serves as the education advisor to the Music Achievement Council. Below, she writes a letter to her younger self about the joys of music education.

Dear Younger Marcia:

Congratulations on getting your Music Education degree! You’re excited to get out there and realize your dream of becoming the next great American conductor like Robert Shaw, but before you begin polishing your conducting chops, I’d love to share some thoughts with you to keep in mind along the way.

First and foremost, you will hear that teaching is “not all about you,” but it is! The most accomplished directors always bring their best to each and every rehearsal. They are always prepared, energized, inspired and seem to create situations that bring out the best in everyone around them. They continually serve as students of the art form and role models to be emulated by their students. It is through this continuous search for excellence that you will realize your true purpose — serving others.

Marcia Neel high-fiving someone at the 2018 NAMM Fly-in You will also be responsible for teaching parents, colleagues, administrators, superintendents, school board members, politicians and the community in general. The constituents in your sphere of influence must understand the enormous benefits to music making, so start paying close attention to the research and spread the word. Embody this principle and live it to the fullest as it will serve you well throughout your entire career.

Spend time reflecting on why you are teaching music. You’ll go through phases. The dream of becoming Robert Shaw will eventually fade, and you will realize your true calling — helping young people discover the joy of collaborative music making and the sense of fulfillment, purpose and love that come with that. You’ll realize that music is the vessel for teaching about life and how so much can be accomplished when we choose to work together to achieve something special — something larger than the sum of its parts.

A few cautionary thoughts on how to deal with some challenging issues you’ll face:

Some people will not be as happy and fulfilled as you are, and they don’t choose to be. You will not be able to do anything about them. Move on!
If you get into trouble, whether it’s difficulty in choosing the right piece for your ensemble or the time you burned a 25-foot-long black gouge into the high school’s gym floor (yikes!), reach out and tell someone who can help you as soon as possible. Call a colleague or sit down with your supervising administrator. There will always be someone who can help, but you have to reach out to them.
Be a good listener. Hear what is being said between the words. You’ll perceive so much more this way.
You will change lives through what you say and do, so choose your words and deeds carefully.
Don’t take shortcuts. You’ll miss too much of the scenery along the way.
Family always comes first, so make time to watch your little ones grow. Family time will be your greatest joy.

One final word — artistic discovery is what working with young people is all about. No matter their age group, your students deserve credit for being able to achieve more than you think they can. If you believe in them, they definitely will exceed your expectations!

I’m so excited for you! Go out and change the world!

Best,

Marcia in 2020

Finding Funding

Written by Savy Leiser on April 3, 2020. Posted in Funding.

Funding is a major obstacle to growing a music program. For the past five years, Nick Maupoux, band director for Cle Elum-Roslyn School District, has overcome this hurdle by grant writing and using the following strategies.

Search Locally

Maupoux has acquired multiple grants for choir risers, new instruments and repairs from local businesses and organizations, including the Washington Music Educators Association, Shoemaker Manufacturing and Suncadia Resort.

Work with Administration

Administrators can be a source of information and support during the fundraising and grant-writing process. “Make sure you talk with your building principal first,” Maupoux advises. Many times after Maupoux talked with his schools’ principals about grants, he learned that the district could allocate funds for what he needed. Keeping administrators in the loop about funding needs can also put them on alert for new available grants. “[For] a lot of grants, I got the information from my principals,” Maupoux says.

Keep a List of Priorities

Even when no grants are in the works, Maupoux advises educators to keep a running list of what they’ll need for future expansions. “When you come upon an opportunity for money, you can say, ‘Oh, I can buy that new tuba! I can buy those risers,’” he says.

Characters descend from rope into a cave pool in scene from Gears 5.

Gaming in Dolby Atmos^®: An Interview with Josh Osiris

Written by Ted Goslin on April 2, 2020. Posted in Gaming. 1 Comment on Gaming in Dolby Atmos^®: An Interview with Josh Osiris

Gunshots are ringing out on all sides as enemies surround you, testing every ounce of your skill. Then the final boss emerges, forcing a standoff that will result in victory or defeat.

Every gamer has that transcendental moment that takes things from a form of entertainment to a mind- and time-altering experience. While video obviously plays an important part in this transformation, immersive audio has become an unsung hero, waiting in the wings to take its rightful place in gaming lore.

And TV speakers simply don’t do justice to this kind of sound design.

This is especially true for Gears 5, a console video game exclusive to Xbox™, and one of the few to utilize Dolby Atmos^® — an object-based surround sound format typically only used in cinema.

To better understand the impact that audio and technologies like Dolby Atmos have on video games, we reached out to Josh Osiris, sound designer for Gears of War 4 and Gears 5.

Bits and Pieces

A man sitting in a sound design studio. — *Josh Osiris, sound designer for Gears 5.*

Like film, video game audio is comprised of three core elements: sound effects, dialogue and music. One of the biggest parts of the sound designer’s job is to make sense of the audio in a way that brings the right moment into focus at the right time and as seamlessly as possible.

As a student at Vancouver Film School, Josh Osiris began learning his craft with the intention of working in film or TV. In his first semester, an instructor discussed the creative challenges of working in game audio, using the game Snake as an example, which caused Osiris to instead gravitate toward the ever-changing landscape of video game audio. His studies landed him an internship at EA (Electronic Arts) working on the Need for Speed series until moving on to Microsoft^® and working on the Gears of War series.

Energetic scene from Gears 5 with fiery explosion in background. — *A scene from Gears 5.*

Osiris points out that, unlike the linear audio used in film and TV, video game audio needs to be both immersive and constantly adaptive to the movements of the player. This requires the creation of an algorithm that is constantly running over the audio track to ensure that the audio being heard matches what’s onscreen at any given moment.

“I think of mixing as being a conductor in an orchestra,” he says. “The performance of sounds for one person’s experience will never exist again. You conceptualize what’s in the video and find a way to put it into games so it doesn’t overload the hardware. It’s the jazz of sound design. Game audio is a lively, dynamic thing, especially when it’s done really well. That was my goal with Gears 5.”

To gauge how it will sound on other systems, Osiris monitors mainly on TV speakers. “If I can make it work on TV speakers, it will sound good on anything,” he explains.

As a method to enhance the biggest audio moments of the game, Osiris and his team chose to work in Dolby Atmos — the first time the team used the technology as part of a game development process. (The previous release, Gears of War 4, implemented Dolby Atmos after launch.)

“One of the cool things about Gears of War 4 was that it used HRTF (Head-Related Transfer Functions),” Osiris says. [HRTF is an audio response that dictates how an ear receives a sound from a point in space.] All games on the Xbox can use HRTF for a virtual 7.1 soundscape via the “Windows Sonic™ for Headphones” or “Dolby Atmos for Headphones” setting, even if the game itself does not support vertical positioning of the sounds. “However,” Osiris explains, “when an Xbox game directly supports “Windows Sonic” and the user turns on either of the HRTF systems, they will get full Atmos 7.1.4 virtually, which simulates the appearance of vertical positioning.”

HRTF allowed the team to enhance vertical space elements such as footsteps and gunshots to work in Dolby Atmos, although other elements, like dialogue, were restricted in the mix due to the late addition of the technology. When it came time to work on Gears 5, Osiris and the team incorporated Dolby Atmos at the beginning of the process, allowing for fewer limitations and more room for creative solutions.

New Gear

One of the most important elements of any audio design is making sure the dynamic mix — that is, the volume and placement of each audio signal — is done in a way that helps focus the audio for the player.

A significant part of Gears 5’s audio was developed under the guidance of Crispin Hands of Lionshead Entertainment, who acted as Music Director, Cinematics Audio Lead, supporting composer and Music Implementation Designer on the project. (Lionshead Entertainment also provided the majority of the audio staff.)

Man in black sweatshirt stands in front of large monitors in sound design studio. — *Crispin Hands.*

“We worked closely with composer, Ramin Djawadi (Game of Thrones, Westworld) to establish key themes and explore the history of Gears and our characters,” says Hands. “Our main goal was to provide a spectacular and engrossing audio experience while advancing and reinforcing the story — both in the plot and the subtext. We wanted to make sure we delivered a sonically thrilling experience no matter what system you listen on, but really bring the thunder for the people who are passionate enough about sound to invest in great sound systems — with extra goodness for those who invested in Atmos.”

To achieve this, Osiris built a multiband sidechain compressor—a device that’s mostly just used in film and music mixing. [Standard compression keeps an audio signal within a certain volume range, while sidechain compression works by having the level of one sound controlled by the level of another, thus preventing any one sound from drowning out another at a given moment.] “The multiband approach carves out space for only the parts of the sound spectrum that the game wants to focus on, rather than the entire sound,” explains Osiris. “This method is more transparent and more natural-sounding than the traditional single-band sidechain compression that is used on most modern games.”

It’s also particularly helpful in Dolby Atmos, where different audio needs to be clearly sent to different speakers. “There’s a volume curve going up and down based on how loud the rest of the audio is,” adds Osiris. “The game is measuring the overall loudness of everything except speech, so that dialogue doesn’t get buried in the mix when explosions are happening everywhere, and isn’t blowing your head off by being too loud when the ambient audio is quieter.”

Battle Damage

Josh Osiris considers Gears 5 to be the best work he’s done to this point in his career, but it was also one of the most demanding projects he’s ever tackled. The biggest challenge, he says, was the final boss fight with a character called The Kraken.

“You fight him twice and he’s the most gigantic tentacled creature you’ve ever seen,” Osiris says. “So we gave him his own mix, with a separate ducking system [an audio processing tool that is used to selectively lower the volume of the other sound elements to help the creature stand out] than we used on the rest of the game. There were days I would just sit there, tweaking it and nothing else. It was tough because you get fatigued over time; you lose the ability to listen critically or hear all the frequency response.”

Battle scene from Gears 5 with large tentacled creature . — *The end boss battle with The Kraken.*

The process Osiris used to determine which sounds he wanted to enhance with Dolby Atmos involved calling out specific moments. In the game’s introduction, for example, players are introduced to the main characters via a scene involving soldiers traveling in a helicopter to start a mission. The soldiers, including the main character (controlled by the player), descend the chopper by rope into a cenotè (cave pool).

“Before we saw a single picture, we talked about this idea of descending near a waterfall,” recalls Osiris. “Immediately, that speaks of verticality [height]. We thought, “What can we do to make that moment shine?” We had area designer Brent Silk and Audio Director John Morgan fill that out with waterfalls, birds and other nice panorama sounds. It plays differently on speakers versus headphones.”

Similarly, Crispin Hands saw Dolby Atmos as an opportunity to add more depth to the sound stage and create some carefully chosen “wow” moments. “We knew that we couldn’t rely on more than a small percentage of players having access to it,” he explains, “but we really wanted to make sure those players felt like Gears 5 was one of the titles that really made it worth having.”

The Next Level

The importance of audio advancements in gaming cannot be overstated, as far as Osiris is concerned. Given the impact that Dolby Atmos has had on the overall gameplay experience for Gears 5, he stresses the importance of using it to advance video games in the future.

“For me, it’s all about gameplay feedback, first and foremost. With a dynamic mix, you focus on what’s most important to the player. Atmos lets you provide a level of clarity that was not previously available to the player. Being able to demonstrate how important audio is and how it improves the gaming experience is an important thing in the industry. I’m hoping to increase those expectations and resources to give better experiences for players with mix and gameplay feedback specifically.”

Hands has a similar opinion about the future use of Dolby Atmos in gaming. “As long as enough gamers adopt it, the possibilities are endless. Verticality plays a huge role in many games, so Atmos can and should become an essential part of the information-scape for players in many games. Hearing enemies above you can evoke a primal response similar to hearing them behind you. Even in games that don’t inherently have verticality, there are interesting opportunities to use the height channel for communicating information that would otherwise crowd the rest of the soundscape.”

Headphones versus Speakers

So how best to experience high-quality gaming audio? “Atmos for headphones works with anyone’s headphones,” Osiris says, “and Xbox will let you use Dolby Atmos on your headphones if you get the Dolby license. If you’re going to use speakers, the most cost-effective way to game is with a sound bar. Buy the best one you can afford and it will sound good. But if you can afford it, AV receivers with Dolby Atmos support and high-quality surround sound speakers are the best way to go. There’s no comparison.”

The work Osiris did on Gears 5 speaks for itself, but not every system is built for you to hear it in Dolby Atmos. Yamaha offers numerous Dolby Atmos-capable AV receivers, as well as many with multiple HDMI^® inputs that allow them to serve as your hub for your gaming systems. Explore and compare their features here.

Photographs and images courtesy of Microsoft, The Coalition™, Josh Osiris and Crispin Hands.

Check out these articles for more about audio for gaming:

Three Reasons to Upgrade Your Sound System for Modern Gaming

Top Gaming Trends for Home Audio from E3 2019

How We Interpret Sound: An Interview with Dr. Floyd Toole

Click here for more information about Yamaha AV receivers.

Click here for more information about Yamaha sound bars.

Click here to learn more about all Yamaha audio-visual products.

How to Lubricate Trombone Slides

Written by Matt Kerns on March 31, 2020. Posted in Brass, Winds How-to. 1 Comment on How to Lubricate Trombone Slides

Trombones are a critical voice in any band or symphonic ensemble, and compared to most other wind instruments, they are actually pretty simple machines. However, if you haven’t spent much time playing trombones, they may seem like a bit of a mystery.

It’s particularly important to understand how to keep trombone slides moving lightning fast. Here are some tips for lubricating trombone slides.

Trombone Slide Cream

In the past, trombonists didn’t have the option of using special lubricants created with high-tech ingredients, so they improvised with whatever they had available. One of the most popular choices was old-fashioned facial cold cream — the kind that came in a jar and had a creamy consistency similar to yogurt or toothpaste. This may seem like an odd choice, but believe it or not, when applied properly, this greasy cream did make a pretty good lubricant for trombone slides! You probably won’t find many players using facial cream these days, but cream-style lubricants such as the one offered by Yamaha still remain popular.

Here’s the way I was taught to apply slide cream when I first learned to play trombone:

Trombone slide next to a bottle and tube of trombone slide cream. — *Apply a thin layer of slide cream starting at the bottom, then spray a fine mist of water to the slide while playing to keep the slide slippery.*

– The cream must be applied to the entire inner slide, so remove the outer slide completely and set it aside. Put the outer slide in a safe location where it won’t fall or get stepped on — it is very fragile and easy to dent or bend!

– Place a small amount of cream on your fingertip, a drop about the size of a pea. IMPORTANT: Make sure you’re using trombone slide cream, and not tuning slide grease. Grease is too thick and sticky for a hand slide and should only be used for tuning slides!

– Starting at the bottom of one of the inner slides, spread that drop of cream around the fat part of the slide (called the stocking). Then continue working that same drop of cream up the tube toward the hand section. You shouldn’t need to apply more than that one drop of cream.

– Once you have coated that entire inner slide, grab the top of the slide with the tips of your thumb and first two fingers, forming a rough triangle around the tube. Then, with one quick motion, pull your fingers down the length of the slide to wipe off some of the excess cream you just applied. Your goal is to leave behind a thin layer of greasy cream spread evenly across the metal. If you can actually see the cream, there’s too much!

– Repeat this process for the other inner slide tube, starting with a fresh pea-sized drop and again wiping off any excess.

– Once both inner tubes are coated, carefully put the outer slide back in place and work it up and down a few times to spread the cream evenly.

– At this point, the slide should feel fairly smooth, but for the best action use a spray bottle to apply a fine mist of water onto the inner slide tubes before and as needed while playing. The water will bead against the greasy layer of cream and act like tiny ball bearings to cushion the slide and make the action super-fast.

Depending on how much you play, slide cream may need to be reapplied after a few days or weeks. However, be careful — it’s easy to over-apply cream or use too much. When that happens, the slide can get gummy and slow, even with water. Remember, if you can actually see the cream, there’s too much, so clean the slide thoroughly and start over with a fresh thin layer.

Liquid Trombone Slide Lubricants

In more recent years, a variety of lubricants have been specifically created for trombone slides that are thicker than oil but still much thinner than creams. Some of these come as a two-part mixture, while others (like this Yamaha Trombone Slide Lubricant) come in a single bottle. Liquid lubricants are preferred by many professional players and are an excellent option for students and beginners because they’re easy to use. Best of all, they make your slide incredibly fast!

Applying liquid trombone slide lubricant to trombone slide. — *For liquid slide lubricants, apply a few drops at the top of the inner slide tubes.*

– There’s no need to remove the outer slide to apply liquid lubricants. Simply place a few drops of lubricant at the top of each inner slide tube and allow the liquid to run down the slide. Don’t worry about using too much — any excess lubricant will drain out through the water key, so there isn’t any risk of excess buildup.

– Work the outer slide back and forth a few times to spread the lubricant evenly.

– The slide may already be fast enough to use at this point, but for the best action, use a spray bottle to apply a fine mist of water before or as needed while playing.

That’s all there is to it! You may need to re-apply liquid slide lubricants a bit more frequently than the cream, but the process is much simpler and quicker, and your slide will still move just as fast and maybe even faster.

Oil

I don’t generally recommend using oil for trombone slides, but it is an option if you’re caught without anything else. Use a good quality valve oil — preferably something on the heavier/thicker side — and apply several drops to the top of the inner slides just like you would with a liquid lubricant. However, do not use a water spray because that will wash away the oil, and you’ll need to reapply frequently.

No matter which type of lubricant you choose, it’s important to remember that a trombone slide must be clean, straight and free from any dents or physical problems to work properly. If you know there’s a dent, or if the slide moves slowly or gets stuck even with proper lubrication, be sure to have the instrument looked at by a repair technician as soon as possible.

The Basics Of Chordal Harmony

Written by Jerry Kovarsky on March 30, 2020. Posted in Keyboard How-to. 2 Comments on The Basics Of Chordal Harmony

As keyboardists, we get to provide the harmonic backdrop for the music we perform with singers and with other instrumentalists. Having a deep understanding of chords, voicings and harmonic movement allows us to do our job with confidence, creativity and color.

What’s A Chord?

A chord is simply three or more notes that are played at the same time. In Western music we tend to build those chords by stacking notes in intervals of a third (i.e., three or four half-steps). The main types of triads (three-note chords) are as follows:

The first chord shown is a C Major, built on the first, third and fifth tones of the C Major scale. If we lower the third by a half-step we get the second chord, a C minor. The third chord shown is called C augmented (as you can see, the plus sign is commonly used as an abbreviation), and it takes the major triad and raises the fifth a half-step. The final chord shown is called C diminished (commonly indicated, as you can see, with a superscripted “O”), and it has both a lowered third and fifth.

Listen to this audio clip to get the sound of each chord type in your ears:

To understand how these chord types occur in Western music, we can stack thirds on each of the notes of a major scale to get the following triads:

The Major triad occurs on the first, fourth and fifth steps of the scale. Does this remind you of anything? A blues chord progression, perhaps?

The minor chord occurs on the second, third and sixth steps of the scale, and the diminished chord occurs on the seventh step. Being able to discuss chords using this numbering system of scale steps is an important skill, since musicians often describe a chord progression this way, using the Roman numerals I, ii, iii, IV, V, vi and vii.

Note: When we discuss chords, we use the terms “root” (the fundamental note the chord is built on), “third” and “fifth” even though not every chord is built on the root note, or starting note of a given scale. For example, I can talk about the D minor triad as being built on the second step of the C scale, and say D is the root, F is the third, and A is the fifth of that chord. So don’t be confused by the difference between the numbering of the scale steps, or by the stacked notes of any given chord.

Building Up

If we add one more tone from the scale (a “scale tone”) — the one a third above the triad — we get what’s called a seventh chord:

But there’s an interesting twist here: If you compare these larger chords to the triads we previously built, you can see some important differences. For example, the new tone in the I and IV chords is a major third (that is, 4 half-steps) higher, which is why they are called major seventh chords, but the new tone in the V chord is a minor third higher (that is, 3 half-steps). This combination of a major triad with a minor, or lowered, seventh is called a dominant seventh chord — an important chord type we’ll be talking more about shortly. The new tones in the ii, iii and vi chords are also a minor third higher, but the combination of a minor triad with a lowered seventh is called a minor seventh chord. Finally, the new tone in the vii chord is a major third higher, and is called a half-diminished, or minor seventh flatted fifth chord.

There is an inherent tension in the dominant seventh chord, created by the third and seventh tones (the B and the F) that “want” to resolve back to the root and the third of C (the I chord of the scale we are basing our example on, which is called the key center):

The first measure shows a G7 (G Dominant seventh) chord resolving back to a C triad using an inversion of the G7 chord (an inversion is a rearrangement of the notes of a chord) — in other words, a V7 resolving back to the I chord. The second measure shows just the third and seventh of the G7, which wants to resolve to the root and 3rd of the C chord by moving inward. The third measure simply flips the order of the third and seventh of the G7 to resolve to the C by moving outwards. Listen to the natural way this tension and release occurs in this audio clip. You’ll find that it “makes sense” to our ears:

That tension inherent in a V7 dominant seventh chord “wanting” to resolve back to a I chord is a centerpiece of Western harmony, and we’ll be using that a lot in the harmony lessons coming in future “Well-Rounded Keyboardist” blog postings.

Harmony In a Minor Key

Every major key has a related minor key, which starts on the sixth step of the major scale, and the same concepts can be applied there. For example, C Major has a relationship to A minor, and we call that key the relative minor. The illustration below shows how they share both the same notes and key signature (in this case, no sharps or flats).

Notice that the V chord is no longer Major in this situation, and when made into a seventh chord it would not be a dominant seventh. Many early composers created melodies that raised the 7th tone of the scale — which we call the harmonic minor scale — to solve this issue (after all, that’s why it’s called “harmonic!).

Those chords can be extended into seventh chords to get the following:

This gives us back the same V7 (dominant 7th) chord that can resolve back to the i chord:

This audio clip demonstrates three ways you can use inversions to play a V7 resolving to the i chord in a minor key:

As we build on these principles, we’ll start to encounter even more colorful chords, such as the i chord (called a minor major 7th — a minor triad with a major third note stacked above it), the III chord (a major seventh with a sharp, or augmented, fifth) and the vii chord, which is a (fully) diminished seventh chord (that is, a diminished triad with another minor third stacked above it).

All audio played on a Yamaha P-515.

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about Yamaha keyboard instruments.

A Brief Guide to Bass Guitar Tonewoods

Written by Michael Gelfand on March 27, 2020. Posted in Bass. 2 Comments on A Brief Guide to Bass Guitar Tonewoods

My wife is a remarkable woman, for a variety of reasons. One is that she forgives my chronic late-night infidelities with the harem of bass guitars I’ve accumulated over the decades.

That said, sometimes she will ask plaintively, “Why do you have so many of them?” The answer is simple: I love them all; they all do different things. To be honest, a long parade of basses have marched in and out my door over the years, but the ones with magical tone, responsiveness and striking looks have stayed put, due in part to the characteristics of the various woods used in their construction.

Each wood species has its own unique properties — such as hardness, resonance, responsiveness, weight and grain patterns — that make it an appropriate choice for a particular bass body, neck, fretboard, laminate or decorative veneer. Luthiers make common design decisions based on the interplay of these properties, but there is no “one size fits all.” The seemingly small nuances in the characteristics between woods can make all the difference in the world as to why a particular bass sounds, feels and looks so good in your hands. And once you’ve played a wide variety of basses, you’ll know which combination(s) works best for you.

Let’s take a look at the tonewoods most commonly used in bass guitars.

Bass guitar with solid alder body. — *Yamaha BB234.*

Alder – Often used in basses due to its comparative light weight, alder has a tight, hard grain pattern that’s best described as unspectacular. However, sonically, alder offers a warm, balanced sound — one that is neither too dark or too bright. In bass guitar bodies, it’s sometimes used on its own (as in Yamaha BB200 Series and BB400 Series basses) or in combination with maple (Yamaha TRBX600 Series, BB700 Series and BB Pro Series).

Blue, 4-string bass guitar. — *Yamaha RBX170.*

Ash – There are two types of ash: southern swamp ash and northern hard ash. Generally speaking, both have a more striking grain pattern than alder, and both sound notably brighter too. Swamp ash is relatively soft, which probably accounts for its tamped-down midrange response. Northern hard ash is a dense, heavy wood with snappy mids and an otherwise transparent sound that makes it a popular choice for bass bodies.

Basswood – Soft and light compared to other tonewoods, basswood isn’t known for its color or grain pattern … but that’s probably what makes it such a popular body wood. Sonically, it’s best described as transparent, with bumped mids and toned-down lows and highs, which makes for a high-performing, cost-effective choice, particularly for entry-level basses such as the Yamaha RBX Series.

Bubinga – Highly regarded for its strength and stiffness, bubinga is often used for bass necks, and sometimes for body laminates. However, it’s relatively heavy compared to woods like alder and ash, so it’s not typically used for bass bodies. But when it is, that extra weight makes for some otherworldly sustain.

John Patitucci signature bass guitar with dark red finish. — *Yamaha TRBJP2.*

Ebony – Dark as night and dense as rock, ebony is an exotic darkwood whose inherent characteristics make it a great choice for fretboards, as on the Yamaha TRBJP2 John Patitucci signature bass. With a bright attack similar to that of maple, ebony has a percussive, bell-like attack and resounding sustain. Because it’s heavily protected, however, it tends to be quite expensive.

Koa – A beautiful and extremely dense wood with a flamboyant grain pattern, koa is similar in looks and tonality to mahogany — though perhaps a bit brighter sounding — but much harder to come by, and therefore less popular. Its bold grain and golden tones make it a good choice as a top veneer, but it’s more commonly used in acoustic guitars rather than basses.

4-string bass guitar with solid mahogany body. — *Yamaha TRBX504.*

Mahogany – A very heavy, finely-grained, medium-hard wood often used in bass bodies due to its attractive grain, but equally suitable for necks due to its strength, warmth, resonance and sustain. It has lots of sonic qualities commonly associated with vintage basses, such as punchy midrange, pronounced lows and smooth, subdued highs. A prime example of mahogany in action can be found in Yamaha TRBX500 Series basses, which boast a solid mahogany body and a mahogany/maple neck.

4-string bass guitar in Sonic Blue finish. — *Yamaha Attitude Limited 3.*

Maple – There are two types of maple (hard and soft), but hard maple is commonly used in necks due to its strength, density and weight. As found on the Billy Sheehan-designed Yamaha Attitude Limited 3 bass, maple necks — and particularly maple fretboards — are light-colored and bright-sounding, with a propensity for strong midrange and high-end sizzle without sacrificing any lows.

Maple is also a common laminate used in bodies to provide strength and midrange — as, for example, in Yamaha BB Series basses. Well known for its birds-eye, flame and tiger grain variations, maple also makes for an eye-popping veneer, as evidenced on the Yamaha TRBX604FM bass.

4-string bass guitar with alder/maple-laminated body. — *Yamaha TRBX604FM.*

Rosewood – A very popular choice for fretboards, and for good reason. Rosewood is extremely hard, has a sexy grain pattern and is renowned for its sonic qualities: warmth, rich overtones, and lots of attack and projection across the entire range of bass notes. Brazilian rosewood, which nearly became extinct due to overuse, is now banned from being exported. Indian and Honduran rosewood are widely considered to be suitable replacements.

Walnut – Loaded with low-end pizzazz, along with consistent mids and brightness, walnut is generally punchier and warmer than maple. Easy on the eyes with a luxurious grain pattern, it’s also easy to lose sight of walnut’s weight — both for the sustain it provides and the upper-body workout it guarantees.

Wenge – Similar in appearance to ebony, wenge is more often used for bass necks, as opposed to bodies. Despite being hard and heavy, it isn’t as bright sounding as maple — it’s lively and punchy, but with thick fundamentals and steady midrange character.

Click here for more information about Yamaha basses.

Hands of young man holding tablet with smart remote control system.

Top Five Things You Should Know When Hiring an AV Installer

Written by Eric Thies on March 26, 2020. Posted in TV & Movies.

You interact with your home technology multiple times every day, so choosing the right tech expert is vital for both a problem-free installation and years of enjoyment to follow. I have been a custom installation professional for over two decades and it still amazes me when someone hires a home tech integrator without doing any due diligence. Unfortunately, a lot of homeowners don’t realize that the relationship with their tech expert should be viewed as long-term, not as a one-off.

Here’s why: One, technology never stops changing; and two, technology is never 100% reliable. For those reasons, you will inevitably need an upgrade or a fix somewhere down the line, so you need to partner with someone who is knowledgeable, capable and reliable. Here are the things you should know before choosing a home technology integrator.

1. Make sure they have experience with projects similar to yours.

If the AV firm you’re considering is a specialist in 20,000 square foot businesses with complex control systems, they may not be right for you if all you want to do is have them install a simple 5.1-channel home theater in your living room. Likewise, if you have a large-scale full-home system or custom-built screening room, the guy that specializes in smart doorbells and entry-level audio components is probably not a fit. Get references for the firm from clients that have hired them to do projects similar to what you have in mind. It’s not out of line to ask the provider if you can tour a home they recently completed so you can get a sense of their craftsmanship and quality.

2. Verify that the installer is authorized to sell the products they offer.

You want to be sure that when you need service, you have a dealer that has formal relationships with the manufacturers and can stand behind the products they sell you. Purchasing from an unauthorized dealer may affect your warranty and ability to obtain service for the product. If an integrator is not an authorized dealer, they are not getting the latest training on how to properly configure and install the product.

3. Determine your service requirements.

Some companies only work 9 to 5 during the week, while others are available 24/7. Before hiring a firm, find out when they are available for service. Ask if their support is telephone only or if they will actually send a technician for an after-hours emergency. Most home technology firms offer remote monitoring. This is a great feature that you should consider, since it allows your integrator to check the health of your system remotely and even perform system repairs from their office or mobile device. A two-minute remote fix is a highly desirable alternative to waiting hours for a tech to show up at your home.

4. Don’t undervalue the importance of the installer.

A great installer is like a great chef. They can take a variety of ingredients and make them work together to create a perfect meal. Electronics is no different. You can have a fantastic surround sound system but if your installer cannot integrate it correctly with your video components, remotes, cable boxes, Wi-Fi routers/extenders and other smart products, you are not going to have a great experience. An installer needs to understand all of the disparate products individually and have a mastery of how they interface with everything else in the system. Not only that, they have to deal with products that change every six months! It is a hard job to do well … and an easy job to do poorly. Picking the right technology partner is crucial.

5. Check their certification.

Before you hire an AV installation company, go to the Home Technology Association™’s website (www.htacertified.org) to see if they have been certified. Every firm that has passed the certification has been thoroughly vetted, with all of their licenses, bonding and insurances verified, and all certified companies have submitted a minimum of nine references. There are hundreds of firms to choose from, so there should be several options for great installers in your city. The HTA website also provides a handy budget calculator to help you formulate a budget for your home technology project.

Click here for information about Yamaha AV products.

How to Use Steinberg WaveLab for Mastering

Written by Pete Lyman on March 25, 2020. Posted in Pro Audio How-to, Recording.

Each engineer’s mastering process is a bit different. While most of my projects involve a significant amount of analog processors, the way I integrate that gear with Steinberg WaveLab software is critical to my overall process. Here’s how the workflow will typically go on an album project: My assistant will load the tracks into WaveLab and I will then take the raw mixes and sequence them as the client requests in the Audio Montage window. Next, I will do rough spacing and rough fades as I listen, tweak and take notes of my analog gear settings.

WaveLab 10 Audio Montage window. — *WaveLab Audio Montage window.*

Once that’s done, I like to listen to the album passively all the way through, maybe while I am answering emails or doing something else, just to absorb it as a whole. Then I go back and really concentrate on the individual tracks, roughing stuff in until I get each to a happy place. At that point I start doing captures in WaveLab (complete with the analog gear inline), on the lane right underneath the raw mixes.

As I continue playing back the tracks, I’ll do any peak limiting or selective de-essing, and make fine tweaks digitally, including any equalization I might want to add after the analog gear. Finally, I render one continuous track and insert it into the same audio montage. From there, I can generate different versions and formats — say, 16-bit, 44.1 kHz, BWAV, MP3, high resolution or anything the client needs, as well as inserting metadata such as track title or ISRC (International Standard Recording Code). WaveLab helps make this process really fast and easy.

One WaveLab feature that I really love is Workspaces. These are layout templates that include the snapshots and the files you’re working with. As I’m doing a mastering project I tend to save a lot of different Workspaces. One, for example, will typically have the loudness meters up so I can see my unprocessed versus my processed levels. The metering in WaveLab is excellent, by the way. I always have the level meter, spectrograph and phase scope up on a secondary screen. They, along with my analog VU meters, are really all that I need.

WaveLab 10 meters feature. — *WaveLab meters.*

I’ve been mastering with WaveLab for almost 20 years and over that time, I’ve developed a workflow that is very effective for me. It will open almost any file, and I like the layout — it’s really smooth and intuitive. If I need to remove anything spectrally, it’s really easy to do with a key command or by quickly pulling it down from the menu. And having a track underneath your unprocessed audio is great for easy A/B comparison listening. Plus, the ability to completely customize any window inside WaveLab is quite powerful: it lets me hide the features I don’t use on a daily basis to get rid of onscreen clutter.

I do pretty much everything in WaveLab, and I’ll be talking more about other ways I utilize it in future articles. Stay tuned!

Photograph courtesy of the author.

Check out Pete’s other blogs.

Click here for more information about Steinberg WaveLab.

The Modern Drum Set, Part 4: Foot Pedals

Written by Steve La Cerra on March 24, 2020. Posted in Stage Drums, Studio Drums. 1 Comment on The Modern Drum Set, Part 4: Foot Pedals

In previous installments of this series of articles on the components of modern drum sets, we looked at snare drums, bass drums and toms. Now let’s focus on the bass drum pedal and hi-hat, both of which are essential parts of every drum set — and components that take a lot of abuse since they get stomped and kicked on a daily basis.

Don’t Tread on Me

The invention of the bass drum pedal in the early 1900s revolutionized drumming because it was the first time that one drummer could play the bass drum, snare drum and a cymbal at the same time. That solidified the idea of having just one drummer in a band — a trend that continues today.

Early bass drum pedals were crude contraptions by today’s standards, but over the years there have been many developments. For more information on the history of the bass drum pedal as well as the hi-hat, check out our blog post The Evolution of The Drum Pedal.

Diagram showing the parts of a bass drum pedal. — *The main parts of a bass drum pedal.*

Direct vs. Chain Drive

The drive of a foot pedal is the mechanism connecting the footboard to the bass drum beater. Pedals using a metal strap for this connection are called direct drive, while those using a belt or strap are known as belt drive. Chain drive was developed in the late 1970s, borrowing the gears and chain from a bicycle. Yamaha bass drum pedals employ all three types of drives, and the company’s FP9 Series pedals can even be converted from chain drive to belt drive with the use of a standard drum key.

Drum pedal comparison with one pedal having a chain drive and the other pedal having a belt drive. — *Yamaha FP9 Series pedals can be easily converted from chain drive to belt drive.*

A direct drive link such as the one on the Yamaha FP-9500D ensures a solid connection that doesn’t flex and is consistent throughout the motion of the pedal. The link is typically made of metal, though some manufacturers offer models that use plastic instead. Direct drive “pushes” the footboard back on rebound, giving the pedal a fast response with increased power and control. For this reason, direct drive pedals are often preferred by drummers who play heel-down and want speed and precision in their playing technique.

The first belt drive foot pedals used leather belts, but modern versions like the Yamaha FP-8500B use woven nylon belts for long life. Belt drive reduces friction and delivers a quick, light feel. It does not require lubrication, and in some cases, may be more quiet than direct or chain drive.

Chain drive is very popular these days due to its responsive action. However, heavy playing can cause a single chain to flex from side to side, and that’s one of the reasons why the Yamaha FP-9C and FP-9500C employ dual chains. The first chain-drive pedals used a geared cam but the FP-9C, FP-9500C and FP-8500C offer a gearless cam, which makes the action quiet and requires less maintenance.

Close-up shot of a dual chain drive on a drum pedal. — *Dual chain drive prevents flex.*

Happy Feet

Adjustability is crucial when it comes to bass drum pedals, and when choosing one, you’ll want to make sure you can dial it in for maximum comfort and performance.

Every modern foot pedal has adjustable spring tension, but not all of them are created equal. Look for spring tension that’s easy to adjust and lock from the playing position like the one on the Yamaha FP-8500B or the unique Easy-Access Auto-Lock Spring Adjustment (Patent Pending) used on FP9 Series pedals.

Close-up shot of a upward spring adjustable knob on a drum pedal. — *Yamaha FP9 foot pedal spring adjustment knob.*

Adjustable Cam

The cam is a crucial part of the foot pedal because energy is transferred from the footboard through the drive to the cam, which in turn propels the beater into the head. Round cams produce consistent force and feel throughout the entire stroke, which gives some players more control over their dynamics. An offset (oval-shaped) cam gains tension and produces more force as the pedal moves downward, increasing speed and adding power to the stroke. Offset cams are popular with players who like to “push into” their bass drum. Adjustable cam positions that alter the initial tension of the stroke (such as those offered by the Yamaha FP-9C) are a highly desirable feature in bass drum pedals.

Photograph of a drum pedal with labels showing the three cam positions. — *The three cam positions offered by the Yamaha FP-9C.*

Beater and Footboard Angle

The size and type of material used in a beater head affects not only the sound of the bass drum but the feel of the pedal. In general, the larger and harder the surface of a beater, the greater the attack. Felt is the most commonly used material, providing ample definition and a nice thump without the “clickiness” that harder beaters impart. Some beaters, like the Yamaha BT950 and those on the company’s 9500 Series footpedals, offer reversible heads, with felt on one side and a hard plastic surface on the other side. Yamaha FP9 Series pedals, which come with BT9 felt beaters, even offer adjustable weights — something that affects both action and responsiveness.

The closer a beater is to the bass drum head, the faster it reaches the head, but the bad news is that volume and power are reduced. That’s why many drummers who play softly prefer to set the beater angle around 60 degrees from the head. Drummers who play harder may prefer an angle of 45 degrees for increased volume. All Yamaha bass drum pedals provide adjustable beater angle.

Many bass drum pedals — for example, Yamaha FP9, 9500 and 8500 Series models — also allow separate adjustment for the footboard angle. Drummers who play heel-up might want a higher angle for the footboard, while drummers who play heel-down often prefer a lower footboard angle for less fatigue.

Double or Nothing

Other features to look for in a bass drum pedal include a memory lock for the beater shaft and a hoop clamp that’s easy to reach from the playing position. There are also double-pedal versions, such as the Yamaha DFP-9500D. Since the secondary pedal is not attached to the bass drum, it’s important that the secondary pedal has spikes to keep it from slipping forward.

Hi-Hats

The hi-hat (a combination of two cymbals and a foot pedal, all mounted on a metal stand) appeared during the late 1920s, evolving from devices known as the “snowshoe” and “sock cymbal,” the latter looking very much like a hi-hat without an elevated cymbal seat. Because it was too close to the floor, the sock cymbal could not be played with drumsticks, but somewhere along the way, it was raised up to a height where it could be played with sticks, thus the name “hi-hat.” It is generally agreed that jazz drummer Papa Jo Jones (a mainstay of the Count Basie Orchestra for many years) pioneered playing timekeeping rhythms on the hi-hat.

Hi-hat choices range from lightweight models such as the Yamaha HHS3 to the heavy-duty Yamaha HS-1200. Connection between the footboard and pull rod can be “direct pull,” as used on the Yamaha HS-850, or “chain pull,” which is utilized by the Yamaha HS-740A. Direct pull provides a strong, even feel all the way through the stroke, while chain pull creates a lighter action. Toggle link drive, featured on the Yamaha HS-1200T, is lighter at the top of the stroke and gradually becomes stronger as the footboard is depressed, resulting in a more expressive feel.

Features to look for when choosing a hi-hat include rotating legs for easy placement of multiple pedals (as found on the Yamaha HS-1200D), a cymbal seat with a locking angle adjustment, adjustable spring tension, variable footboard height and a locking clutch. Double-braced legs hold up to heavy playing, but single-braced legs leave more space for other pedals. Retractable spikes help prevent the hi-hat stand from creeping forward during playing.

Tension adjustable closed hi-hat holder. — *Yamaha CHH-930.*

Alternatives to traditional hi-hat stands include remote hi-hats that use cable drive, as well as closed hi-hat holders such as the Yamaha CHH-930, which fits any Yamaha tom holder or tom stand, thus allowing you to mount a pair of closed hi-hat cymbals anywhere in your drum set.

Foot pedals are key when it comes to comfort behind your kit, and they can open up a world of possibilities for your drumming. A little bit of experimentation and fine-tuning will ensure that your pedals provide plenty of kick!

Click here for Part 1: The snare drum.

Click here for Part 2: The bass drum.

Click here for Part 3: Toms.

Click here for Part 5: Cymbals and hardware.

Click here for more information about Yamaha acoustic drum sets.

Resources for Online Teaching

Written by Yamaha Staff on March 24, 2020. Posted in Teaching Tips.

Updated 5/10/2022 at 9:20 a.m. PDT

We want to do our part to help music educators as you explore options and search for resources to facilitate online teaching.

Since teaching face-to-face is not possible, our educational partners and other companies are offering resources and solutions, including free lesson plans and subscriptions, to help you navigate these unchartered waters to teach music in new and creative ways.
As always, the music education community is showing its strength and supportive nature — this time by tackling online teaching and online learning together.

AmazingEducationalResources.com lists hundreds of sites that cover all subjects, including students’ social-emotional well-being. This list is updated regularly. Please be prudent and thoroughly research each company before signing up.
Below is a list of music-specific sites and sources. As more artists and educators post and create resources, we will update this list . Email us at educators@yamaha.com with questions or to submit a site to be included.

NAMM and Save the Music have similar lists of online resources for teachers.

Resources from Our Partners

Disney’s Imagineering in a Box
Music for All Educational Resources
National Association for Music Educators (NAfME)
- Fall 2020 Guidance for Music Education (PDF) from NAfME and National Federation of State High School Associations (NFHS)
- Music Ed Policy During a Global Pandemic webinar
- Music Teacher Resources for School Closures
- COVID-19 Instrument Cleaning Guidelines by NFHS, NAfME and the NAMM Foundation
- COVID-19 Resources and News
- Free NAfME Academy Webinars
- NAfME Teaching with Primary Sources Curriculum Units for High School Music Theory/Composition, Chorus, General Music, Orchestra and Band
National Association of Music Merchants (NAMM)
- Bridging the Gap: Teaching and Learning Music Online webinar
- Making Music Online: How-Tos for Private and Group Lessons webinar
- Making Music Online: How-Tos for Ensembles webinar
- Online Learning: It Can Be More Than You Think webinar
- Back to School: Access and Equity in Online Learning webinar
- Virtual Fundraising webinar
- Resources for Educators
- COVID-19 & Social Distancing: Music-Making Resources
American String Teachers Association (ASTA)
- Resuming Instruction During COVID-19: Classroom and Studio
Jazz Education Network (JEN)
- How to Teach Instrumental Lessons Online webinar
- Online Teaching for the Non-Online Teacher webinar
- Guided Online Listening for Secondary Classes webinar
- What Now? Music Ed After COVID-19 roundtable discussion
Percussive Arts Society (PAS)
- Managing COVID-19 Protocols in Administering Percussion Performance Curriculum
- PAS Resource Library
- 40 Percussive Arts Society International Drum Rudiments
- Essential Listening for Drum Set
- Percussion Compendiums
- PAS Educators’ Companion
- Rhythm Scene – The Official Blog of the Percussive Arts Society

Music Theory, Music Lessons, Games

All Digital School
Artusi
BandLab
Beginning Band Bootcamp
Breezin’ Thru Theory and Composing
Carnegie Hall: Musical Explorers
Chrome Music Lab
Classics for Kids
Columbus Symphony Orchestra‘s Kids Korner and Symphonic Teens websites
Cornerstone Confessions: The Ultimate List of Online Music Education Games
The Domestic Musician: How to Teach Elementary Music Remotely: Ultimate Resource Round-Up
Education & Bass‘ Ultimate Beginners Course (membership required)
Essential Elements Interactive
Little Kids Rock: Free Music Resources
Music First
Music Theory
Music Workshop
Name That Note
PBS Kids Music Games
Preservation Hall Lessons
Rock and Roll Hall of Fame: Free Online Learning
San Francisco Symphony’s Keeping Score
The Shed
Sight Reading Factory
SmartMusic
Solfeg.io
SoundSlice
Teaching with Orff: Distance Learning Resources for Music Educators
Teach Rock
Teoria: Music Theory Web
Tone Savvy
WURRLYedu

Music Library: Books, Apps, Virtual Tours and Notation Software

Acapella: Record, edit and share music videos
Dorico (notation)
“Everyone Can Create Music” (free)
Flat (notation)
Museum of Making Music
Musical Instrument Museum galleries
Noteflight (notation)
Steinberg

Percussion

4 Mallet Exercises without a Marimba – Justin Douté
C. Alan Percussion Home Study Packet Snare Drum
What a Metronome Can’t Teach – Matthew Black
DrumEd Podcast with Joe Mengis and Mark Powers
Drum Helper: Beginner’s Guide to Recording Drums
Vic Firth Snare Drum Rudiments
Gary France Video Series (Snare Drum, Cymbals, Gongs, Keyboard)
Steve Graves Beginning Percussion Videos
Cory Hills’ Percussive Storytelling and live-stream videos
Ox and Lamb Percussion Publications — Free Resources
Percussion Education Video Playlist
Percussion Lounge with Pablo Rieppi
Rhythm Randomizer
Shilo Stroman Percussion Videos

Strings

Tina Guo: Videos, Tutorials and Live-Stream Concerts via Patreon (subscription fees)
Christian Howes’ Creative Strings
- How to Flip your Classroom
- Free Online Lessons for Orchestra and String Teachers — all levels
Andy Reiner Fiddle/Violin Method
- Andy Reiner: Music, Podcasts and Lessons via Patreon (subscription fees)
Jacob Szekely’s Improvisor’s Guide to the Cello
Tuning Your Instrument
Violinist.com
- How to Tune Your Violin (for kids and parents at home)
- What Your Teacher Is Doing In Your Music Lesson, and How to Adapt Online
- Practicalities of Online Lessons for Teachers, Students and Parents
- The Learning Potential of Online Lessons

Winds

Tom Bough Music — Tuba
Jeff Coffin — Saxophone, Jazz
Sean Jones — Q&A on Mastering Your Practice in the Shed
Steve Kortyka — Jazz Transcriptions videos and Bebop Etudes
Cally Laughlin — Clarinet
Jay Metcalf — Better Sax
Nathan Nabb ‘s Saxophone Studio Class Online
Daniel Pardo – Flute for middle and high school students
Christopher Still’s Honesty Pill — online courses for musicians
Trombone 101

Piano

The Frances Clark Center for Keyboard Pedagogy and Piano Magazine
Group Piano in the time of COVID-19 (Facebook group)
JazzPianoOnline
Piano and Instrumental Teachers with Coronavirus Concerns (Facebook group)
Teach Piano Online
WikiHow: How to Practice the Piano without a Piano

Guitar

GuitarChordsDictionary.com
Guitars in the Classroom
Music Prodigy with Bill Swick (3-month subscription for $40)
School Guitar Teachers (Facebook group)

Various

Mariachi Resources from Music Education Consultants
Pittsburgh Symphony Orchestra Practice! Practice! Practice! video series
Snarky Puppy webinars (fees)
Rodolfo Gonzalez, a Texas music educator, offer sheet music for beginner ukulele, bajo sexto, first studies for mariachi, elementary mariachi, guitar solos, basic music theory and basic arranging for mariachi, beginner melody books for strings, classical guitar and more.
University of North Texas: We Mean Clean project, which includes instrument hygiene and overall healthy behaviors for performing artists

Choral

American Choral Directors Association (ACDA): Pandemic-Focused Resources
Chorus Connection: Taking Your Choir Rehearsals Online
Midnight Music: Please Stop Asking How To Create A Virtual Choir Video
National Association of Teachers of Singing: What Do Science and Data Say about the Near Term Future of Singing webinar (co-hosted by American Choral Directors Association, Chorus America, Barbershop Harmony Society and Performing Arts medical Association)

Performances

92nd Street Y Live Streams and Past Performances
Mindi Abair live-stream performances on Facebook
Boston Brass live-stream performances on Facebook
Chamber Music Society of Lincoln Center Performances
Detroit Symphony Orchestra’s Past Performances and Educational Concert Series
Steven Feifke and Alexa Tarantino (fees for each performance)
The Kennedy Center Digital Stage
Lincoln Center at Home
Live with Carnegie Hall
London Symphony Orchestra Performances and Playlists
The Metropolitan Opera
North Carolina Symphony — education concert and lessons (password is 1932)
The Philadelphia Orchestra
Mimi Stillman live stream performances on Facebook
The U.S. Army Band “Pershing’s Own”
Vancouver Symphony Orchestra Online
NPR Music: A List of Tiny Desk Concerts (intimate video performances)

Student Musicians with Special Needs

Check out United Sound‘s program

Select TED Talks for Music Educators

Email us at educators@yamaha.com to submit a site to be included.

Yamaha is an active advocate for music education. We want to empower you as music educators to strengthen your programs in any way we can. Please register for the Yamaha Educator newsletter to read up on advocacy, professional development, information about instruments, resources, partnerships in education. Join the Yamaha Music Educator Community on Facebook.

How to Oil Brass Instrument Valves

Written by Matt Kerns on March 23, 2020. Posted in Winds How-to.

It’s the night of the band concert, and the curtain will go up soon. You’re backstage bubbling with nervous excitement. Then, from the rear of the ensemble, one of your fellow trumpeters raises his hand and says, “My valves are sticky — can you help me oil them?”

This could never happen because all brass players know how to oil their valves, right? Unfortunately, all too often, this is not the case. To help clear up some of the mystery, here is the official Yamaha-approved method for oiling brass instrument piston valves.

Step 1: You’ll need both hands free, so place the instrument someplace where it can safely stay put, with the valves easily accessible. Sitting in a chair with the instrument on your lap is a good choice — if you’re worried about oil dripping on your pants, put a towel or rag underneath the instrument to catch the drips.

Step 2: Unscrew the top of the valve oil bottle and set the cap aside. It may seem silly, but it’s a lot easier to do this now rather than after the next step!

Putting valve oil on a trumpet's piston. — *Valve oil needs to go directly on the widest part of the piston.*

Step 3: Starting with the first valve, fully unscrew the cap at the top of the valve until it comes loose. Then use one hand to gently slide the entire piston assembly up until you can see the wide silvery-gray portion of the valve body. The piston doesn’t need to come all the way out of the instrument — as long as you can see the top of that wide area, you’ve pulled it out far enough.

CAUTION: The piston can be easily damaged if it’s dropped or banged against something, so be very careful while it’s unscrewed and exposed!

Step 4: Place several drops of oil around the top of that silvery-gray area and allow it to run down the side of the piston and into the valve casing. Don’t be afraid to use more oil than you think is necessary — any excess will drain out the bottom of the valve and will help keep the instrument clean by washing out dirt, bits of food, saliva or any other debris that may have found its way onto the valves.

Step 5: Carefully slide the piston back down into the casing, making sure that everything is still lined up the way it started. For Yamaha trumpets, you will see the valve number stamped into the metal near the top of the piston — this number should be facing toward the mouthpiece, so that if you were playing the instrument you would be able to read it. Depending on the instrument, there may also be an audible “click” as the piston guide locks into place, so listen for that click as a good sign that everything is where it should be. Once the piston is lowered all the way, screw the top cap back into place until it is tight.

Step 6: Repeat steps 3 to 5 for the rest of the valves.

Step 7: Once all the valves are back in place, work all of the pistons up and down a few times to help spread the oil around. This is also a good time to blow some air through the instrument to make sure everything was put back together correctly — do this once with all the valves open, and then again with all the valves pressed down. If the air feels blocked or restricted, go back to step 5 and re-check each valve to make sure each piston is lined up correctly.

Don’t Make These Mistakes

I’ll confess that when I first started playing a valved instrument, I developed a few bad oiling habits because no one had taught me the proper way to oil valves. The first was dripping oil down the top valve stem without unscrewing the caps. At the time, I didn’t know that there was felt underneath the stem that was absorbing all the oil, so the oil never got where it needed to go.

Putting valve oil down the valve stem, which is something that should not be done. — *Do NOT put oil down the valve stem or through the bottom vent holes.*

The second bad habit was squirting oil through the vent holes in the bottom valve caps. While some oil might have found its way to the proper place, I didn’t realize just how filthy the bottom caps can get since they’re like a lint trap collecting all the dirt and debris that drips down from the pistons. Any oil that did make it onto the piston would have picked up some of that debris and put it right back where you don’t want it.

Unscrewing the caps may seem like a complicated process, but even a beginner can learn to do this with a minimum amount of instruction and practice. My own son started playing trumpet in 6th grade, and he had no problems learning to safely oil his valves by this method. It’s also the best way to guarantee that the oil is getting right onto the sides of the piston where it will do the most good.

Spend a few minutes learning this process and you’ll have fewer stuck valves to worry about!

To Woof or Not to Woof?

Written by Steve La Cerra on March 20, 2020. Posted in Live Sound.

A subwoofer is a speaker that’s designed to reproduce very low “feel” frequencies, usually ranging from 30 Hz up to around 150 Hz. Adding a subwoofer to your existing PA will enable the system to produce lower frequencies, maximizing the impact of instruments such as bass, synths and kick drum, while at the same time increasing overall power and efficiency. If you’re using your PA system primarily for speech, you probably won’t need a subwoofer, but if you’re a DJ or mix for a live band, a sub or two can definitely add some low-end mojo to your gigs.

Adding a Subwoofer to Your System

Full-range loudspeakers are designed to reproduce frequencies down to around 60 Hz or sometimes a bit lower. (The Yamaha DXR12mkII, for example, goes down to 52 Hz.) That works fine for smaller rooms or in situations where the PA system doesn’t have to play music at high volume levels. When you’re ready to work in larger rooms at louder volumes, you can add a subwoofer such as the Yamaha DXS15mkII.

All subwoofers require a power amplifier, but some, like the Yamaha DXS Series, are active, meaning that they have built-in amps that are perfectly matched. (See my Tools of the Trade blog article Deciphering Power Ratings, Part 2: Powered Speakers for more information).

In order to integrate a subwoofer into your PA, you’ll have to make sure your system has a crossover. This is kind of like a traffic director for audio. It routes the lowest frequencies to the subwoofer, and sends frequencies above a certain point (the “crossover point”) to the full-range speakers. In the old days, crossovers were standalone devices that required a lot of work to adjust. Many modern speakers, however — including all Yamaha powered loudspeakers (such as the DXR mkII Series, the DZR / DXS XLF Series, the DSR Series, the DXS Series and the DBR Series — have a built-in crossover. With a complete Yamaha PA system, you’ll be able to easily add a subwoofer because the optimum crossover settings have already been determined.

Connections in Low Places

The interconnections for adding a subwoofer are usually pretty straightforward. Let’s suppose you have a pair of Yamaha DXR12mkII full-range loudspeakers and want to add a DXS subwoofer. As shown in the illustration below, simply connect the main left and right outputs from the mixer to the stereo inputs of the DXS subwoofer, then connect its stereo output jacks to the inputs of the two DXR12mkIIs. (The DXS output jacks can be used to connect full-range speakers or additional DXS subwoofers.)

Illustration showing how to integrate a Yamaha DXS subwoofer with a pair of full-range Yamaha DXR speakers. — *Integrating a DXS subwoofer with a pair of full-range DXR speakers.*

Filter Me

Filtering is an important part of achieving optimum sound when using subwoofers. For example, the DXS12mkII has a rear panel switch labeled “Through/HF Post.” When set to “HF Post,” signals from its output jacks are processed with a high-pass filter (HPF) set at the cutoff frequency shown by the “X-Over” (crossover) switch. In addition, sound produced by the DXS12mkII is processed through a low-pass filter (LPF) to cut the range above the selected frequency. These filters ensure that there’s a smooth transition between the subwoofer and the full-range speaker without any bumps or dips in the frequency response. Since the DXR12mkII has a built-in high-pass filter, it’s easily integrated with subwoofers that do not provide a high-pass filter for the full-range outputs.

The “Through” setting is used when the DXS output is connected to a second DXS subwoofer—something you might want to do when you’re ready to play larger rooms or simply want more bottom end. As shown in the illustration below, the added connection is simple:

Illustration showing how to add a second Yamaha DXS subwoofer to your system — *It’s easy to add a second DXS subwoofer to your system.*

Using high-pass filters on full-range loudspeakers provides a few benefits. For one thing, because they no longer need to reproduce the lowest frequencies, there’s more power available for the range above the crossover point. (Be sure to check the manufacturer’s instructions to see which settings work best for your particular speakers.) This makes your system more efficient and also reduces a type of distortion known as Intermodulation Distortion (“IMD”), which is what happens when very low frequencies interfere with higher frequencies being produced by the same speaker.

Additional Sub Control

Many subwoofers have additional controls that can be used to fine-tune the system response. For example, the DXS15mkII “Level” control adjusts the output level of the subwoofer. Unlike high frequencies, low frequencies spread out in all directions, so you can position a subwoofer pretty much anywhere in the room, but in some cases inverting its polarity (phase) may improve low-frequency response—easily accomplished with the DXS15mkII “Polarity” switch, which sets the polarity of the subwoofer to normal or inverted. Similarly, the “Cardioid” switch can be used to cancel sound emitting from the subwoofer on the stage side and enhance it on the audience side. This depends upon the type and location of the speaker system, so use your ears to choose the setting that produces the best low-end. For more details on DXS15mkII settings, see the DXS Series owner’s manual.

Yamaha DXS15mkII rear panel connectors and controls. — *The DXS15mkII connectors and controls.*

Feeding Your Subs With an Aux

Another way of routing signal to a subwoofer is with the use of a mixer’s aux send. (See my Tools of the Trade blog article Aux Sends and Returns for more information). In this case, the main left and right outputs of the mixer should be connected directly to the inputs of the full-range speakers, with a post-fader aux send connected to the input of the subwoofer(s). Raising the channel fader feeds the signal into the main left and right speakers, and raising the aux send on the channel feeds that channel to the subwoofers.

Diagram showing how a post-fader aux send can be used to feed the input to a subwoofer. — *A post-fader aux send can be used to feed the input to a subwoofer.*

The advantage of feeding subs this way is that signals that are not sent to the aux can never reach the subwoofer. For example, let’s suppose you forget to turn on the high-pass filter for a lead vocal channel. The signal from that microphone can include low-frequency rumble from the stage or handling noise produced when the performer grabs the mic. If those noises reach the subwoofers, the audience will hear thumping, and you’ll be wasting power and reducing the efficiency of the system. Using an aux send prevents this from happening because you’ll dial up the aux send (and hence the subwoofer feed) only on channels such as kick drum, toms, bass guitar and synths — in other words, just those sounds that have (and require) low-frequency content.

IMPORTANT: Be sure to choose a post-fader aux send to feed the subwoofer, so that when you raise or lower the channel fader, the signal sent to the subwoofer changes in proportion to the rest of the system. If the aux send is pre-fader, you might hear low-frequency rumble from a kick drum even when you have the kick drum fader all the way down.

Also be sure to turn on the high-pass filter for the full-range speakers and set the crossover points on the subwoofers and the full-range cabinets as recommended by the manufacturer. This ensures maximum efficiency of the system, as well as a balanced sound.

Adding a subwoofer or two to your PA system increases the power handling, maximizes overall SPL (Sound Pressure Level) and improves clarity in the upper frequency range — all of which means better sound at your gigs. Plus it gives your audience a chest-thumping experience they won’t soon forget!

Check out our other Tools of the Trade postings.

Click here for more information about Yamaha DXS Series powered subwoofers.

Close-up shot of FG-TA TransAcoustic Guitar.

MJ Ultra and the FG-TA TransAcoustic Guitar

Written by Yamaha Corporation of America on March 19, 2020. Posted in Guitar Artists. 1 Comment on MJ Ultra and the FG-TA TransAcoustic Guitar

One of the coolest things about making groundbreaking products is the way they inspire musicians to new levels of performance and songwriting. Take, for example, Yamaha TransAcoustic guitars. These remarkable instruments are able to produce ambient reverb and chorus without the need for any external pedals, effect boxes or amplifiers.

Yes, you read that right: the reverb and chorus literally comes out of the body of the guitar, surrounding you in the air. And if you do want those effects coming through a speaker, no problem: just plug it into your amp or P.A. system, thanks to the guitar’s built-in piezo pickup.

“As a songwriter, you want to get inside every chord,” says MJ Ultra, an LA-based singer/songwriter whose music has been featured in multiple feature films and television shows. Watch his classic reaction when we first put an FG-TA in his hands!

Ready to learn more? Check out these related blog articles:

Discover Yamaha TransAcoustic FG-TA and FS-TA

Nylon TV on TA

“Breaking Amish” With My Yamaha FG-TA

How to Record TransAcoustic Guitar Effects

Click here for more information about the Yamaha FG-TA TransAcoustic guitar.

Are Expensive Speaker Cables Worth It?

Written by Joy Frye on March 18, 2020. Posted in TV & Movies. 1 Comment on Are Expensive Speaker Cables Worth It?

Just like the Mac^® versus PC controversy, or who the greatest NBA™/NFL™/MLB™ player of all time is, the question of whether expensive speaker cables are worth it often sparks a passionate debate. And like most great debates, there is no one simple answer.

Among the audio faithful, there is a wide gap between those who believe a $3/foot bulk cable is just as good as a high-end cable that costs $100/foot and those who wouldn’t dream of using a cable that only costs $3/foot in a system that costs $50,000. Who is right? In this article, we’ll make the case that the answer is more of a spectrum between those two end points than a definite point in-between.

Audio vs. Power

To help understand why a seemingly simple question like this is so controversial, consider that transmitting audio is much more complicated than transmitting, say, power. For example, a power cord just has to get one frequency of signal — 60 Hz — from the wall outlet to your coffee maker. The challenge with transmitting music is getting 10 octaves of frequencies to all arrive at the destination at the same time and at the proper level.

The Basics

Let’s start with some basic objective factors for evaluating how well a speaker cable does its job, which is carrying an electrical signal from an amplifier or receiver to the speakers that convert the signal to sound.

– Resistance. This is the most important characteristic. It’s a measure of how easily current flows through the cable, expressed in ohms, represented by the Greek letter omega: Ω. Fewer ohms, or fractions of ohms, means lower resistance (i.e., current flows more easily from the amp to the speaker).

– Gauge. The thickness of the cable, measured in American Wire Gauge (AWG). The smaller the gauge, the thicker the cable, with thicker cables having less resistance. Common sizes include: 16 AWG, 14 AWG and 12 AWG.

– Length. Longer cables create more resistance, so the distance from your amplifier to your speakers is an important factor in deciding what cables to use. Follow this rule of thumb: for longer distances, use thicker cable (smaller AWG).

Electrical Aspects

Beyond the basics, there are electrical aspects to consider, such as:

– Speaker impedance. The resistance of the speaker to the current from an amplifier is referred to as the load a speaker places on an amp, measured in ohms. Impedance determines how much current the amp can provide to the speakers, but, unlike resistance, impedance changes with frequency. In reproducing voice and music, an amplifier produces many different frequencies, so a speaker’s impedance is different at every frequency. To simplify this phenomenon, manufacturers list the nominal impedance of their speakers — for example, 4 Ω or 8 Ω. This is the value used in calculating the maximum run of speaker cable that can maintain resistance within the recommended limit (generally less than 5% of the speaker’s impedance).

– Inductance and capacitance. These are related to resistance, but they are frequency-dependent. For example, higher frequencies can pass through a capacitor more easily than lower frequencies. Likewise, lower frequencies can pass through an inductor more easily than higher frequencies. Cables inherently have a little inductance and capacitance, but since the ultimate goal is to have all frequencies arrive at the speaker at the same time, more expensive cables go the extra mile and take these factors into account.

– Conductor material. The purer the conductor, the more it costs. Copper is commonly used because of its low resistance and low cost. Silver has an even lower resistance, but is considerably more expensive. Manufacturers offer different price points by using different kinds of copper and silver, including oxygen-free copper, pure bare copper, tinned copper, silver-plated copper and various percentages of silver.

– Terminations. The material and type of connector used on the end of the speaker cable also affects the sound, but we’re going to keep this discussion to just the cable itself. For more information on terminations, see our previous posts on installing banana plugs and speaker cable.

In terms of the factors above, there are many reasonably priced options available, including the Monoprice 2747 12-gauge speaker cable chosen by Wirecutter as the Best Speaker Cable in 2019.

Snake Oil?

The main problem that expensive cables try to address is timing. And here’s where angry mobs start reaching for their pitchforks and torches, with terms like “snake oil” tossed around.

The science is this: Low frequencies travel straight down the middle of a conductor, while high frequencies tend to travel on the outside of the conductor. This behavior, which is known as skin effect, can cause low and high frequencies to arrive at the speaker at slightly different times. It’s a phenomenon that dulls the dynamics of the music and adversely affects the soundstage and imaging.

Expensive cables use many strategies to get all frequencies to arrive at the speaker at the same time and at the proper level, including:

– Dielectrics. A dielectric is insulation that keeps current from flowing between the conductors. In speaker cables, a dielectric is used to separate the positive and negative conductors. Dielectrics can be made of vinyl, Teflon™, polypropylene or even air. Different dielectrics are chosen for their flexibility and electrical characteristics.

– Conductor geometry. There’s more going on inside that cable than you think. Aside from what the conductors are made of, the way they’re arranged within the jacket (sometimes referred to as the “outer cover”) affects the performance of the cable. Two conductors arranged in parallel have higher inductance than a pair of conductors twisted together, which will have a higher capacitance. Expensive cables use different numbers of conductors in different arrangements to minimize factors that can negatively impact the sound, such as inductance and capacitance.

– Aesthetics. Even though most people think speaker cable should be heard and not seen, others think every piece of their setup should be a work of art, including the not-so-humble cables. If you want to step up from a white PVC jacket, you’ll find PVC in different colors, striped PVC and even braided jackets, topped off with connectors as shiny as candy apples.

Let Your Ears Be Your Guide

Audio pundits can spout facts and figures, but as the old saying goes, the proof of the pudding is in the eating. As with everything audio, the ultimate determinant of whether a product is subjectively “good” or “bad” is your ears. And the corollary to deciding whether a cable sounds good is deciding whether the price is worth it. If you are happy with a $3/foot cable and think it sounds great with your system, then your search is over.

On the other hand, if you are spending thousands of dollars on your components, taking the time to place your speakers precisely, and consider yourself an audiophile, you may appreciate the subtle differences that some expensive cables produce. In fact, the differences may not be subtle to you at all.

The bottom line is this: Wherever your speaker cables land on the spectrum between low-end and high-end, the important thing is that they sound good in your system to your ears. Follow that dictum and you’re bound to be satisfied with your speaker cables, whatever the cost.

Photograph courtesy of AudioQuest^®.

6 Steps to Get Funds that Support ESSA’s “Well-Rounded Education”

Written by Marcia Neel on March 16, 2020. Posted in Funding.

With the passage in December 2015 of the Every Student Succeeds Act (ESSA), also known as the Elementary and Secondary Education Act, music was named as part of a “well-rounded education.”

A “well-rounded education” is defined in the law as “courses, activities and programming in subjects such as English, reading or language arts, writing science, technology, engineering, mathematics, foreign languages, civics and government, economics, arts, history, geography, computer science, music, career and technical education, health, physical education, and any other subject, as determined by the State or local education agency, with the purpose of providing all students access to an enriched curriculum and education experience.” (ESSA, Title VIII, Section 8002)

Each time the term “well-rounded education” is referenced in the law — over 20 times! — it reinforces the fact that music, as well as all of the other subjects listed, is essential.

What does this mean for music education? One of the most significant outcomes is that districts can now assess their ability to provide a well-rounded education, including music, and address any deficiencies using federal funds. Another plus for music educators is that federal dollars may be used to provide professional development to help support a well-rounded education.

In December 2019, ESSA received additional funds and among those categories that saw an increase are Title II-A, which will now receive $2.1 billion to support Effective Instruction grants, and Title IV-A, which will now receive $1.2 billion for Student Support and Academic Enrichment (SSAE) grants.

The SSAE funds are granted from the federal government to the states, which then re-grant them to districts through a grant application process. It is extremely important that educators, parents and school officials learn as much as they can about these resources and how to apply for them.

Here are a few steps to help educators get started.

Step 1: Learn about ESSA

One of the best places to get relevant information is through the “Everything ESSA” section of the National Association for Music Education (NAfME) website. The material provided is well-written and easy to understand.

Step 2: Do Some Homework

Identify what types of SSAE grants have been awarded in past years (or enlist the help of a parent to do this). These are public funds, so the information can be accessed by calling the federal grants department at your state’s department of education. It might help to know if other districts in your state are receiving SSAE support. States may not be able to provide specific information on how the grants will be used at the district level, but once you find out which districts received funding, you can contact that district’s federal grants department for details.

Step 3: Set up Key Meetings

Once you have some understanding of what is in the law and how past grants have been awarded, meet with your principal or supervisor and ask about their knowledge of these resources. Remember, grant funding provides support for the entire school, so you will be considered a hero for bringing great information to your school leaders. If they are not aware, determine who in your district is responsible for writing federal grants then ask to meet with them for additional information and guidance. There are more than 13,500 school districts in the United States, and the vast majority of them has someone on staff whose job is to apply for federal grants. States may have varying application processes, and your federal grants staff person will be able to provide detailed information. It literally pays to find out all you can about the application process because some covered expenditures could include salaries, purchased services, instructional supplies and materials, professional and technical services, and instructional and non-instructional equipment.

Step 4: Perform a Needs Assessment

Meet with your music education colleagues and figure out what is lacking in your music program and what can be done so more students can be provided with access to music? NAfME provides a comprehensive resource to help with this process. The “Opportunity to Learn Standards” document provides recommendations for curriculum and scheduling, staffing, materials and equipment, and facilities.

Step 5: Provide a Well-Thought-Out Proposal

Use the guidelines provided by the grants professional in your district and put together a detailed proposal.

Step 6: Be Patient and Stay Positive

Wait for a response from your state but don’t be discouraged if funds are not awarded on the first try. These are annual grants so applications can be resubmitted in subsequent years. Do, however, follow-up to see how to better organize your application for the next round.

This is our time. Music education has never been in a better place to determine its own future. But it is up to us. Former Speaker of the House Tip O’Neill said, “All politics is local.” His quote accurately describes what lies ahead. So, familiarize yourself with the details of ESSA, meet with your music department to come up with a game plan and make that appointment with your principal.

This article first appeared in the Music for All National Festival program.

Yamaha is an active advocate for music education, and we want to empower music educators to strengthen their programs in any way we can. Please register for the Yamaha Educator newsletter to read up on advocacy, professional development, information about instruments, resources, partnerships in education and more. Join the Yamaha Music Educator Community on Facebook or email us at educators@yamaha.com.

Top photo by chrupka/Shutterstock.com

What’s the Difference Between 4K Ultra HD, 8K UHD and HDR10+?

Written by Mike Levine on March 13, 2020. Posted in TV & Movies. 1 Comment on What’s the Difference Between 4K Ultra HD, 8K UHD and HDR10+?

Today’s televisions offer screen sizes and picture quality that greatly surpass that of previous generations. But figuring out what model to buy can be confusing, thanks to an alphabet soup of technologies. In this article, we’ll demystify some of the key terms to better inform your buying decision.

It All Started With HD

Just ten years ago, 1080P (the “P” stands for “progressive scan”) was the industry standard. This format was also known as “Full HD,” with “HD” standing for “High Definition.” (Older TVs offer only “SD” — short for “Standard Definition.”) Then came 4K UHD (“Ultra” HD), which until recently was the highest video resolution available. Now the shiny new format is 8K Ultra HD. Currently, you can buy 8K models in screen sizes ranging from 55″ to a whopping 98″. Some manufacturers are planning to release even larger models in the near future.

But before you rush out to buy an 8K set, you may want to wait for the content and supporting gear to catch up. Before I explain why, let’s quickly review how we define picture quality in TVs.

A Matter of Dots

A tiny dot called a pixel is the key to understanding TV (and computer) screen image quality. The images you see are composed of thousands or sometimes millions of pixels, depending on the format of the TV you’re watching on. The more pixels in an image, the more detail it can show. For example, the picture in a 1080P TV is comprised of 1920 x 1080 pixels. (The first number represents the horizontal plane and the second, the vertical.)

The 4K UHD standard consists of 3840 x 2160 pixels (over 8,000,000 pixels in total), which is almost four times the number of pixels of 1080P. The new 8K standard for TV is double that: 7680 × 4320 (over 33,000,000 pixels in total).

Besides the total number of pixels, a critical spec is the pixel density, which is expressed in pixels per inch (PPI). It measures the number of pixels in a square inch of a TV (or computer) screen — the higher the PPI, the better the image quality. The abundance of pixels in 8K Ultra HD is what makes it possible to support large screen sizes.

8K Ultra HD, 4K UHD, Full HD and HD resolution comparison. — *The more pixels available, the larger the screen size can be.*

In Contrast

As if the terminology of TV formats wasn’t confusing enough, many 4K and 8K TVs also support HDR (High Dynamic Range), which is a technology that’s independent of the pixel dimensions. HDR was designed to improve both the contrast and the color on your TV. For example, a TV with HDR will let you see more detail in a nighttime scene, where the screen is dark.

You can also find TVs that offer an enhanced version called HDR10+, which delivers four times as much brightness as standard HDR. You’ll soon be seeing more and more TVs with HDR10+, and it seems likely that many new 8K TVs will include it.

Pixels In, Pixels Out

When I said earlier that you might want to wait for the content to catch up before purchasing an 8K TV, that’s because you can only reap the format’s full benefits if you’re watching programming that’s streaming in 8K. As of this writing, that doesn’t exist outside of Japan.

In the U.S., you can get plenty of 4K streamed content, and you can watch Blu-ray Discs™ in 4K if you’re using a 4K Ultra Blu-ray player … but no 8K as of yet. Even if it were available, it requires so much data to stream that you would need a super-high-speed internet connection, possibly more than your current ISP offers.

Screenshot of Amazon Prime streaming service. — *4K content is available on many streaming services, but no 8K as of yet.*

Fortunately, while you wait for the advent of 8K content and possibly faster internet service, you can watch 4K or even 1080P content on an 8K TV. What makes it possible is a technology called “upscaling.” An upscaling processor uses a process called interpolation (i.e., using known data points to fill in pixel gaps) to generate additional pixels and make the signal compatible. You won’t get the same quality as with native content, but it will still look sharp.

Some advanced AVRs (AV receivers), such as the Yamaha RX-V6A and RX-V4A, also contain similar kinds of processors, enabling them to upscale lower-resolution content to 4K for display on a 4K or 8K TV.

A Yamaha RX-V6A AV receiver. — *Yamaha RX-V6A.*

Yamaha AV receivers also provide plenty of sonic benefits. They can enhance the audio in your home theater by amplifying it and distributing it to your surround sound speakers. These receivers also make a powerful hub for your Hi-Fi system, offering inputs for turntables and other external sound sources; they can also receive internet-based audio such as Spotify^® or Apple Music^®, as well as terrestrial radio. In addition, they can serve as the control center for a complete streaming MusicCast system, which is the Yamaha multi-room wireless speaker technology.

Are You Ready to Upgrade to 8K?

It seems pretty clear that 8K Ultra HD is going to be around for a long time (as TV formats go), and as more sets hit the market, native 8K content will become available. When that happens, you’ll be able to enjoy even sharper picture quality and more detail than you get from 4K UHD.

If you currently own a 4K TV, you might not want to ditch it for an 8K model just yet. If you wait a year or two, not only will the content catch up, but the prices of 8K sets will likely come down.

It’s a different story if you’re ready to upgrade from your 1080P TV, particularly if you’re looking to go up significantly in screen size. Even in that case, there’s a good argument to be made for skipping 4K altogether and buying an 8K set. That way, you’re future-proofed — at least for a while — and you can still enjoy all the 4K content that’s currently available.

One last thing: Believe it or not, 16K technology is here as well, although it’s not a consumer format … yet. It’s currently used for commercial applications where huge screens or multi-monitor setups that distribute the pixels across the various screens are required. But with the burgeoning popularity of immersive technology, it’s likely that someday you’ll have a massive 16K TV in your living room.

Click here for more information about Yamaha AV receivers.

Get More from Your EAD10 with v2.0 Firmware

Written by Steve La Cerra on March 12, 2020. Posted in Electronic Drums.

The Yamaha EAD10 is an incredibly versatile device that can transform your acoustic drum set into a hybrid acoustic-electronic drum kit, making it a great tool for practice as well as performance.

It consists of two components: a sensor unit and a main module unit. The sensor is meant to be mounted on your bass drum hoop; its built-in stereo microphone is specially designed to pick up the sound of an entire acoustic drum set, allowing you to quickly record your acoustic drums (or send their sound to a P.A. system during live performance) and monitor them with full control over the volume in your headphones.

Small, black drum sensor unit. — *The EAD10 sensor unit.*

The main module provides hundreds of PCM sound sources and dozens of high-quality effects, along with a high-performance headphone amplifier that delivers the volume necessary when playing an acoustic drum set. It offers a series of large knobs that can easily be adjusted mid-performance, so that main control functions like volume and preset scene can be accessed easily, as well as LED indicators that enable quick and intuitive adjustment on even the darkest of stages.

Rectangular acoustic electronic drum module. — *The EAD10 main module.*

When integrated with the Yamaha Rec’n’Share app (available for both Apple^® iOS and Android™ devices), the functionality of the EAD10 is further enhanced. This powerhouse combination allows you to record audio and video while playing along with your favorite music, and to then upload the files to social media. Simply pick a song from your music library, and the app’s tempo detection lets you add a click, change the tempo and select sections to repeat for practice made perfect — you can even edit recorded audio.

Recently, Yamaha released free Version 2 firmware for the EAD10 that provides additional creative and educational tools that can help students with self-evaluation and when working with an instructor. In this article, we’ll show you how to upgrade to Version 2 and discuss the many new capabilities it adds.

Installation

Installing the V2 firmware into your EAD10 is simple and easy. Here’s a video that takes you through the process step by step:

Let’s take a closer look at each of the new features described in the video.

Talkback

The EAD10 main module provides a dedicated microphone button, located directly below the power on-off switch and to the right of the MENU button:

Microphone button on acoustic electronic drum module. — *The EAD10 microphone button.*

The new Talkback function added by the V2 upgrade enables easy communication between instructors and students without the need for extra microphones or speakers — even while wearing headphones.

Here’s how it works: During initial setup of the EAD10, the gain of the internal microphones in the sensor unit is set to capture loud sounds (i.e., the sound of the drums). For that reason, when you stop playing and start speaking, it may be difficult to hear yourself through the microphones because your voice is not nearly as loud as drums are. The new Talkback feature instantly changes the mic gain to a level that makes your voice easy to hear, and when recording using the Rec’n’Share app, it also enables you to hear your voice on video when you stop playing. Turning off Talkback returns the mic gain to its original setting.

There are several ways to control Talkback. It can be turned on or off by double-tapping the Microphone button, or you can use a foot switch (such as the Yamaha FC5 or KU100 kick unit) connected to the rear panel of the main module. A third option is using the EAD10 Pad Function to control Talkback using a trigger input, in which case striking a specific drum pad turns Talkback on and off.

Yamaha FC5 foot switch.

Yamaha KU100 kick unit.

Click Output Assignment

Being able to work with a click track is an important skill for any drummer. EAD10 Version 2 firmware provides several options for routing the click, so you can hear it in live performance, as well as while recording. Assigning the click to PHONES sends the click to the headphone jack only. Assigning the click to L&R + PHONES routes the click to the headphone jack as well as the main left/right outputs. Setting the click output to ALL routes the click to the main left/right outputs, the headphone jack and the USB audio output that is sent to the Rec’n’Share app.

Since the click is the tempo guide, being able to hear it clearly creates a solid audio reference for your groove. The Click Output Assignment feature makes it easy for you to ascertain whether your performance is in sync with the click, or if you’re ahead of, or behind the beat — vital for improving your drumming skills.

Noise Gate

If you’re recording in a noisy environment, the Microphone Noise Gate feature added by the EAD10 V2 firmware can be used to filter out background noise. It’s accessed by pressing UTILITY > GENERAL, then scrolling down to MIC NOISE GATE. To set the gate, first adjust the threshold all the way down to -90 dB, then turn it on. You won’t hear any difference yet because the threshold is all the way down, and so the gate will open in response to even very soft sounds. Listen to the background noise while slowly raising the threshold. When you hear the background noise disappear, stop. This sets a threshold that ensures the background noise will be filtered out, but your drums will still come through loud and clear. The Release adjustment permits the gate to close smoothly so you don’t hear any choppiness, such as the decay of cymbals getting cut off.

This is a great way to prevent background stage noise or audience chatter from sneaking into your performance between songs. It’s also useful in situations where you need to filter out environmental sounds like the whoosh coming from an air conditioner. You may not hear those kinds of noises when the drums are being played, but you’ll certainly hear them when the drums stop!

Low-Volume Drum Sets

The Version 2 firmware also provides support for an optional data file that includes 42 new Scene presets designed for consistent, accurate triggering from mesh heads. They allow you to construct an incredibly realistic, low-volume practice or performance drum set, while preserving all the other functions of the EAD10. (Here’s a video that shows you how to load these presets into your EAD10.)

Close-up shot of the Yamaha DT-50S drum trigger. — *Yamaha DT-50S drum trigger.*

To use these scenes, you’ll need to connect a set of triggers, such as the Yamaha DT-50S (designed for use with snare drum, rack tom and floor tom) and/or DT-50K (designed for use with kick drum) to the mesh heads and to the EAD10’s rear panel trigger inputs.

To ensure reliable triggering, set the tension of each mesh head high — if it’s too loose, false triggers can occur. Don’t use a felt beater on a mesh bass drum head because felt will shorten the life of the head considerably. Instead, use a plastic beater or place a bass drum patch on the head.

Extended Recording Time

Last but not least, the Version 2 upgrade extends your recording time to 90 minutes when using a USB flash drive, allowing you to record an entire set, rehearsal or lesson for review and evaluation.

All in all, the V2 firmware upgrade adds a wealth of useful features to your EAD10, and at no cost whatsoever. That’s what I call a real bargain!

Click here for more information about the Yamaha EAD10.

Click here for more information about the Yamaha Rec’n’Share app.

Silhouette of a man playing guitar in front of a beautiful sunset.

Power Practice

Written by Robbie Calvo on March 11, 2020. Posted in Electric Guitars.

My 2020 got off to a flying start with a gig on New Year’s Eve. The very next day, I was recording tracks in preparation for the NAMM^® show, where I’d be representing Yamaha Guitars.

Nothing motivates me to achieve a goal more than a deadline. If a deadline doesn’t exist, I create one for myself. In this instance, it was easy since I knew that when I got home from the show in California, I’d be finishing out my studio so that I could start filming a new guitar course for release this spring. I’d already bought all the audio/visual/lighting gear that I needed and figured out how to use it all by reading the manuals and watching YouTube™ videos. (Yes, sometimes it helps to read the manuals!)

I’d scheduled a week to build three barn doors and hang them for the studio backdrop:

Yamaha Revstar guitar resting on leather couch in living room set.

The guitar in this photograph, by the way, is a Yamaha Revstar 502TFM with P90 pickups, a mahogany body and a gorgeous Vintage Japanese Denim finish on flame maple. It sounds great and looks great too!

I figured I’d then take a day to set up cameras, film lighting tests and record audio demos to make sure that guitars, backing tracks and microphones were balanced without clipping the input signals. Once those tasks were complete, I could start crafting the new course. But, needless to say, I couldn’t film content without planning for it first. To that end, I’d already visualized the concept, written a course outline, recorded the tracks, rendered chord/scale diagrams and completed a Mind Map of the workflow — more about this shortly.

In addition, setting a realistic goal for each day of filming would prove invaluable because I also wanted to edit and master each session before filming the next series of lessons. (Editing each day allows you to check that there are no glitches in the system before investing more time in the next session.)

In a similar way, I also apply a solid work ethic to my practice time and have formulated a series of approaches to achieving consistent progress and positive results. In this edition of the Calvo Report, I thought I’d share with you a few ideas on how to maximize your practice sessions and keep you moving steadily towards your musical goals.

Decide on a Big Picture

The first thing to do is take a moment to decide on a “big picture” goal. This could be as simple as learning a new song or as grand as touring the world with your dream band. Once you have a target desire, place a deadline on achieving that goal — for example, one week to learn the song and two years until the start of the tour.

Create a Mind Map

The next step is to create a mind map — a powerful tool I discussed in a previous blog posting. I like the visual aspect of mind maps because they incorporate color, shape and purpose. You can add sub-topics to your central theme (big picture) and designate the steps you need to take, in order of importance, to achieve your goals.

For example, suppose your goal is to become proficient improvising over an A7 chord using a dominant 7th arpeggio. Here’s what a mind map of that might look like:

Mind map diagram of learning A7 arpeggio.

Let’s look at each of these intermediate steps in greater detail:

1. Set your intention. Take a moment to set your intention for the task at hand.

2. Set time frame. Designate a length of time for each practice session and stick to it.

3. Visualize the chord. Visualize and name the notes of an A7 chord located at the 5th fret on a guitar.

4. Visualize the arpeggio. Find a fingerboard diagram of an A7 arpeggio shape located at the 5th fret. Visualize the arpeggio shape on the fretboard, and then “see” (in your mind) each finger playing each of the notes. Visualize this sequence of notes five times ascending and five times descending.

5. Pick up your guitar and play an A7 chord, name each note in the chord, and then apply the arpeggio shape to the fretboard without referencing the diagram. Finally, name the notes in the arpeggio. The quicker you get the information you’re learning “off the page” into your mind, the better. Visualization will help you achieve that.

6. Play a simple lick using the arpeggio tones, and then reference the chord immediately afterwards. This will help you associate the arpeggio with the chord and solidify the sound of each tonality.

At the end of your focused 15-minute practice session, you’ll have achieved one of your goals. Keep adding goals to your list until you accomplish the designated “big picture.”

The Video

Here’s an interview filmed last November in Nashville with guitar instructor Erich Andreas. The topic was “How to Practice with Intention,” although we actually went quite a bit deeper than that. I think you’ll enjoy watching it.

The Wrap-Up

Your mind is your most powerful asset. When we set our intention towards a specific goal and designate a series of smaller stepping-stones as a pathway towards that goal within a definitive timeframe, there’s almost nothing we can’t achieve. Give it a try!

Photograph courtesy of the author.

Check out Robbie’s other postings.

Click here for more information about Yamaha Revstar guitars.

Making the Bluetooth^® Connection

Written by Yamaha Corporation of America on March 10, 2020. Posted in Live Sound.

Part 1 of this series presented an overview of the mixer functions and interconnection options offered by the Yamaha STAGEPAS 1K PA system. In this installment, Yamaha product manager John Schauer explains how to pair your Apple^® or Android™ device via Bluetooth so you can wirelessly stream audio to the system and access the mixer from your smart device — critical features for the self-contained artist wanting to be able to control all aspects of their performance from the stage:

In the video below, John shows you how to use the STAGEPAS Editor app for complete control over all mixer settings, including summaries of each screen and tips for setting adequate headroom:

Check out Part 3: Fast Setups

Click here for more information about the Yamaha STAGEPAS 1K.

Scales of justice with emoticon on wood floor with chalkboard background.

The Pleasure / Pain Principle

Written by Shelly Peiken on March 9, 2020. Posted in Creativity.

In a recent blog, I relayed a story about a producer who told me he hoped I would always be sad because I wrote great songs when I was depressed. He was speaking of one particular song he had worked on — the very first piece I got recorded.

Needless to say, I was an impressionable young writer at the time. What was I to make of that comment? Not that I disagreed that my sad song was a winner, but I wondered for quite some time if I was destined to spend my creative life on the dark side in order to stay on my game.

That was a long time ago. Looking back with what I know now, I realize that the producer’s wish was just one man’s opinion. In fact, my two most commercially successful songs were written from a place of joy, about how happy and empowered I felt. Nothing depressing about that.

Still, the idea that a composer can go inward and extract greatness from a particular emotion had me musing. Are songwriters most productive when they’re zombie-like from a breakup or under the spell of falling madly in love?

We’re all well aware that having the blues is a powerful precursor for making art. There are plenty of songs to prove it. (For example, “Layla” by Eric Clapton — a lament of unrequited love for his best friend George Harrison’s then-wife Pattie.)

But what about cheer?

Consider Pharrell Williams’ “Happy.” Bobby McFerrin’s “Don’t Worry Be Happy.” Or Katrina and the Waves’ “Walking on Sunshine.”

You get the picture — all equally expressive and effectively executed.

In her article “You Don’t Have to be Tortured to Be an Artist,” author Caroline Beaton writes about Elizabeth (Eat Pray Love) Gilbert, who explains that “famous artists … glorified the idea that pain must precede creativity […] Marvin Gaye said that “Great artists suffer for the people” and Norma Maylor wrote, “Every one of my books has killed me a little more.” But … “she doesn’t buy the romantic idea that you have to kill yourself, or at least want to, to create great art.”

Adds Harvard researcher Teresa Amabile in an article on the Creativity At Work website, “There’s this widespread notion that fear and sadness somehow spur creativity. There’s even some psychological literature suggesting that the incidence of depression is higher in creative writers and artists.

“But,” she continues, “we don’t see it in the population that we studied” — 280 creative people working in various industries. Instead, she found that they “are happiest when they come up with a creative idea, but they’re more likely to have a breakthrough if they were happy the day before.” (Italics mine.)

Even when experiencing negative emotions, we’re most productive when there’s a “high clarity of feeling” — an awareness of one’s own emotions. I can offer anecdotal proof of that since I didn’t actually write that sad song (the one the producer was so enamored of) when I was in the throes of a break-up. I actually wrote it in retrospect, after I had some time to think long and hard about exactly what transpired, and why. I had survived and lived to tell the tale. I had already come out of the dark.

Eric Clapton notwithstanding, creative inspiration doesn’t always come from unrequited love. In fact, we can take romantic love off the menu entirely when looking to tap into our emotional well for inspiration. Consider the classic “Wonderful World,” in which Bob Thiele and George David Weiss remind us of the beauty all around us, or Jule Styne and Bob Merrill’s “People,” a song about humans needing each other. Listening to these songs, you believe the authors weren’t making it up as they went along but were passionately engaged in their topic. So maybe that’s it!

Music written from a “beige” state of mind will most always result in a beige song. So to answer the question at hand: Which emotion is the more provocative of the two — pleasure or pain? I’d say neither. Or both. Or all of the above. It’s not about whether we’re happy or sad, but how acutely and intensely we feel what we feel. I believe a composer’s best work will simply be the result of whatever it is they care most deeply about.

One day I hope to get a chance to explain this to that producer.

Check out Shelly’s other postings.

Cincinnati Symphony Orchestra (CSO) performing “Rhapsody in Blue.”

Gershwin in Cincinnati

Written by Mike Levine on March 6, 2020. Posted in Piano Artists.

Just a few years ago, the Cincinnati Symphony Orchestra (CSO) performed “Rhapsody in Blue,” featuring its composer, George Gershwin on piano … despite the fact that Gershwin had been dead for 82 years.

This is no ghost story. Rather, it’s a tale of technology.

American composer George Gershwin sitting at a piano, smoking a cigar and writing on sheet music. — *George Gershwin in 1929.*

Gershwin’s piano part had actually been recorded in 1924 on piano rolls for the then-popular Duo-Art reproducing piano. In 2013, his performance was converted to MIDI data, and at the CSO concert, it was played by a modern state-of-the-art Yamaha Disklavier reproducing piano.

It sounds relatively simple, but in fact it was extremely challenging and labor-intensive to reproduce Gershwin’s part accurately and to make it possible for the conductor, Louis Langrée, and the orchestra to follow along with it. Here’s the story behind this groundbreaking performance.

On a Roll

When the Cincinnati concerts were in the planning stage, CSO production manager Alex Magg needed to find someone to handle the demanding technical challenges of the project. He reached out to Australian pianist and electronic engineer Peter Phillips, a leading expert on working with piano rolls and reproducing pianos, and someone with considerable experience combining replicated piano performances with live orchestras.

Another advantage to having Phillips on board was that he had already done the painstaking work of translating the original “Rhapsody in Blue” piano rolls to MIDI (the modern digital data format), using a “roll reader” device he had built by hand. The digitized results had previously been employed for a couple of other Gershwin-with-orchestra projects, one at Stanford University — which housed the original Gershwin piano rolls — and the other with the Sydney Symphony Orchestra.

Large, homebuilt “roll reader” device connected to laptop computer. — *Peter Phillips’ homebuilt roll reader.*

Phillips was ably assisted by another highly-skilled pianist and technologist, Stella Sick, who is also a consultant for Yamaha. Sick is a recognized expert in historic performance preservation and engineering, so she was particularly well-suited for the CSO project.

Peter Phillips, Louis Langrée and Stella Sick posing for a self-portrait photograph. — *(L-R) Peter Phillips, Louis Langrée and Stella Sick.*

Getting Started

One of the problems Phillips had encountered when overseeing previous “Rhapsody in Blue” performances was the way that Gershwin, who recorded it to the rolls as a solo piano piece, played it.

“Gershwin’s playing was quite free in some parts, with unexpected tempo changes,” he explains. “[But] because Gershwin was not constrained in his playing when making the roll recording, the solo accompaniment parts were often too wayward for an orchestra.”

Noting the problems that he had with keeping the orchestra in time during their presentation of “Rhapsody In Blue,” the conductor of the Sydney concerts, Guy Noble, suggested that Phillips create a “click” track (a metronome track used as a time reference) on his computer based on the tempos in Gershwin’s performance. That way, a conductor could listen on headphones during the concert to keep time with Gershwin’s piano.

“He [Noble] suggested the click track cover the entire performance, which would mean there would be no stopping and starting,” Phillips recalls. “I [felt] that this could lead to a loss of synchronism, and it was agreed to have three breaks. So began months of work to achieve this, with the aim of having the file ready should the Sydney Symphony Orchestra decide to take it on again.”

On to Cincinnati

As it turned out, the planned Cincinnati concerts presented the next opportunity. Phillips did correspond in advance with CSO conductor Langrée, but his first chance to rehearse with the orchestra (with Stella Sick sitting beside him to operate the computer) wasn’t until January 17, 2020, the day before the first performance.

Phillips had saved the three sections of click track — with their cues and the MIDI data to drive the Disklavier — as three separate files. One of Sick’s responsibilities on the project was to trigger those files to start at the correct times.

“Everything was cued up,” Sick remembers. “I just had to start one [file], and depending on how long the section was, I would key onto the next one and be ready for it while watching the orchestra.”

Phillips connected the MIDI output of the computer to the MIDI input of the Disklavier, and during playback all the keys and pedals moved just as they would have if Gershwin had been sitting there playing it himself — one of the instrument’s most astonishing features. Although Sick had plenty of prior experience with Disklaviers, she was still impressed with how well it reproduced Gershwin’s playing. “For the lack of a better term, it was like there was a ghost sitting there,” she says.

Run-Through

Despite the sophistication of the setup, the first run-through was anything but a success. “Shambolic” is how Phillips describes it. The synchronization between the virtual Gershwin and the real orchestra was far from perfect. Some of the problems occurred because Langrée had trouble hearing the click, which Phillips subsequently raised in volume.

“A conference was called, and we gathered in the conductor’s office to discuss [the issues],” Phillips recalls. “I had brought with me enough gear to revise the files, and we decided to break the file into ten parts, not three. [We also added] more verbal cues.”

At the next rehearsal, which was held the afternoon of the first performance, the results were markedly improved. “By dividing the file into sections that were logical and manageable,” says Sick, “We were able to give orchestra time to play things the way they were supposed to be played. They were not locked into the timing that “Gershwin” was dictating.”

Still, the desire for perfection resulted in Phillips and Langrée deciding to increase the number of separate files yet again, finally ending up with 12 different sections of click track. Amazingly, Phillips accomplished this additional bifurcation between the end of the rehearsal and the curtain going up just hours later.

The Curtain Goes Up

Conductor listening to Yamaha Disklavier as it reproduces Gershwin’s piano part. — *Conductor Louis Langrée and the CSO listen to the “ghost” of Gershwin playing the Yamaha Disklavier.*

To the great relief of all involved, the initial performance was well-received. There were still a few glitches with synchronizing the piano and orchestra, but nothing so glaring that the audience would have noticed.

The second and final concert was presented the next day, and it went even better. “It finally came together, and this time we heard the orchestra and piano in full synchronism,” Phillips says. “While this was a huge amount of work, coupled with time constraints and inherent stress, hearing the audience react to Gershwin play his Rhapsody along with such an orchestra made it all worthwhile.”

Sick sums the experience up this way: “One of my friends — a wonderful pianist and a teacher — has said that once we stop focusing on the technology itself and instead talk about and enjoy the fruits of what it allows us to do, the technology has succeeded. That is exactly what happened in Cincinnati. Yes, of course, Peter and I focused on the technical details of making the performance successful, but the audience got to hear the real Gershwin, and the orchestra got to play with the real Gershwin.”

“I think there is a possibility it will happen again,” adds Phillips. If the results are anything like what the CSO achieved, one can only hope his prediction comes true.

Photograph of George Gershwin by Edward Steichen/Condé Nast via Getty Images. All other photographs courtesy of the Cincinnati Symphony Orchestra and courtesy of Peter Phillips.

Click here for more information about the Yamaha Disklavier.

Getting Great Vocal Tracks, Part 2: Comping

Written by Mike Levine on March 4, 2020. Posted in Recording.

In Part 1 of this two-part series, we looked at the gear requirements as well as mic placement and production techniques for recording vocal tracks. In this article, we’ll focus on something known as comping — that is, combining the best of multiple takes to create a composite “master” vocal track:

Screenshot of Steinberg Cubase software showing various vocal tracks comped. — *Comping lets you assemble the best parts from multiple takes.*

Every DAW has its specific comping features. We’ll be giving examples from Steinberg Cubase, but most are similar. They’re all designed to allow you to audition different takes and select the parts you want to use in your comped uber-take.

Get Recording

Before we get into the specifics of comping, it’s instructive to look at various ways you can record multiple takes of a singer. One way is to use your DAW’s loop recording feature, which, in Cubase, is called Cycle Recording.

It works like this: You set up a loop range, whether it’s one word, one phrase, one verse or one song — whatever length you want. Then, when you put the track into record, the DAW will continuously loop back to the beginning of the range and capture another take until you hit the stop button. The key here is that all the previous takes are saved as layers underneath. Cubase refers to each of these nested takes as “Lanes.”

Screenshot of Steinberg Cubase software showing Cycle Recording feature. — *Cycle Recording creates Lanes that can be comped easily.*

If you don’t want to use loop recording but instead prefer to record your new takes at your own pace, your DAW may allow you to record multiple takes into one track. In Cubase, simply recording one track over another automatically saves the previous one as a layer underneath it, which can later be accessed for comping.

Another method for adding new takes in Cubase is to create a new Track Version, accomplished in the Inspector in the Left Zone of the Project window. As its name implies, a Track Version creates another track with all the same settings, and deactivates the one that was there. You don’t lose the previous track, though — you can easily switch between Track Versions.

Get Viewing

When you’re ready to do your comp, your DAW will offer you a way to see all the vocal takes so that you can combine them together any way you like. In Cubase, all you need to do is to click on the Show Lanes button, and any takes recorded on that track — either with Cycle Recording or simply by recording one track over another — will appear as Lanes.

Screenshot of Steinberg Cubase software with red arrow pointing to "Show Lanes" button. — *The Show Lanes button.*

If you used Track Versions, you first must select the track and go to Project/Track Versions/Create Lanes. That will turn your various Track Versions into Lanes; the original track at the top becomes the composite track, and the lanes underneath are where the individual takes reside.

Screenshot of Steinberg Cubase software showing how to create "Lanes" from "Track Versions". — *Track Versions can be easily converted to Lanes for comping.*

Your DAW’s comping feature will contain a tool or method for selecting the range from within a take that you want to use. When you do so, the selection appears in the main track, replacing whatever was in the time range corresponding to your selection. In Cubase, you do this by choosing the Comping Tool, which looks like a hand and is found in the Toolbox near the top of the Project window. Just click and drag it to select any length of audio from a take and that section will immediately appear in the composite track.

Get Organized

Before you start assembling your comp, you’ll want to audition the various takes to determine which parts of each you want to use. Comparing multiple takes of an entire vocal part for a song by memory is next to impossible. If your DAW has a comments or notes section (like, for example, the Notepad in Cubase), sure, you could write down the sections that you prefer in each take, or you could use a text program on your laptop — or go really “old-school” with a pencil and paper — but none of those methods are particularly efficient.

A much better approach is to compare just one phrase at a time from each of the takes. By listening to a short section as the transport loops over it, you can compare the various takes back to back and decide which is best.

It’s also useful, although not strictly necessary, to slice up the various takes into their component phrases before starting the comping process — it’s helpful visually to see the differences between them and makes assembling the comp fast and easy. Cubase simplifies the process of separating phrases because the Comping Tool turns into a Split Tool when you press the Option key, allowing you to cut all the vocal takes at the same spot:

Screenshot of Steinberg Cubase software showing the "Split Tool". — *Use the Split Tool to cut between phrases.*

Get Comping

Ready to get started? Begin by looping the first phrase and listen to each take. In some DAWs, you’ll have to use the solo button next to each take to determine which one is audible. In Cubase, all you need to do is click on a take with the Comping Tool and it will be the one you hear. This makes it easy to listen to the phrase in each take, back to back.

Some people like to color-code each phrase — say, red for the best, blue for second best and green for third best. That way, your top three are marked in case you want to try different combinations of them. In Cubase, switch to the Object Selection Tool, select the section you want to mark, and go to Project/Colorize Selected Tracks:

Screenshot of Steinberg Cubase software with color-coded takes. — *One way to indicate your take choices is by color-coding them.*

Once you’ve decided on the sections you want in the comp, selecting those parts (in most DAWs) should automatically copy them to the comp track. In Cubase, you do this by dragging over your preferred sections with the Comping Tool.

Get Listening

Sometimes when you’re listening to takes for comping, it’s obvious which parts are the best. If you’re in doubt, my advice is to choose the phrases or sections in which the singer has best captured the emotion or vibe of the song, even if they’re not technically perfect. For example, sometimes there will be one take that’s got the right emotional content but has some pitch issues. Remember: Pitch problems can usually be fixed (for example, by using Cubase’s VariAudio feature), but there is no way to add emotion.

Sometimes you’ll have a section that’s strong overall except that the vocalist got carried away and sang too loudly on one word, causing the mic or mic preamp to overload, or the recording to get clipped at that spot. In a situation like that, you might try substituting a word from one of the other takes. Generally, it’s better to keep phrases intact from a take, but you can certainly substitute a word or two to make a fix, if necessary.

Get Fading

Whenever you make an edit in a track in your DAW, you run the risk of creating a pop or click at the edit point, especially if you’re putting two regions from different tracks together. For that reason, it’s usually best to insert crossfades (that is, have the first region fade out for a brief period of time while the second one fades in over the same period of time) at the boundaries of the various takes in the comp.

In a long song, however, doing this manually can get pretty labor-intensive. Cubase offers a handy feature called Auto-Fade that removes the tedium by creating crossfades automatically at any edit point, thus saving you the trouble:

Screenshot of the Steinberg Cubase "Auto Fades" dialog box. — *The Cubase Auto Fades Dialog box.*

The vocal is arguably the most important part of any song. With these tips, along with the ones provided in Part 1, you should have all the tools you need to get some great vocal tracks. Time to bring in the singer!

Check out our other Recording Basics postings.

Click here for more information about Steinberg Cubase.

Are You Ready to Make an Impact?

Written by Yamaha Corporation of America on March 3, 2020. Posted in Educator, Percussion.

With four sizes from 18″ to 24″, Yamaha 9000 Series Impact Drums can play a dual role in your school’s music program, acting as a low extension for concert toms or as a responsive high extension for concert bass drums. They provide punchy, deep tones with excellent projection and offer a wider choice of instrumentation for a variety of musical needs.

Close-up shot of bass drum with traditional claw hooks. — *Impact Drum claw hooks.*

Their 16″ deep birch ply shells (two inches deeper than most small bass drums) deliver rich low-frequency harmonics as well as outstanding definition and clarity. All shells and hoops are constructed using the original Yamaha Air Seal System, with air pressure utilized to achieve uniform thickness and roundness for excellent tone and durability. And, unlike conventional bass drum stands, FB-9000 Series Impact Drums can be set to place the top head at the ideal playing height and position, with ultra-stable legs that have been customized to allow ample height adjustment for standing performance, with clamping brackets that effectively prevent slippage. In addition, the claw hooks feature the same traditional design as most marching bass drum models, where the tops of the tuning bolts do not protrude above the top of the hoop, preventing contact while playing and allowing the player to concentrate more fully on their performance.

Check out the videos below to hear what these extraordinary drums sound like, and find out what James Beauton of UCSD, Matt Cook of the LA Percussion Quartet, Tony Nunez of Arcadia High School and Axel Clarke of CSULB think of Yamaha 9000 Series Impact Drums.

Click here for more information about Yamaha 9000 Series Impact Drums.

someone using desktop computer with hand on mouse

Grant Writing: A 3-Step Game Plan

Written by Patricia Toben on March 2, 2020. Posted in Funding.

“Music for all, and all for music” is a goal that all music educators strive for, but unfortunately, access to music in schools isn’t a guarantee. Zip codes should not define a child’s education, but the grim reality is that demographics are changing in our country and schools. More schools have growing rates of students eligible for the Free and Reduced Lunch (FRL) program — a federal measure of poverty. This statistic often comes with unintended barriers, such as limited access to participation in music education. However, dedicated music teachers continue to find paths for students to be successful through the universal language of music, but in order to do this, funding is needed, which is why grant writing has become increasingly vital if the “music for all” mantra is to be realized.

Step 1: Tell Your Story with Data

Applying for grants is a long process, and we begin by compiling data and creating our narrative. The Sioux City Community School District (SCCSD) is an urban public school district located at the intersection of Iowa, Nebraska and South Dakota. As of October 2019, the SCCSD had a total enrollment of 14,274 students who attended 20 academic learning centers spread across the city. There are 6,656 students enrolled across 14 elementary schools, 3,356 students enrolled across three middle schools, and 4,262 students enrolled across three high schools. Ten of the 14 elementary schools and two of the three middle schools are identified as Title I schools.

Beginning in 2018, SCCSD became a majority-minority district (where the majority of the student body is nonwhite), serving students of high poverty with an average of 65% to 70% of students receiving FRL. Our student body is 35% Hispanic, 8% Black, 6% Two or more races, 3% Asian, 3% Native American, 1% Pacific Islander (combined 55%) and 45% White.One in five students is learning English as a second language. Every year, there are typically between 375 and 450 students who identify as homeless or in foster care.

Despite the fact that SCCSD is one of the poorest assessed-property-tax-per-student school districts in Iowa, we are proud of our kids and proud of the work our teams are doing to reach and help students of poverty. Our team has worked to decrease barriers and increase overall student enrollment in our performing ensembles (band, choir, orchestra) by 25% in grades 4 to 12 since October 2014. This increase highlights the incredible need for student access to district-owned instruments.

We use our data and our story to find grants to provide students with the opportunity to create, practice and perform music on quality instruments. Each SCCSD high school student is required to earn two fine arts credits for graduation. Unfortunately, the lack of access to instruments drives some students to take other fine arts electives (art, theater, music appreciation) when they might prefer music.

Our team worked to compile music-specific data for our grant applications.Data points include:

District data as noted in our story above.
Trends in participation over the past six years by building and by ensemble, including the number, percentage and demographics of students involved in each ensemble by grade level.
Instrument inventory and repair reports.
Number of instruments and type checked in/out to students each year by building (all of our instruments are bar-coded and in our district assets management system).

Prior to bar coding our instruments, our local music dealer — along with a trained repair technician and two representatives from Yamaha (one regional and one national) — came to help provide an analysis of our instruments. We spent a week going through every instrument in the district and identified each as usable (green tape), usable with repair (yellow tape) or not usable/not repairable (red tape).

After looking at our trends in participation and our district inventory, our team built the first of many five-year plans for instrument replacement and additional needs.

With help from our local music dealer, we identified instrument brands/models to be purchased district-wide for uniformity, consistency and, most importantly, durability. With 25% growth in our performing ensembles as well as the shift in demographics, our five-year plan has recommended purchases between $175,000 and $250,000. This plan originally included flutes, clarinets, alto saxophones, trumpets, trombones, violins and violas; however, due to the overall cost of the request, these instruments were tabled until the following five-year plan. In looking at inventory, it was critical to purchase instruments that would help balance our bands and orchestras.

Our district is able to provide in-kind resources such as certified music educators, curriculum resources aligned to the National Core Arts Standards, dedicated classrooms, instrument storage, repair and supply budgets, music storage, music stands and chairs, computers and instruments. However, funding still remains a challenge because our community is one of the property poorest districts in the state.

Pulling together all this data helped us formulate our story as we began to look for funding to provide music-making opportunities for all of our students and support the great work of our educators.

Step 2: Look for Appropriate Grants

Once we compiled the data, we knew we had a compelling story to tell. Our story has helped us search for and prioritize grants that align with our goals for SCCSD students and music programs, our strategies to measure our successes, and our overall budget (that includes in-kind items).

There is no set way to seek out grants. The search for funding is limitless — it can start by word of mouth, from corporate employees with foundations, from gift matches, through internet searches or from donations. Sometimes the search for grants is narrow to specific buildings in the district. At other times, the search is wide and looks through a district lens. Because we have already collected and analyzed the data, we are able to look at available grants and select the right data points for a specific building, multiple buildings or the entire district.

The process of finding grants that match your story can be as simple as a stroke of luck, or it can be a tedious and time-consuming process. Through conversations with other districts’ fine arts coordinators and representatives from instrument manufacturers, we have learned about many national grants that we are now exploring. We have also researched large companies with charitable foundations or arms to see if they are supporting music education.

Social media has also had an impact. The #musedchat group on Twitter has put us in touch with a large network of educators, school districts and companies. Staying up to date on research and related readings has sparked ideas and opportunities to think outside the box in terms of how to frame a story in a way that will capture the attention of grant funders. When grant opportunities are found, we compare the ask of the grant to our needs, purpose and priorities. With smaller-scope projects, we spend time looking locally for funding. Energy companies, banks, arts councils, etc. often provide these types of grant opportunities.

Using our data and story this past year, we showed a need within our district, which helped with conversations at budget time. In addition to an increased budget at the district level, we applied for and were awarded several grants at the local and national levels. We received grants from the Manilow Music Project ($20,000), Country Music Association Foundation ($20,000) and our local Gilchrist Foundation ($30,000).

Step 3: Organize Your Information

As you consider supplementing your program through grants, there are many items that you will want to consider.

Know and understand your board policy as it relates to grant writing. For example, the SCCSD Grant Application Policy states, “It is the philosophy of the Sioux City Community School District to encourage the administration to seek and apply for state, federal, or privately funded grants. Grant applications should assist the District in advancing specific goals or objectives in line with the mission established by the Board of Education.”
Know your data.
Know your story.
Know your purpose or your “why.” For example, if the grant is funded, what investments will have the most impact for your overall program? If the grant is funded, but at a lower level than you requested, what will be your focus?
Have a budget proposal ready to go and ensure that it is aligned to your five-year plan. We worked with our local music dealer to create an editable Excel sheet (instrument/make/model/price) of all the instruments on our five-year plan. The file includes the number of specific instruments needed and a final price. This allows us to tailor the ask to the limitations of the grant. This budget also includes in-kind items.
Know what you are writing for and what the reporting expectations are in relation to the amount of the grant.
Understand if the instruments will be purchased for you or if you can use a local dealer.
Prepare a boiler plate with your demographic information, your “why,” and the impact the funding will have on your students, staff and community. Have this ready in case there is a short window of time to write and apply for the grant.
Send a letter of intent to local and national companies and foundations to see if they are looking to support an arts initiative. Be sure to include your story, your data, the lasting impact funding will have on students and the community, the impact the support will have on the company/foundation itself, and your contact information for any questions.
Print out or save the grant application to a working file so that you can edit or copy and paste into the application. Use the information that you have prepared on your boiler plate and edit it to address the questions on the application. This document is extremely practical because sometimes applications cannot be accessed once they are submitted.
Know and observe your deadlines. Don’t wait until the last minute to submit your grant.
If you find a grant and the deadline has passed, put a notice in your calendar to alert you when the application process reopens. This is generally quarterly or yearly.

People Who Can Help

Here are some key stakeholders to reach out to as you begin to seek out grants.

District administration for acknowledgement and approval to apply for the grant. Make sure to follow board policy on grant writing if there is one.
District office personnel who can provide needed data.
Proofreader who can double check your language and data.
Parents, community and business leaders who may know of opportunities for funding.
School/district foundations are great resources for writing grants. They understand the nonprofit-to-nonprofit business lingo.

After You Receive a Grant

Here are some quick tips and tricks after you receive a grant.

Know what the grant reporting metrics are in regard to expenditures, use of equipment and other requirements outlined in the grant.
Keep accurate records.
- Talk to the finance department and find out where the money will be deposited. Also ask about the purchasing process: what paperwork is needed within the district and what approvals are needed.
- How will instruments be added to inventory?
- What receipts are needed for reporting metrics?
- What other records are specified by the grant?
Know the guidelines of the grant — e.g., are you able to promote on the school’s website and social media? The more you can promote the items purchased with grant funds, the better. This helps tell the story for future opportunities.
Show appreciation by sending thank you letters upon receipt of the grant to everyone associated with it. Make sure to write these letters on official letterhead. Another option is filming and sending a video that shows students using the purchased instruments.
Stick to hard deadlines and dates as noted on the grants.

Everyone has a story to tell. Your success in grant writing will be determined by how well you align and organize your narrative, data and the lasting impact the funding will have on students and the community. When it comes to grant writing and soliciting grant invitations, you are limited only by your district board policies and your imagination.

The Sioux City Public Schools Foundation started an endowment for SCCSD music programs and has secured funding from individual local donors. In addition to all of the above resources, the endowment provides a yearly payback for instrument purchases as well.

I wish you the best as you begin your grant-writing adventure.

Yamaha is an active advocate for music education, and we want to empower music educators to strengthen their programs in any way we can. Please register for the Yamaha Educator newsletter to read up on advocacy, professional development, information about instruments, resources, partnerships in education and more. Join the Yamaha Music Educator Community on Facebook or email us at educators@yamaha.com.

Man having fun playing air guitar with a broom in the living room.

From Zero to Hero

Written by Howard Massey on March 2, 2020. Posted in Creativity.

I’ve touched on the question of nurture versus nature here before, but it’s something I’ve been thinking about more and more in recent days, as I’ve become engrossed in a book called “Guitar Zero,” by cognitive scientist Gary Marcus. It was first published some eight years ago and was even a best-seller for a time, but for some reason had slipped under my radar.

Portrait of man in suit jacket smiling at camera in front of grey studio backdrop. — *Gary Marcus.*

The subject matter is fascinating: At the age of 40, the author decided to try to learn to play guitar (a Yamaha acoustic, as it happens), despite having what he describes as no innate musical abilities whatsoever, including what he terms a severe case of “arrhythmia.” Not in the medical sense, as in cardiac arrhythmia — a potentially fatal tendency towards irregular heartbeats — but in terms of a hopeless lack of musical rhythm.

I myself have always been blessed with a strong sense of rhythm (one of the reasons I started my musical career as a drummer), but I have encountered this peculiar affliction at least once in my life, in the form of a woman seated next to me at a John Fogerty concert who insisted on clapping along to every single song as she squirmed excitedly in her seat. That on its own would have been unremarkable — except that this woman, amazingly, failed to ever put her hands together anywhere close to the beat. It was annoying and distracting, to be sure, but after awhile it became a kind of challenge for me, and I found myself silently rooting for her: “Come on, you can do it! You can get one of these beats right!”

But she didn’t. Not once.

Anyway, I digress. The challenge Dr. Marcus set out for himself was particularly daunting, given that he was attempting it at roughly the midpoint of his life. After all, numerous scientific studies have proven what we all know anecdotally: that children have a much greater capacity for learning than adults. Psychologists have long referred to our formative years as being a “critical period” when it comes to developing lifelong abilities. As Marcus puts it, “The idea is that there are particular time windows in which complex skills can be learned; if you don’t learn them by the time the window shuts, you never will.”

With this book, he sets out to not only refute the premise but prove it wrong, despite the fact that most master musicians start at a very early age — think Mozart, a child prodigy who was wowing audiences when he was just five years old, or Louis Armstrong, who first picked up the trumpet at age 12, or Paul McCartney, who wrote the song “When I’m 64” as a teenager. How well Marcus succeeds in his quest is open to question, since it’s impossible to objectively evaluate his level of proficiency. That said, he reports that, after a year and a half of fairly rigorous practice, he was “finally comfortable with many of the basic chords and could change between them smoothly, and at least roughly in tempo.”

Much of this comes down to muscle memory, of course; the more you practice forming chords on a guitar (or piano, or any instrument that allows chording), the better your fingers get at it — an inevitable (and quite wonderful) byproduct of dogged persistence. What was more interesting to me was Marcus’ description of how much his musical ear had improved over that period of time. “I was starting to be able to distinguish different musical intervals,” he writes, “and I’d learned to improvise and to make up my own music … well enough to jam with my friends.”

“I also understood the music I heard vastly better than when I’d begun the project,” he continues. “I could pick out bass lines, recognize different drumming patterns, and tell what techniques different guitarists used. I had developed a sense of arrangement and how different songs were put together … The differences in what I could perceive — and what I could produce — were truly astonishing.”

The important takeaway from all of this is that learning to play an instrument — not just intently listening to lots of music or taking a music theory class — improved the ability to understand music overall, at least in Marcus’ case. I’d be willing to bet that this is true for most people.

So if you’re of a certain age and regret the fact that you never learned to play a musical instrument — even if you consider yourself tone-deaf or rhythmically challenged — don’t despair … and don’t delay. You may be very pleasantly surprised at just how good you can get at it, and at the many unanticipated fringe benefits it can bring. As Dr. Marcus states at the conclusion of his book, “Maybe, just maybe, the art of reinvention and acquiring new skills can give us a sense of a life well-lived.”

Photo courtesy of Gary Marcus (garymarcus.com). Photo credit: Athena Vouloumanos.

Related blog article: Take Action!

Check out Howard’s other postings.

The Advantages of Bi-Amping

Written by Michael Gelfand on February 28, 2020. Posted in Bass.

On its own, an electric bass guitar makes very little sound at all. That’s why amplifying it to the point where it can not only be heard, but felt, is no small feat. There’s a lot of science — and art — that goes into designing and building a high-performance amp and a sweet-sounding speaker cabinet. But all you need to determine whether a bass rig sounds great or just meh is a little objectivity and a working set of ears.

Not satisfied with what your rig is delivering? Dig into the specs and maybe you’ll find that your amp doesn’t have enough power to deliver the current needed to accurately reproduce deep lows. In situations like that, when you play a low B on a five-string bass — or even a low E on a four-string — your sound will sag instead of making your chest pound.

Or maybe one day you’ll realize that your 2 x 15″ cabinet sounds noticeably shrill when you’re playing up the fretboard, due to the laws of physics that make it difficult for large speakers to accurately play high-frequency sounds. (This happens to varying degrees based on the relationship between the diameter of the speaker cone and the wavelength of the frequencies they’re trying to reproduce.)

And then, of course, there’s the age-old issue of speaker placement: Everything sounds fine when you play by yourself during sound check, but throw the entire band onto the same stage at full volume and suddenly you can’t hear yourself.

The good news is that all these issues can be dramatically improved, if not completely solved, by a technique called bi-amping. Ready to learn more? Read on …

How It Works

Light blue electric bass. — *Yamaha Attitude Limited 3.*

Bi-amping is accomplished by splitting the signal from your electric bass into two signals — one for the high frequencies and one for the low frequencies — and sending them to separate amps. In a typical bi-amp setup, the two signals are routed from the amps to different speaker cabinets — one to handle just the lows, the other to handle everything else. However, there are single cabinets that are bi-amp-capable too.

Some basses, like the Yamaha Attitude Limited 3, come equipped with separate outputs for the different pickups. This particular bass was designed in partnership with famed bassist and bi-amping pioneer Billy Sheehan. With the Attitude Limited 3, you can separately route the signals from the neck and middle pickups to individual amps, letting you take advantage of the inherent sonic characteristics of each pickup position. (Generally speaking, neck- and mid-position pickups are full of warmth and thickness, whereas bridge-position pickups are bright and ideal for an aggressive attack.)

Crossing Over

But what if you want to bi-amp and your bass only has a single output? No worries: You have a few different options. However, whichever option you choose, your bass signal has to meet up with a component called a crossover, which has the job of splitting the incoming signal into two signals, based on their frequency range. Crossovers can be standalone devices, but more commonly, they are either built in to your amp (as hardware) or effects unit (as software).

If you’re simply looking to split your signal for more efficient reproduction of your sound, having an amp with a built-in crossover (or using a standalone crossover) might be the best approach. But if you’re like me and are looking to use lots of different effects, using a multi-effects processor with a built-in virtual crossover (such as the Line 6 Helix^®) is an interesting option to consider; this gives you the same sophisticated signal splitting at your fingertips, plus all of your effects can be consolidated into a single unit rather than sprawled out on the floor in front of you. You can use the Helix to apply chorus or fuzz, for example, to the higher frequencies while compressing the lows, keeping the fundamental bottom of your sound tight and controlled while adding as much or as little frill as you like to everything else.

Whether real or virtual, every crossover enables you to specify the frequency where your signal gets divided, thus serving as a kind of traffic cop at a fork in the road. The frequencies below the adjustable crossover point (i.e., the specific frequency denoting that fork in the road) will be sent to one amp, and the signal above the crossover will be routed to another amp, giving you distinct control over the tone and the volume of each.

Real-World Applications

I typically play my bass through an Ampeg™ SVT-4PRO amplifier running in bridged mono mode, but into two individual cabinets, each with a single 15″ speaker. It’s a perfect rig for most situations, but if effect pedals are going to be involved I’ll sometimes opt to bi-amp, in which case I swap out one of the 15-inch cabinets for a 2 x 10″ that gets stacked on top. The SVT-4PRO has a built-in variable crossover that I set to around 200 Hz so that the lows are isolated in the 1 x 15″ cabinet, leaving the 2 x 10″ to handle the mids, highs and all the gristle coming from the effects. (This is part of what makes the SVT-4PRO a true workhorse — it’s easily switchable for a variety of desired performance scenarios, including bridged mono, true stereo and full or shared bi-amping responsibilities with another amp. And that’s to say nothing about how great it sounds in each instance.)

With this setup, gobs of power are dedicated to reproducing the fundamental lows, while the mids and highs sound glorious whether I’ve got the slurp-and-burp pedal factory engaged or off. If played through my regular setup, things would still sound good, but when bi-amped, the sound is tighter and more articulate.

Keep in mind that this setup is not plug-and-play — it does require some tweaking to get it right. Every individual speaker and cabinet is designed differently, and different speaker configurations have different power-handling capabilities and sensitivity ratings. These variations can be even more pronounced if you mix and match speakers or cabinets from different manufacturers.

That said, getting it right isn’t that hard to do. Once you make the respective volume adjustments to blend the separate sounds correctly, you’ll be able to throw the entire kitchen sink at your bass rig with incredibly satisfying results — powerful and unencumbered lows mixed with punchy mids, crystalline highs and rich harmonic content. That’s about as good a starting point as there is, isn’t it?

Check out Michael’s other postings.

Click here to learn more about the Yamaha Attitude Limited 3.

Click here to learn more about the Line 6 Helix.

Click here to learn more about the Ampeg SVT-4PRO.

A Lesson in Humility

Written by John Patitucci on February 27, 2020. Posted in Artists, Guitar Artists.

I’ve been playing music for nearly fifty years now; I started when I was ten. I played in tons of different bands — everything from Elvis impersonator gigs and wedding receptions to garage bands and school shows, you name it. You have to do the grunt work — you can’t microwave this kind of thing. I was originally a street cat, playing by ear, then somebody made me learn how to read music. I got excited about that, and about listening to all kinds of music, learning new pieces and studying how they were put together.

I went to music school for about three years and studied classical bass, then left and found myself going to people for a tune-up, or trying to figure out stuff on my own. I learned piano, and some drums. All these things go into the pot, so when somebody like a Wayne Shorter calls you and asks you to create something out of nothing — and gives you the space to do it — you’ve got all of that in your back pocket. You can’t skip over those steps. You got to be working your whole life to be a well-rounded musician.

Someone who only has an academic music experience can talk to you about music, but sometimes they can’t play it yet. They’re not necessarily invested in the other part — the organic part. It’s about using your ear, not just technically playing your instrument. You have to understand how your instrument functions in a given style. You have to have a foundation before you can break all the rules.

I’ve been around Wayne for a long time. The first time I played with him was on his 1986 record Atlantis. Those were structured tunes, and the improvisation was on one chord that could go anywhere. It was much more traditional than what later happened with the Wayne Shorter Quartet, where he encouraged us to step out and create from nothing.

Some people think that creating music from nothing sounds scary, but it really isn’t because of the relationships the members of this quartet have with each other. One reason why that band has worked so well is because everyone’s really committed to structure, and everybody has studied music extensively. Not just in an intellectual and academic way, but by doing it, transcribing it, listening to it. It’s about being invested in rhythmic and groove music, where there’s a powerful rhythmic foundation that is unshakeable. We’re all composers, and when you have people who are invested in the way the music is put together, you collectively think about music in a different way.

In situations like that, you’re not thinking about your instrument and what you’re doing. Instead, you’re thinking about the whole arrangement, all the time. That changes the choices you make. You’re not thinking, “I’m going to play this cool little bass thing.” You’re thinking, “What did he just do over there? How can I support that? Let me play this little counter line. Oh wait, listen to that…” It’s a different thing. You have your composer’s hat on. Of course, you’re doing this intuitively. You’re not so cerebral about it — but it takes years to get to that point.

Recently, I’ve been spending a lot of time rehearsing with Wayne for an opera he’s writing. We’ve been working on this for a while, and now it’s to the point where we’re fleshing out parts for the singers and honing all the orchestrations. It’s been a long process, and it’s been a great experience because Wayne’s music is unlike any other music — it’s truly free jazz, in that he wants to create improvised compositions. [Pianist] Danilo Perez calls it “compromising” because we’re actually composing together, in the moment. The music has a lot more shape, form, rhythm, and harmonic and melodic counterpoint than most free jazz. Some of it is very textural, with moments where everybody hits it with a lot of density and freaks out. And then there are more predictable pieces where you play slowly and softly, then louder and faster. We play some of Wayne’s written parts too, but here the idea is to blur the line completely so that we are composing something in real time.

That’s a huge concept, one that’s based on a relationship built over decades — it’s actually been a stewardship. In fact, I learned how to become a mentor from Wayne, since he’s been my mentor. These days, I’m often the oldest guy in other sessions, but Wayne is almost always the oldest guy in the room wherever he plays. We’re always deferring to him because he’s a genius, first of all. Then, of course, he’s like our dad, and one of the sweetest guys in the world. After all is said and done, it’s because he’s a truly incredible person, and not just as a player or a composer.

In the Quartet, of course, we always defer to Wayne. Not only did he write the music, he has a vision unlike anyone else. So you check in and say, “Is this OK? What are you thinking here?” There’s always so much fun energy coming from him, and because he’s 85 years old, he provides lots of life lessons to embrace. Of course, you can learn from people younger than you too, and you should treat people with respect all the time. But sometimes you may have to step up and lead if someone needs help or inspiration … even if that takes you in a different direction.

For Wayne, it’s always about trying to take music to the highest level. But he shares it; he doesn’t hold on tightly and say, “This is mine.” That’s a lesson in humility — proof that there’s always still more to learn, no matter how old you are.

Photographs courtesy of the author.

For more information, go to johnpatitucci.com.

Click here to learn more about the Yamaha TRBJP2 John Patitucci Signature Bass.

View of portion of an open bodied electric upright bass.

Presenting the New Generation SILENT Bass™

Written by Yamaha Corporation of America on February 26, 2020. Posted in Bass. 2 Comments on Presenting the New Generation SILENT Bass™

Yamaha introduced the first SILENT Bass™ — a revolutionary instrument that allowed bassists to practice and perform with authentic tone and feel but no acoustic sound — twenty years ago. The SLB300 and SLB300 PRO SILENT Bass models represent the latest generation of electric upright basses, with advancements that allow the player to control every aspect of their sound with the press of a button. Newly incorporated Studio Response Technology (SRT) provides realistic body resonance so that the performer’s own playing technique and nuances are delivered without compromise. In addition to a piezo pickup and EQ controls, it also provides three different high-end microphone models, from the clear, warm sound of a dynamic to the rich timbre of classic vintage vacuum tube mics. Unlike an acoustic bass, the SLB300 is an easily transportable instrument that can be packed into a TSA case without fear of being damaged en route, and it allows players to perform in places where they may have previously feared to bring an expensive acoustic instrument, such as an outdoor gig on a hot, humid day.

Want to know what top bassists Nathan East, Chris Minh Doky, Kenny Davis, Jim Widner and Charley Sabatino think of the SLB300 SILENT Bass? Check out the video!

Ready to learn more? Check out our blog article “Feel Through Your Five Senses” for an interview with SILENT Bass lead designer Shinya Tamura.

Click here for more information about the Yamaha SLB-300 and SLB-300PRO SILENT Basses.

Creative Ways to Practice with a Metronome

Written by Jerry Kovarsky on February 24, 2020. Posted in Keyboard How-to.

Developing a good sense of time and rhythm is an essential skill for every musician. Beginners are often guided to practice with a metronome, and it can be an invaluable aid, but I think musicians at all levels can make good use of a metronome. In this article, I’ll share some concepts on how to use one effectively — perhaps in ways you’ve never thought of.

What’s the Tempo?

One of the most common purposes for a metronome is to provide the intended tempo for a piece of music. Often, sheet music has a marking like this:

Musical annotation with "Scherzando" and the symbol for a quarter note =100 circled above the staff.

This indicates that each quarter note should occur at a rate of 100 beats per minute (BPM). If you don’t have the sheet music for a song you want to practice, but want to know its intended tempo, just head over to the internet and type the song’s name, followed by BPM. A slew of sites will pop up giving you the answer. Bear in mind that this only tells you the speed the piece should eventually be played at, because you should never start to learn a piece at the final intended tempo. First you need to learn the notes, work out fingerings, and rhythms — all things that initially should be done very slowly. Always be sure you get everything right at a much slower tempo before trying to speed it up.

Getting Started

Beginning students are often instructed to set their metronome to a medium slow tempo and then play a simple piece with all quarter notes. While this is a good way to start, it’s actually letting the metronome do too much of the work, plus that incessant clicking can get very annoying, so let’s look at some more creative options.

(Learning to play a scale or melody at an extremely slow tempo — say, 20 BPM — can be a great exercise in and of itself; as advanced players know all too well, super-slow tempos can sometimes be the hardest to play.)

In a recent posting, we talked about practicing scales/modes against a metronome, and about varying the octaves and rhythms as two octaves of eighth notes, three octaves of triplets, and four octaves as sixteenth notes. To experience this, let’s begin by taking one of the exercises from that posting, shown below:

The smaller cross-haired notes represent the metronome “clicks,” based on having it play quarter notes. After playing this a few times with your metronome set to 100 BPM, take the tempo down to 50 BPM and think of the clicks as representing half notes instead of quarter notes:

This will result in you playing the exercise at the same speed, but now you need to sub-divide each click into more units, and so you won’t be able to rely on the clicks as much. You can do this for any piece you are learning; just cut the BPM in half, and think of each note as twice the unit represented on your sheet music.

Less Is More

Now let’s take this concept a lot further. Here’s a simple bluesy chordal figure with a walking bass line:

After you learn the piece and are comfortable playing it with the metronome, try halving the tempo from 100 BPM to 50 BPM and let those clicks be the one and the three of your counting, as shown below:

The tempo will be the same, but now you have to rely on your internal clock a little bit more, instead of letting the metronome do all the work for you.

Next, try thinking of those same clicks as the two and four of your tempo, like this:

This might take some effort at first. What I do is listen to the clicks and then start saying “two” on the first click, and “four” on the next. When I get comfortable with that, I start filling in the other counts. So I am saying: two … four … two … four … two three four one two three four one two three four and so on.

This is the best way to use a metronome when playing jazz, for example, as it matches what a jazz drummer would do with the hi-hat, and it really gives the music a lift. You can practice playing melodies this way, or playing through the chord progression, or even soloing. Just be careful: It’s easy to turn the beat around so the clicks become the one and the three instead … at which point the jazz police will come and put you straight into jazz jail!

Take It Up a Notch

When you get comfortable with these “two beats to the bar” examples, you can go for an even harder exercise, like this one:

You need to cut your metronome tempo in half again, and now each click represents only one beat out of the four per bar. I like having it on beat three, but any beat is fair game! You get used to it by saying “three” with each click, and then fill in the rest of the counting as you can. Remember, this is the same tempo we’ve been using since the start of these chordal figure examples; we’re just playing around with how many clicks we hear per bar and where they’re placed.

Trust Your Timing Even More

All of these ideas can be done with any sort of basic metronome, but I found another great exercise while researching new ideas for myself. My search led me to this video, and the related website of guitarist Sean Driscoll. The concept I was drawn to is to leave entire bars of silence in-between some metronome counting, so you get to “fly solo” for periods of time without the metronome’s help. To do this, you’ll either need a highly programmable metronome app for your phone/device such as Time Guru Metronome, or you’ll have to custom-create click tracks or patterns with the appropriate periods of silence in your DAW or drum machine. Sean’s idea, which he calls “one, one and done,” involves having a single click on the one in bar one, another single click for the one in bar two, and then two bars of silence, like this:

Leaving all those empty beats gives you the chance to carry the time by yourself for longer periods, and it is instructive to see what happens when the patterns repeats and that first click comes back. Did your time drift?

Another fun variation is to try this with the metronome clicks on the two and the four, then leave the metronome out for two bars. This is similar to what we did earlier (albeit without the empty spaces):

Using your metronome in creative ways like these will help enhance your sense of timing and groove … and without boring you to tears. Have fun with it!

All audio played on a Yamaha P-515.

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about the Yamaha MP-90 classic pendulum metronome.

Click here for more information about Yamaha keyboard instruments.

Tablet on kitchen counter with app visible.

The Smart Home Starts with Good Wi-Fi

Written by Lisa Montgomery on February 21, 2020. Posted in TV & Movies.

You wouldn’t dream of buying an automobile with a faulty engine. Nor would you spend your hard-earned dollars on a new refrigerator that keeps your food at a lukewarm temperature. You expect certain things to act a certain way, without fail, and everything else in your life to operate optimally.

The technology in your home should be no different. After all, there’s no reason for streaming music to not reach the speakers in your backyard, or for your internet connection to slow or come to a complete halt every now and then. And who wants to wait for the video on a big, beautiful display to buffer during the epic scene of a blockbuster movie?

Nonetheless, many homeowners just grin and bear it, throw up their hands, and chalk the matter up to the inherent trials and tribulations of owning smart home technology.

It doesn’t have to be like this.

Music can stream everywhere throughout the house without latency, which means that every speaker, no matter where it’s located, plays the song perfectly in sync — particularly important if you commonly stroll throughout your home when listening to music. You can be sure that every command sent to your whole-house system — whether by a mobile app, remote control, or voice-enabled device — reaches its destination fast and reliably. In fact, all your smart home devices can operate flawlessly. It all hinges on the quality of the Wi-Fi in your house.

The Importance of Speed and Bandwidth

Alas, Wi-Fi is far from perfect. For one thing, it comes in a variety of speeds, depending upon your internet service provider and the router you’re using. Needless to say, you should always opt for the fastest service and router you can afford, but any Wi-Fi network is only able to operate at full speed and full capacity if it has enough bandwidth. It’s like driving on a busy highway at rush hour. If you’re traveling on a single- or two-lane road, you can expect traffic jams and bottlenecks, but on a three- or four-lane road, you’re likely to move along at a much faster pace. In most households, there’s a lot of Wi-Fi activity going on 24/7. Anytime someone is surfing the internet, downloading videos or streaming music, bandwidth is consumed. When a lot of these activities are happening at the same time, the network can struggle to keep up.

So how do you preclude these issues? One twentieth-century solution would be to have everyone in your house — or all your equipment — take turns accessing the network. But that’s just silly in this day and age. Let’s take a look at some more modern approaches.

Repeat/Boost/Extend

Today’s typical router generally has more than enough reach to fill an apartment or small house with Wi-Fi, but it may not have the range to cover a larger home, which will result in dead spots cropping up. One of the easiest and most affordable ways to amp up your home’s Wi-Fi is by strategically placing one or more repeaters (sometimes known as boosters or extenders) around your home. These devices take the Wi-Fi signal coming from your existing router and rebroadcast it, effectively extending the overall range. This ensures that music streaming from a Yamaha MusicCast-enabled AV receiver or a MusicCast VINYL 500 wireless turntable, for example, will be able to reach those MusicCast speakers or sound bars located far away from your home’s router, all in perfect synchronicity and without dropouts.

Go Mesh

Even if you have excellent Wi-Fi coverage in your home, issues can still arise from the high amount of traffic on the network at the same time. That’s why you should consider installing a mesh network, which spreads your home’s Wi-Fi signal to multiple nodes positioned in various areas of the house instead of passing signals from point A (your router) to point B (the nearest access point). These nodes talk to each other to determine the quickest path for communications. In a smart home with a properly installed network, no matter how many people are simultaneously streaming data, video or music to and from various devices, nobody misses a beat.

Think Business, Not Residential

Today’s homes have networking requirements similar to that of businesses, so they are best served by the same type of enterprise-grade networking equipment that you might use at work, including the use of high-grade cabling capable of handling high-speed data transfer without dropout. This level of networking system is able to prioritize Wi-Fi traffic, which ensures that the songs streaming throughout your house won’t be interrupted when someone downloads a video. And as you add more smart devices, a high-quality networking system can be reconfigured with new prioritization parameters.

Hire a Professional

No matter how robust a networking system is, it’s only as good as the way in which it has been installed and configured. The best way to ensure that your Wi-Fi networking system has been installed correctly is to have a professional do the work. Yes, this will add to the cost, but what good is an investment in great equipment if it produces only mediocre results? A networking professional has the knowledge and tools to pinpoint possible Wi-Fi roadblocks in your home (concrete and metal are notorious for interfering with Wi-Fi signals), and to devise the appropriate solutions. Based on the layout and structure of your home and your networking needs, they can select the best equipment for the job, place networking devices where they will maintain the clearest, most reliable Wi-Fi connections, and configure the settings to best suit your household’s communications needs and entertainment enjoyment now and in the future — no matter how many new smart devices you add to your home.

Want to learn more? Check out these related blog articles:

Smart Home Integration — From DIY to CI Guy

The Perfect Pairing: Yamaha MusicCast and Home Automation

Get Your Party Started with the MusicCast VINYL 500

Click here for more information about Yamaha MusicCast.

Click here for more information about Yamaha MusicCast products.

Close crop of Absolute Hybrid Maple toms.

The Modern Drum Set, Part 3: Toms

Written by Steve La Cerra on February 20, 2020. Posted in Stage Drums, Studio Drums. 3 Comments on The Modern Drum Set, Part 3: Toms

In previous installments of this series of articles about the components of modern drum sets, we traced the origins of snare and bass drums and learned how they became an important part of contemporary music. In this installment, we’ll take a look at the tom, which was initially regarded as a sound effect, but is now an essential component of every drum set.

Originally known as a tom-tom, the tom is a simple drum that doesn’t require extra mechanisms such as a snare strainer (“throw-off”) or foot pedal. Most drum sets have a maximum of one snare drum and one bass drum (sometimes two), but there can be any number of toms of assorted sizes. Toms can be used for playing fills, adding color, or even as a substitute for cymbals.

History

The earliest toms go back to Asia in the later part of the 1800s, when drums known as “Chinese tom-toms” were made from simple wood shells. Diameters ranged from about 8 to 14 inches, with depths of only a few inches. These drums could not be tuned because there were no hoops or tuning rods; the skins (which were often painted with elaborate decorations) were simply tacked to the top and bottom of the shell.

As the modern drum set began to take form in the early 1900s, American drum manufacturers imported these toms, put their own logos on them, and offered them as part of their drum sets. Sometimes the toms were mounted to the bass drum hoop, and sometimes they were simply set on a “trap table” (a table upon which were placed various percussion effects). Larger toms were supported using tripod stands. It wasn’t until 1940 that tripods were replaced with straight, adjustable, metal legs attached to the shell. Toms with that kind of mounting were called “floor” toms.

In the 1920s, drummers began using deeper toms often mounted on bass drum “consoles” (rails), and those drums featured an exterior finish that often matched that of the snare and bass drum. By that time, the top heads could be tuned, but the bottom heads were still tacked on and could not be tuned. This was a big problem because the heads were made from calf or animal skin and were highly susceptible to changes in temperature and humidity. It wasn’t until the late 1950s that plastic drum heads (made of mylar, polyester, or a mix of the two) became available. This was a major breakthrough because plastic heads hold their tuning even when temperature and humidity change.

Sing, Sing, Sing

Legendary drummer Gene Krupa worked with drum manufacturers in the 1930s to develop the tom as we know it today. Krupa insisted that the top and bottom heads for his toms must be tunable. These revolutionary toms used metal hoops to hold the heads, along with tension rods (adjustable with a drum key) for tuning. Who could argue with Krupa? His drumming on Benny Goodman’s 1936 hit “Sing, Sing, Sing” includes what is still one of the most famous tom riffs in music history. Krupa also helped establish some of the now-standard tom sizes such as 13″ x 9″ and 16″ x 16″ (diameter x depth).

Mounting Options

During the late 1950s and early 1960s, tom mounting systems evolved from the rail to the sturdy tube-type systems we see today. As rock music became popular, drum sets tended to get larger, with some drummers using sets that included four or more toms of assorted sizes. Toms can be mounted on the bass drum, on floor stands, or — as is the case with floor toms — on legs with brackets that attach to the shell. They can also be mounted on racks such as the Yamaha Hexrack II. These not only make setup faster and easier, they also reduce the footprint of the drum set, as compared with using separate stands. Another benefit of using a rack is that some drummers prefer the sound of the bass drum when toms are not mounted directly to it.

Diameter and Depth

Today, the standard diameters for “rack” (i.e., mounted toms) are 8, 10, 12, 13 and 14 inches, while floor toms are usually manufactured with 14, 16 and 18-inch diameters. Shell depths can vary too: Standard depths are 8, 10, 13 and 16 inches. Yamaha Absolute Hybrid Maple mounted toms are available in traditional diameters, but can be ordered with slightly different depths.

Modern drum kit with Absolute Hybrid Maple toms. — *Yamaha Absolute Hybrid Maple toms are available in many different sizes.*

As with other kinds of drums, the fundamental pitch of a tom depends upon the diameter and depth of its shell; as is also true with other kinds of drums, larger shells generally produce a lower pitch. Smaller shells provide more “snap” and respond quickly, while deeper shells provide increased projection, produce more overtones and add weight to the sound.

There are no rules regarding what tom sizes should be used for specific types of music. Many jazz drummers prefer 12″ x 8″ and 14″ x 14″ toms, while you’ll find 13″ x 9″ and 16″ x 16″ or 18″ x 16″ in rock kits. A fusion drum set usually has smaller sizes such as 10″ x 8″ and 12″ x 8″ mounted toms and a 14″ x 14″ floor tom. The bottom skin is sometimes removed (though more often for recording than live performance) for a louder sound and a more open tone with less resonance.

There are other types of toms available, such as roto toms (which have a single tunable head in a metal frame without any shell) and extra-loud concert toms, which have extra deep shells and may or may not have a bottom head. These are designed specifically to project through the sound of a full orchestra and are generally not recommended for use in drum sets, though they were employed by some rock drummers in the ’70s and ’80s.

Tom Materials

Tom shells can be constructed from fiberglass, acrylic and occasionally stainless steel, but wood is by far the most popular material. Wood shells are usually made from multiple plies of wood such as oak, birch or maple.

Oak is used in Yamaha Live Custom Hybrid Oak toms. This type of wood produces plenty of volume and projection and is known for its round tone, mellow highs and a warm low end. Made from a sandwich of oak plies surrounding a dense phenolic layer, the design of Live Custom Hybrid Oak shells emphasize attack while increasing the drum’s dynamic range.

Yamaha Recording Custom and Stage Custom Birch toms are manufactured from birch wood. Birch projects exceptionally well, which helps the sound of the drum cut through the mix. It produces a bright, lively tonality with an emphasis in the low and high frequencies, and slightly reduced mid frequencies.

Maple is one of the most popular woods for making drum shells and is used in Yamaha Absolute Hybrid Maple and Tour Custom toms. Maple shells offer a warm low end, slightly boosted mid frequencies and balanced low and high frequencies. Absolute Hybrid Maple shells combine maple plies with an interior layer of wenge — a hard and heavy wood which combines with the maple to produce a rich, clear tone at a wide variety of volume levels. Yamaha PHX (pronounced “phoenix”) drum shells are built from plies of jatoba, kapur and North American maple woods. This unique structure maximizes performance and increases the vibration of the drum head.

Maximizing Resonance

Toms are designed to resonate, but sometimes hardware attached to the shell can dampen that resonance. The Y.E.S.S. (Yamaha Enhanced Sustain System) I, II and III tom mounts featured on all Yamaha drum sets (with the exception of Stage Custom Hip and Rydeen models) acts as a shock mount system and minimizes contact between the shell and the mount, allowing the shell maximum vibration — hence, maximum resonance.

Close-up shot of Yamaha Y.E.S.S. tom mount. — *The Yamaha Y.E.S.S. tom mount.*

Lugs can also decrease shell resonance and that’s why the Absolute lugs featured on Yamaha Tour Custom toms are isolated from the shell with rubber gaskets.

A different approach is taken on Yamaha PHX toms, which use a hook lug system. These lugs are mounted on an area of the shell that produces undesirable overtones and then mutes those tones, allowing for a pure fundamental tone. The hook lug system also makes head changes fast and easy.

Toms provide a wide range of tonal options for your drum set and can also make it more fun to play. Best of all, you can start with just one or two toms and add more when you’re ready to expand your sonic palette!

Click here for Part 1: The snare drum.

Click here for Part 2: The bass drum.

Click here for Part 4: Foot pedals.

Click here for Part 5: Cymbals and hardware.

Click here for more information about Yamaha acoustic drum sets.

LL-TA and FG-TA

LS-TA and FS-TA

CSF-TA

CG-TA

Thickening

Panned Doubling

Slapback Delay

Long Delay

Opposite-Panned “Ghost” Delay

The Basics

Got Rhythm?

Creating Movement with Passing Chords

A Bigger Sound

All audio played on a Yamaha P-515.

Early Days

Enter Surround Sound

CINEMA DSP

Dolby Digital

YPAO™

HDMI®

The Shift to Separate Components

AVENTAGE

Dolby Atmos® , DTS:X™ and MusicCast

Travel Timpani

Stage Custom Hip

The Video

Get On Track

Group Therapy

Direct Me to Your DAW

Preparation Tips

Tips for Improved Computer Performance

History

Violins

Cellos

Bass

Where Do I Start?

What Do I Do Next?

Why We Do the Thing We Do

Now is the Time to Form the Team!

Take Action

Acknowledgments

Why Wi-Fi?

One by One

Back Online

Fretting Technique

Picking Technique

Finding the Right Notes

The Video

The Guitar

The Wrap-Up

Photographs courtesy of the author.

1. Determine Performance Expectations

2. Stay Away from Hand-Me-Downs

3. Choose Appropriate Music

4. Drumheads Are Important

5. Keep a Supply of Sticks on Hand

6. Wear Earplugs

7. Make Sure Carriers and Stands are Appropriately Sized

8. Ask Peers for Advice

9. Protect Your Investment

10. Know Drum Sizes and Quantity

What’s Included

ML Touch

MLA-200 Interface

Videos

Getting Started

Watch Training Videos

Get Started with Note Input

Create a Worksheet Handout

Additional Resources

What Time is It?

Time and Time (and Time) Again

All Mixed Up

Altering the Sound of the Delay

Photograph by Henri Manuel.

Title IV-A Funds

New COVID Relief Bill

Additional Resources

1. It Starts with the Right Bass

2. You’ll Need a Real Amplifier Too

HDMI^®

Dolby Atmos^® , DTS:X™ and MusicCast